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05 Friedrich Cerha. In conversation on his 80th birthday

13 Arvo Pärt. An olympic première

15 Georg Friedrich Haas. New ‘rooms of sound’ for the Mozart Requiem

21 Richard Rodney Bennett. The Mines of Sulphur acclaimed in New York

Friedrich Cerha

newsletter 01/06 • winter 2005/2006


Contents

NEWS Downloads — 4 COMPOSERS Cerha — 5 Staud — 9 Rihm — 11 Pärt — 13 Haas — 15 Borisova-Ollas — 16 Berg — 17 Panufnik — 18 Sawer — 18 Berio — 19 Lentz — 20 Furrer — 20 Bennett — 21 Kurtág — 22 Halffter — 22 Hoyland — 23 Bedford — 23 Osborne — 23 Eichberg — 24 Schnyder — 24 Liebermann — 25 Martin — 25 Weill — 27 Janácek — 29 Zemlinsky — 30 Mahler / Barshai — 30 Krása — 31 Wellesz — 31 Marx — 32 Szymanowski — 32 Schönberg — 33 Webern — 35 Krenek — 37

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ANNIVERSARIES — 38 - 39 WORLD PREMIÈRES — 40 - 41

Dear Readers,

NEW RELEASES — 42 -43 NEW ON CD /DVD — 44 - 45 WORKLIST Kurtág — 46 ACKNOWLEDGEMENTS — 48

Le Monde titled its review Divine redécouverte; the New York Times called it a gripping, musically and theatrically searing work. In summer 2004 it was the surprise hit of Glimmerglass Opera, and this autumn it earned the New York City Opera standing ovations. An astonishing success for this work of music theatre dating from 1963! What is it that can earn a piece like Richard Rodney Bennett’s The Mines of Sulphur a whole new lease of life forty years after its première? Without doubt it’s the musical quality – coupled with a gripping plot, the right feel for time and place and, of course, the work of a young, ambitious production team, creative and full of enthusiasm. Enthusiasm of the kind that whets one’s appetite for more such triumphant rediscoveries! The Editors

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contents 01/2006


WWW.UNIVERSALEDITION.COM

Sheetmusic Downloads User visits currently numbering over 17,000 per month provide encouraging proof of the success of the UE Website at www.universaledition.com. In recent weeks we have expanded this service to include a new area – downloads of sheet music materials. Starting from our home page, click on Sheet Music and then Downloads to go straight to the Download Area, where you will find three options: (1) Sheet Music Downloads gives you the opportunity to purchase sheet music and scores (through our partners www.sheetmusicnow.com).

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At the moment you can choose from about 500 different titles, and the range is constantly being expanded. (2) As a free service for all those interested in choral music, under Choral Scores we offer free downloads of the first two pages of each choral work listed (nearly 500 works at present, grouped according to forces required, in part with soundclips). (3) Also for free, under Catalogues you can view or download all current UE catalogues in pdf format – the Edition Catalogue, Concert Catalogue (hire materials), Scores Catalogue, catalogues of New Publications and the Wiener Urtext Edition, etc.


CERHA

Interview with the composer On 17 February, Friedrich Cerha will turn 80. To mark this occasion, we would like to print here an excerpt from a conversation that music critic Carsten Fastner recently had with Austria’s doyen of contemporary music. Carsten Fastner: Mr. Cerha, where in Vienna was one able to hear new music in the wake of the Second World War? Friedrich Cerha: Immediately after the war, young composers were practically banned from the concert podiums, for which reason new music simply didn’t exist in official musical life. The most interesting concerts prior to 1950 were those put on by the occupying powers. They each introduced their own living composers, usually at the Musikverein, since it was located in the internationally controlled First District. For us Austrians, with our need to catch up on things, they were good opportunities to get to know what we hadn’t been able to hear before: Britten, Walton and Elgar from the English, and Barber, Copland and Gershwin from the Americans. The French promoted their “Les Six” with Honegger, Milhaud and Poulenc,

and the Soviets contributed Prokofiev, Khatchaturian and even Shostakovich. Fastner: Doesn’t exactly seem to have been a forum for experiments… Cerha: No, there was no such thing. These concerts were about representation. And even at the international music festivals at the Konzerthaus, which were initiated rather quickly, the focus was on Hindemith, Bartók and Stravinsky. The Second Viennese School was hardly played at all. Everyone simply latched onto the last great pre-war modern movement, and that was

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neoclassicism, which was generally held to be the style that would take us into the future - an assumption which, like so many historic prophecies, wasn’t borne out. Fastner: How did the young generation of composers deal with this conservative environment? Cerha: We formed groups - which also involved painters and authors in which we played for ourselves. I was in a group that revolved around Paul Kont and also included Hans Kann, Gerhard Lampersberg and Gerhard Rühm. Paul Kont organised what were more or less underground concerts: in basement rooms and coffee houses, in book shops and in a carpet shop on Kärntner Straße, also some in private apartments and - later - in a sort of club that met from 1951 onwards at Strohkoffer in the cellar beneath the Loos Bar. Or at the atelier of Kurt Ohnsorg, who always fired his ceramics at night, when electricity was cheaper. Fastner: In 1958 you founded the ensemble ‘die reihe’ together with Kurt Schwertsik. How did that come about? Cerha: Between 1956 and 1958, I attended the International Summer Courses in Darmstadt, which also

hosted a lot of performances of works by Second Viennese School composers. However, I didn’t agree with the way they interpreted Webern there. They were completely orientated towards serial music, which was fashionable at the time, and they believed - with some justification - that they could approach him from that standpoint. His music was played in fast tempi, ignoring the many ritardandi, and the whole sound was shifted towards the serial, the ‘pointillist’. That didn’t suit me one bit - I wanted to play Webern as I’d come to know him through the Schönberg pupil Josef Polnauer. So we founded ‘die reihe’ - the name was provided by György Ligeti, by the way - and Alfred Schlee from Universal Edition went and convinced Egon Seefehlner, general secretary of the Vienna Konzerthaus, to give us our first chance. Fastner: Did you actually mean to make composing your main profession right from the start? Cerha: The idea of composing as a stand-alone career was pretty much non-existent back then. It was more like a role that I ended up sliding into, not a goal as such.

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CERHA

Celebrating his 80th birthday As announced in the last issue of the Newsletter, the 80th birthday of Austria’s leading contemporary composer Friedrich Cerha (17 February 2006) is to be celebrated in extensive programmes at Vienna’s Konzerthaus and Musikverein. Some of these concerts are particularly significant in that the composer, who has increasingly withdrawn from conducting over the past few years, will once again take up his baton in the Mozart-Saal at the Konzerthaus. On 14/01 he conducts Klangforum Wien in Quellen (1992). The same evening will see a performance of the string sextet 8 Movements after Hölderlin Fragments (1995). On 30/01 Peter Keuschnig will conduct his ensemble Kontrapunkte in the Brahms-Saal at the Musikverein, with the Lichtenberg-Splitter (soloist: Gottfried Hornik, baritone) and the Concertino for violin (Josef Hell), accordion (Krassimir Sterev) and chamber orchestra.

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The ensemble ‘die reihe’ which Cerha founded with Kurt Schwertsik during the 1950s, will celebrate under the composer’s baton on 17/02 at the Vienna Konzerthaus with 1. Keintate and Eine Art Chansons (1986/87) - around 60 vocal miniatures, mainly after texts by former members and followers of the ‘Vienna Group’, as well as on 25/02 at the Schömerhaus in Klosterneuburg, Austria, with Eine letzte Art Chansons (1989) to texts by Cerha and Friedrich Achleitner. The chansonnier will be HK Gruber, the long-time artistic comrade and performer to whom the work was dedicated.


STAUD

Premières across Europe The première of Johannes Maria Staud’s Violent Incidents (Hommage à Bruce Naumann) for saxophone solo, winds and percussion met with success on 10/09 in Schwaz, Austria. Marcus Weiss and the ensemble Windkraft Tirol under Kasper de Roo continued with further performances on 12/10 in Riga and on 14/10 in Vilnius. Staud’s first orchestral work …gleichsam als ob… (1999/2000) had its British première on 28/10 in London with the BBC SO under Pierre-André Valade. On 14/12 the piece is to receive its German première in Heidelberg: the Heidelberg PO under Andris Nelsons, who have already acquainted their audience with the operatic Staud (Berenice on 05/11), now turn to Staud the orchestral composer. Peras. Musik für Klavier was given its Austrian première on 20/10 in Vienna (Anika Vavic); its British première followed on 21/11 in Birmingham (Jonathan Powell). Klangforum Wien (c. Stefan Asbury) is to play the Spanish première of Incipit for alto trombone and 5 instruments at the Hoy Festival on 11/02 in Madrid with soloist Andreas Eberle.

Incipit was composed in 2000; Esquisse retouchée (Incipit II) for trombone with bass drum followed in 2001–2002; Staud is currently working on Incipit III (Esquisse retouchée II) for solo trombone, string orchestra, 2 horns and 3 percussion players in response to a commission from WDR in Cologne. Première: 10 March 2006, with Uwe Dierksen and the WDR SO under Lothar Zagrosek.

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RIHM

Retrospective and preview Three triumphant premières of works by Wolfgang Rihm have paved the way for repeat performances: Penthesilea-Monolog (27/08, Weimar), Verwandlung 2 (02/09, Leipzig) and Eine Stimme 1–3 (30/09, Strasbourg). To quote from critic Gerhard Rohde’s commentary in the FAZ: In this second ‘Verwandlung’, as in other works, Rihm’s composing has clearly moved beyond the stage of material exploration: the result is music and only music, not afflicted by a single pale, extraneous thought. On 25/11, half a year after the New York première, Reinbert de Leeuw conducted the European première of Two Other Movements with the BBCSO in London. Kurt Masur and his Orchestre National de France will present Dritter Doppelgesang in Europe, which was co-commissioned with the Minnesota Orchestra (Paris, 16 Febraury 2006). Het Brabants Orkest and conductor Arvo Volmer will mount the Dutch première of Verwandlung (Enschede, 28 January). This piece will also be heard with the Collegium Musicum under Peter Shannon (Heidelberg, 28 February). Augsburg is to host the première of Fremdes Licht for voice (Mojca Erdmann), violin (Caroline Widmann),

clarinet (Jörg Widmann) and orchestra (Bavarian Radio SO) under Peter Eötvös on 27 January. Rihm is currently writing a short piece for the ensemble Alarm Will Sound, to première on 16 February at Carnegie Hall. Finally the Éclat Festival Stuttgart has programmed the world première of a trio for clarinet, percussion and double-bass saxophone (Trio Accanto, 12 February 2006).

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For more information go to www.ideale-audience.com. Juxtapositions are distributed in the UK by Select Music.

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ARVO PÄRT: 24 Preludes for a Fugue The first authorised documentary about Arvo Pärt to be released on DVD. The film features rehearsals, premieres, seminars, meetings and recollections, and is enhanced by excerpts from major musical works such as Tabula Rasa, Passio, Fratres, Orient & Occident, Cecilia, Vergine Romana and Como Cierva Sedienta.

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Available from all good classical retailers


PÄRT

Journey of a relic Theories and debates abound on the exact origins and authenticity of the Turin Shroud, but what is certain is that this cloth bearing the image of a human face, allegedly Christ’s, has become one of Christianity’s most important sacred relics. Its history can be traced back with certainty as far as the 14th century, but beyond that our knowledge is only speculative and incomplete. From Jerusalem the cloth is said to have made its way via Aleppo, Constantinople, Cyprus, Paris, Lirey and Chambery – amongst other places – to Turin, where it has been preserved since 1578.

consist exclusively of Pärt’s music, including, besides the new work, Arbos for brass, plus Cecilia, vergine romana and Da Pacem Domine for choir and orchestra, with the EPCC (Estonia Philharmonic Chamber Choir). For more information about the Shroud itself, visit the official website at: www.sindone.org

It is the journey of this enigma – plus a commission from Enzo Restagno and his Turin-based music festival, Settembre Musica Torino – which have inspired Arvo Pärt to write a new work. La Sindone for orchestra will receive its first performance on 15 February 2006 in Turin Cathedral, with the Estonian National SO under Estonian conductor Olari Elts. The concert featuring the première, which is taking place as part of the celebrations surrounding the Turin Winter Olympics, will

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Ein Projekt der Internationalen Stiftung Mozarteum zum Mozart-Jahr 2006. www.mozarteum.at

religion 1.–4.12.05 7 Klangräume von Georg Friedrich Haas (UA) Christoph Schlingensief Camerata Salzburg Marc Albrecht · Josef Bierbichler · Hagen Quartett · Klangforum Wien ·Ivor Bolton Mozarteum Orchester Salzburg u. a.

religionspielliebeto

Dialoge zu vier Themen – zwischen Tanz, zeitgenössischer Musik, Literatur und – Mozart.

spiel 29. 3.–2. 4. 06

Tanzimprovisation von Meg Stuart · Pierre-Laurent Aimard and friends · Markus Stockhausen · Malcolm Goldstein · Klangforum Wien Österreichisches Ensemble für Neue Musik · Johannes Kalitzke u. a

liebe 17.–21. 5. 06

Choreographien von Philipp Gehmacher, Johanne Saunier Alexander Lonquich, Klavier Klangforum Wien · Dino Saluzzi Trio · Texte von Handke, Jelinek, Esterházy, Tabori u. a. · Hermann Beil · Isabel Mundry · Hilliard Ensemble u. a.

tod 1.–5.12. 06

Hagen Quartett · Klangforum Wien · Mozarteum Orchester Salzburg · Peter Ruzicka · Jörg Widmann, Klarinette Östereichisches Ensemble für Neue Musik · Nikolaus Harnoncourt · Concentus Musicus u. a.

dia oge tickets@mozarteum.at Kartenbüro der Internationalen Stiftung Mozarteum Theatergasse 2 A-5020 Salzburg T +43-662-87 31 54 F 87 44 54 www.dialoge-festival.at


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the Vienna City Council – makes the contrast between artistic vision and the citizen’s everyday existence painfully apparent. Ivor Bolton will conduct the Mozarteum Orchestra of Salzburg and the Salzburg Bach Choir. HAAS

Rooms of sound In the run-up to Mozart Year 2006, the Mozarteum International Foundation in Salzburg is presenting a series of concerts under the title ‘Dialogues’, for which they have commissioned a new work from Georg Friedrich Haas. 7 Klangräume for choir and orchestra will receive its first performance in Salzburg on 04/12/2005, the evening before the anniversary of Mozart’s death (05/12/1791). The work shares the same instrumentation as Mozart’s Requiem, although without soloists, and Haas has conceived it in such a way that Mozart’s surviving sketches have been realised unchanged – as a kind of skeleton for the music – with the ‘seven sound rooms’ intended as ���reverberations’ after and between them. The text – taken from a letter to Mozart from

Haas has also been commissioned by Hans-Peter Jahn, artistic director of the Éclat Festival of New Music in Stuttgart, to write a new work for viola d’amore and singers for Garth Knox and the Neue Vocalsolisten Stuttgart, to be premièred at the Stuttgart Theaterhaus on 11 January 2006. The same day, Nach-Ruf ... entgleitend will receive its first Spanish performance by Klangforum Wien as part of the Musica de Hoy in Madrid, while on 13 December 2005 the Montreal Conservatory of Music will give the Canadian première of "...über den Atem, die Stille und die Zerbrechlichkeit..." for 7 brass instruments in their home city.

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BORISOVA-OLLAS

Emotional intensity Recently a Finnish critic wrote that Victoria Borisova-Ollas exploits the timbral possibilities of the symphony orchestra with astonishing imagination and superb technical perfection … She is in the process of developing a completely original musical language of enormous emotional intensity – if indeed she hasn’t already done so long ago. Her latest work, Before the Mountains were Born for orchestra, was premièred with great success as part of a concert series on 12 (-14) October in Stuttgart, once again with Andrey Boreyko at the rostrum, who has already presented several of the composer’s works internationally. Written in response to a commission from the RSO

Stuttgart, the work is a meditation on Psalm 90, which has a prayerlike character, and on the formation of mountains out of chaos. Borisova-Ollas allocates to the four woodwind (flute, oboe, clarinet, bassoon) increasingly soloistic roles as the work progresses, without ever turning the work into a full-blown concerto. Since the solo wind instruments are all taken from the orchestra's ranks, the piece also gives the orchestra a fine opportunity to demonstrate the musicality of its wind players in hauntingly beautiful, chamber-like passages. It lasts sixteen minutes. The Royal Swedish Academy for Music recently awarded her Symphony No. 1 the Christ Johnson Prize, the country’s most prestigious award for composers. Victoria Borisova-Ollas was born in Russia in 1969 and now lives in Sweden.

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Sinfonietta. Further performances: 04/02/06 in Amsterdam, 06/02/06 in Arnhem/NL.

BERG

Lyric Suite for String Orchestra The arrangement of the three other movements (I, V and VI) for string orchestra of the Lyric Suite for string quartet (1925–26) by Alban Berg is now available. Together with the 3 movements (II, III and IV) arranged by Berg himself in 1927, one can now programme the entire Lyric Suite for string orchestra (he referred to them as six rather short movements with a character more lyric than symphonic). The arrangement by Theo Verbey follows Berg’s style to the greatest possible extent. The world première of these 3 newly arranged movements takes place on 2 Feb 06 in Leiden/NL, with Christoph Poppen conducting the Amsterdam

Clytus Gottwald has arranged for choir two of Alban Berg’s Seven Early Songs for voice and piano: Traumgekrönt (after a poem by Rainer Maria Rilke) transcribed for 16 voices (2004) and Im Zimmer (text by Johannes Schlaf) transcribed for 8 voices (2004) will receive their inaugural performances on 9 February 2006 at the Èclat Festival for New Music in Stuttgart in a ‘Homage to Clytus Gottwald’; Markus Creed will conduct the SWR Vokalensemble. A new production of Berg’s Wozzeck premières at the Gran Teatre del Liceu in Barcelona on 30 December. Stage direction by Calixto Bieito, conductor: Sebastian Weigle. Franz Hawlata will sing the title role, with Angela Denoke as Marie. (Further performances: 2–17 January 2006).

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PANUFNIK

International On 19 February 2006 the Polish première of Roxanna Panufnik’s violin concerto Abraham will take place in Wroclaw, when Patrycja Piekutowska will be the soloist with the National Polish Radio SO. The Financial Times wrote of the work, substantial and ear-catching ... Like much of the composer’s music, the 17-minute concerto’s virtues are modesty, craft and understated elegance. Intertwining the traditional musical elements of Christianity, Judaism and Islam, the concerto is a powerfully theatrical work, with a scenario devised by the renowned choreographer Cathy Marston, along with the composer herself. Before February, however, will come the world première of a new choral work: All in Tune, commissioned by New Hall School Choir, which will be performed in the Cathedral of St Mary and St Helen, Essex, on 9 December 2005.

SAWER

Theatrical quality David Sawer’s Byrnan Wood will receive its French and Swiss premières during a tour by the Basle Sinfonietta, conducted by Stefan Blunier (28/29/31 Jan). Composed in 1992, the work was received by The Guardian as one of the exceptional Proms commissions. Eleven years later, the work firmly in the repertoire, the same newspaper wrote of immediately arresting orchestration and an engagingly theatrical quality. Soon after, on 11/02, Martyn Brabbins will conduct the BCMG in a performance of The Memory of Water for string orchestra.

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BERIO

Completions What’s done is never self-contained. The ‘completed’ work is in fact a ritual for, and commentary on, other things that preceded it, others that will follow… Each work demands the next work, demands a new experience. A work is never enclosed within itself, because it contains investments that were stored within it far earlier. Thus it always contains elements of the future as well. (Luciano Berio)

Epiphanies receives its Dutch première on 17/12 at the Concertgebouw in Amsterdam. Jaap van Zweden will conduct the Radio Filharmonisch Orkest, with soloist Charlotte Hellekant.

Berio’s Epifanie for female voice and large orchestra, first performed in Donaueschingen in 1961, gives its interpreter (the conductor) various options to choose from regarding the ordering of the work’s various sections. For the revised version of the work, completed in 1991 however, Ephiphanies, written for Riccardo Muti and the Philadelphia Orchestra, Berio fixed the order of the texts sung by the soloist definitively. In the selection of these texts – taken from Marcel Proust, Antonio Machado, James Joyce, Edoardo Sanguineti, Claude Simon and Bertolt Brecht – Berio followed dramaturgical advice given by Umberto Eco.

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LENTZ

Images of space Composed between 2000 – 2001, Georges Lentz’s 12’ work for orchestra and electronics, Guyuhmgan (from Mysterium: Caeli enarrant...) has received multiple performances in destinations such as Australia, Russia and Luxemburg. Now Markus Stenz is bringing the work to the UK: on 3 December the Hallé Orchestra will give the British première at the Bridgewater Hall in Manchester. A companion piece to Ngangkar, both titles are Aboriginal words meaning ‘stars’, however whilst Ngangkar presents a view of the night sky from Earth, Guyuhmgan presents more extraordinary images: those of space viewed from space itself. The use of computer generated sounds allowed the composer to present the same materials found in the orchestral writing at inhuman

speeds, thus highlighting the inadequacy of human perception and comprehension in the face of the complexity of reality. FURRER

and the EIC In a co-production by IRCAM and the Centre Pompidou, Ensemble Intercontemporain under Beat Furrer is to interpret Furrer’s nuun for 2 pianos and orchestra on 20/01. The piece is about the principle of transformation - rhythmic, harmonic and sonic - as a continuous process from beginning to end. nuun has the prerequisite endurance to an extent which Furrer has never before shown us. The piece draws a long arc from its extremely dense beginning to the lonely, final strikes of the piano’s hammers, which fade off into silence. (Bernhard Günther)

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BENNETT

The Mines of Sulphur ‘The Mines of Sulphur’ has the dark aura and candlelit, supernatural creepiness that one finds in Poe's tales, or in operas like Britten’s ‘The Turn of the Screw.’ (New York Times). Following the hugely successful revival of this British opera at Glimmerglass, New York City Opera has now also staged Sir Richard Rodney Bennett’s The Mines of Sulphur. The much-admired 2004 performances were described as a gripping piece of musical theatre (Financial Times) and the new CD as an exciting addition to the discography of 20th-century opera (The New York Times). Bennett, firmly regarded as one of the more significant figures in British opera (The

Guardian), said himself that last year’s revival could not be bettered, dramatically or musically (The Guardian). The review of the Chandos recording (CHSA 5036) in The New York Times (18/9) described Bennett as having a sure grasp of dramatic pacing and an intuitive feeling for character. Reviews of this year’s production have been similarly positive: The New York Times described it as a gripping, musically and theatrically searing work. Kozinn admired the soaring vocal lines and vivid, lush and constantly moving orchestral score that tells the listeners as much about the characters …as the arias. The New York performances were close in date to the 40th anniversary of the première of the opera as well as the composer’s 70th birthday next March. (Director: David Schweizer / conductor: George Manahan).

R.R. Bennet The Mines of Sulphur New York City Opera 2005

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for soprano and piano and the two ensemble works Four Capriccios, op. 9 and Four Pilinszky-Lieder, op. 11. Kurtág hit the international scene during the mid-1980s with the Troussova-Lieder - ever since then, he has been recognised and admired as one of contemporary music’s great masters. Many happy returns! György Kurtág HALFFTER KURTÁG

A journey to the

80th birthday

music of Spain

For decades he was a favourite known only to those in specific circles - a composer in Budapest who wrote short pieces for small ensembles, exacting and mercilessly self-critical. György Kurtág’s music unites the heritage of Béla Bartók with that of Webern, but the composer has, to this day, remained open to influences of the most varied nature, be they from literature, architecture, the visual arts or the branches of a tree. The UE catalogue contains a handful of his early works, including The Sayings of Péter Bornemisza, op. 7, a concerto

The Instituto Cervantes in Paris will host a piano recital by Alberto Rosado featuring Cristobal Halffter’s works for piano (8 Dec 2005). On 15 and 16 December, the Würzburg PO takes a ‘Journey to the Music of Spain’, with ‘the best of Spain's orchestral culture’ including the ‘strict construction’ of Halffter’s Lineas y puntos for 20 winds and electronic sounds. The Orquesta Sinfónica de Madrid, under the composer’s baton, will perform Cuatro piezas para orquesta (première: May 2005) on 22 February 2006 in Madrid.

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HOYLAND

60th birthday celebrations This year Vic Hoyland celebrates his 60th birthday. Born in December 1945, the composer has had a widely varied and successful career. He studied at York University under Sherlaw Johnson and Bernard Rands, and now works as senior lecturer and Reader in Composition at Birmingham University. The occasion of his 60th birthday was marked with performances by Endymion and will also be marked by a concert in Birmingham on 11/02/06, when the Arditti Quartet will perform the Quintet for piano and strings. Written in 1990, this 17’ work will feature Nicholas Hodges as pianist. Additionally, BCMG will be playing the 19’ piece Of Fantasy, of Dreams and Ceremonies – a work commissioned by the group in 1989. Hoyland has been described as one of the most distinctive voices of his generation in British music (Andrew Clements, The Guardian). BEDFORD & OSBORNE

Early works On 10/12 the Scottish Chamber Orchestra (c. Garry Walker) will

Vic Hoyland perform Nigel Osborne’s Zansa, now 20 years old. A type of thumbpiano, the zansa itself makes an appearance at the centre of this fascinating work, which was selected for high-profile repeat performances as part of the RPS/Radio3 Encore programme. On 28/01 there will be a significant performance of David Bedford’s orchestral work Alleluia Timpanis – now almost 30 years old – when Mark Forkgen conducts the Kokoro Ensemble in Poole, Dorset.

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EICHBERG

Ritual and Ecstasy Qilaatersorneq is what Søren Nils Eichberg calls his one-movement violin concerto. In the language of Greenland’s original inhabitants, the Inuit, Qilaatersorneq is the name of a traditional drum dance in which the participants, searching for counsel and healing through a shaman (Angákoq), enter a trance-like state. The ritual escalates from an initially elegiac melody into rhythmic ecstasy. At the moment of collective climax, the Angákoq departs to the worlds of a different, higher dimension. Following his sudden return, which is just as inexplicable as his disappearance, he describes to the crowd his journey and delivers to them the counsel of the spirits. Eichberg’s impressively powerful violin concerto (11’) won the 2001 Grand Prix de Composition of the Queen Elisabeth International Music Competition of Belgium. The work is available with immediate effect from Universal Edition.

Daniel Schnyder SCHNYDER

Trumpet Concerto One of three concertos by Daniel Schnyder to feature in the UE catalogue (the others being for violin and piano), the vibrant Trumpet Concerto was performed on 13/11 in Berlin, by the RSO Berlin with trumpeter Reinhold Friedrich as the soloist. Along with Schnyder's Violin Concerto and the Symphony No. 2, Marc Tardue gave the world première of this work in 1999, and the NDR SO (c. Kristjan Järvi) recorded these three major works in autumn 2002 for Enja Records.

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LIEBERMANN

Twelve-tone Puccini or ear-opener? As a composer, theatre manager and pedagogue, Rolf Liebermann drove the post-1950 progress of contemporary music. Even if criticised by the European avant-garde for being too ‘popular’, his openness and ability to compromise were central to the difficult task of bringing audiences to new music. His feisty melange of elements from baroque to jazz catches the ear. The press response to Liebermann’s Schule der Frauen at the Theater Biel-Solothurn ranges from

Rolf Liebermann

incredibly suited to the stage and a musically witty arrangement of the whole and refined orchestration to reminiscences of Strauss’ Ariadne auf Naxos. In Biel-Solothurn until 20 January, in Burgdorf/CH on 8 December and at the Kurtheater Baden/CH on 14 January 2006. Liebermann’s orchestral work Furioso will be heard on 1 January at the Augsburg Philharmonic Orchestra’s New Year’s concert. MARTIN

Rarely played works With his Ouverture en hommage à Mozart (1956), Frank Martin’s intent was not to write a pastiche, but to use his own compositional means to express his admiration of Mozart (Musikkollegium Winterthur / Jürg Wyttenbach, 21/01/06). Maria Triptychon (1968) for soprano, violin and orchestra, is a deeply religious work containing the movements Ave Maria, Magnificat and Stabat Mater and will soon be heard in Berlin (03/02/06) with Melanie Diener, Erez Ofer and the RSB under Marc Piollet.

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Weill & Brecht

24.2.– 5.3.2006

24. Februar (PREMIERE) UND 4. März

„Aufstieg und Fall der Stadt Mahagonny“ Musikalische Leitung: Golo Berg Regie: Helmut Polixa Ausstattung: Stefan Rieckhoff

25. Februar

„Berliner Requiem“ & „Mahagonny Songspiel“ u.a. mit Salome Kammer ARTIST-IN-RESIDENCE, musikFabrik Köln Musikalische Leitung: Stefan Asbury

26. Februar

„Best of Dreigroschenoper“ Konzert mit Dominique Horwitz

3. März

Barbara Hendricks Lied-Recital

5. März

„Die Sieben Todsünden“ Konzertante Aufführung u.a. mit Helen Schneider, MDR Sinfonieorchester Musikalische Leitung: Fabrice Bollon Informationen & Kartenservice

0180.5 564 564 www.kurt-weill-fest.de


WEILL

Weill & Brecht The 14th Kurt Weill Festival will take place from 24 February to 5 March 2006, with ‘Weill & Brecht’ as the theme, since 2006 marks the 50th anniversary of Brecht’s death. For this reason, the festival will focus on works born out of the collaboration of these two artists: in a co-production with the Anhaltisches Theater Dessau, the 2006 Kurt Weill Festival will open by premièring a new production of the opera Rise and Fall of the City of Mahagonny (24 February, 4 March), followed by a revival of last year’s successful production of Happy End (25 February). Soprano Barbara Hendricks’ song recital will include those by Weill (3 March). This year’s Artist-in-Residence is the singer and actor

Salome Kammer, who will be heard in works including the Mahagonny Songspiel (with musikFabrik conducted by Stefan Asbury). The same evening’s programme will also include the Berlin Requiem in the alternative version, with the 2 insertions Epitaph/Die rote Rosa and Zu Potsdam unter den Eichen (25 February). A further staged production will be the school opera Der Jasager by Brecht/Weill together with Brecht’s Neinsager as set to music by Reiner Bredemeyer (28 February and 1 March). The final production of the 2006 Kurt Weill Festival will be a concert performance of the Seven Deadly Sins at the Anhaltisches Theater with the MDR SO and Helen Schneider. Information: www.kurt-weill.de

Kurt Will Happy End Kurt Weill Fest Dessau 2004

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weill


DIE AUSFLÜGE DES HERRN BROUCˇ EK von Leo& Janácˇek Premiere am 18. Februar 21., 23. Februar; 2., 14., 20., 27. März Inszenierung von Anja Sündermann Musikalische Leitung: Julia Jones mit Heinz Zednik als Broucˇek, Edith Lienbacher, Ferdinand von Bothmer u. v. a. VOLKSOPER WIEN – Währinger Straße 78, A-1090 Wien Information: +43/1/514 44-3670, Karten: +43/1/513 1 513 www.volksoper.at, tickets@volksoper.at


JANÁCEK

Musical delight One year after the celebration of his 150th anniversary, the worldwide renaissance of Leos Janácek’s music is becoming more and more consolidated. Among the numerous performances of his compositions across the globe, his seldomplayed opera The Excursions of Mr. Broucek seems to be reclaiming its rightful place on stage. This, Janácek’s fourth opera, doubtless occupies a special position within the composer’s operatic oeuvre. After all, it seems to contradict completely the fundamentally serious and dramatic character of his other operas. With its intense comedy, garnished with unmistakably satirical elements, one could almost characterise The Excursions

of Mr. Broucek as being atypical of Janácek’s production. Yet here as well, his extremely expressive, textorientated and, above all, original compositional style, which made him one of the 20th century’s most important composers, is unmistakably present. On the occasion of the German première in 1959, the Viennese music critic and cultural journalist Karl Löbl asked, How has this delectable music managed to remain hidden from us for so long? The institution which played host to the opera’s first Austrian performance in 1971, the Volksoper in Vienna, will be mounting a new production of The Excursions of Mr. Broucek in early 2006. The work will be heard there under the baton of Julia Jones on 18, 21 and 23 February, as well as on 2, 14, 20 and 27 March 2006.

Leos Janácek The Excursions of Mr. Broucek Deutsche Oper Berlin

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janácek


ZEMLINSKY

The new Dwarf Alexander Zemlinsky’s opera Der Zwerg (The Dwarf), a ‘tragic fairytale with music in one act’ (1920/21) is now available in a completely revised and corrected edition by Antony Beaumont and supported by the Zemlinsky Foundation, incorporating the changes planned by the composer himself in 1922. The new edition will be presented at the Frankfurt Music Fair in April 2006 (study score UE 17571, vocal score UE 33137; orchestral material available for hire). His penultimate opera Der Kreidekreis (written in Berlin between 1930-32) is based on the Chinese parable of the chalk circle and, like all his other operatic works, tells the story of people who innocently stumble into a tragic situation where the conflict between dream

and actual reality threatens to destroy them. The Bielefeld Theatre is presenting The Chalk Circle from 18/02 in a new production by Gregor Horres (Bielefeld Philharmonic conducted by Peter Kuhn). MAHLER / BARSHAI

Mahler No. 10 Russian conductor Rudolf Barshai, who after several years’ research reconstructed and orchestrated Gustav Mahler’s Symphony No. 10 from Mahler‘s sketches, has given numerous performances of his version around the world, with various famous orchestras, since its first performance in St Petersburg on 23/11/2000. Now, in December, the Gewandhaus Orchestra is inviting him to present his reconstruction in Leipzig as well (15/16 Dec). Symphony No. 10: study score UE 31504, orchestral material for hire.

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zemlinsky mahler / barshai


KRÁSA

The LiceCatchers WELLESZ At the age of 24 Hans Krása wrote his Symphony for Small Orchestra, with an alto solo in the last movement, a setting of Arthur Rimbaud’s poem The Lice-Catchers in Max Brod’s German translation. The score has a chamber music transparency and rejoices in rhythm, colour and melody, but it wasn’t until 1991 that all three movements could be heard – in the 1920s, Rimbaud’s text was considered just too risqué… On 25 and 26 Nov, Thomas Zehetmair conducted the work with the Northern Sinfonia in Gateshead and Kendal (UK).

Early work in Linz Regarded as an extraordinarily gifted composer, Egon Wellesz revered his teacher Arnold Schönberg yet soon broke loose from his overpowering influence. Until then much celebrated and performed, in Germany in 1939 Wellesz suddenly became alien or ‘degenerate’, and after 1945 his work was hardly ever taken up again. The UE catalogue still contains treasures awaiting rediscovery. Vorfrühling, Symphonic Mood Portrait for large orchestra (1912) is one of his earliest orchestral works. Its ‘new sounds’ of a bygone era are a mix of Viennese late romanticism with influences from Claude Debussy. The work is featured on the programme of the Brucknerhaus in Linz, Austria on 25 Jan 2006; Heinrich Schiff will conduct the Linz Bruckner Orchestra.

Egon Wellesz

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krása / wellesz


Karol Szymanowski Hagith Opera Wroclaw 2005 stage setting Ryszard Kaja MARX

Intoxicating novelties Joseph Marx was often referred to as the most important composer of lyrical 20th century Austrian music. Now UE is focussing attention on by far the least known aspect of his music, the choral works, and the preparation of two ‘new’ works has just been completed. Ein Neujahrshymnus (A New Year Hymn) for mixed choir and orchestra (1914), orchestrated by Stefan Esser and Berkant Haydin (ca. 10’) is a moving, majestically powerful hymn to life that can also be performed as a sacred work. Berghymne (Mountain Hymn) for mixed choir and orchestra (ca. 1910, ca. 4’) existed only in short score, which Esser and Haydin rediscovered in Vienna and have arranged for chorus and orchestra. This little

rarity makes a magnificent sonic impact, with late romantic and impressionistic elements fully integrated into a prevailing mood of grand solemnity. www.joseph-marx.org

SZYMANOWSKI

Hagith in Poland Karol Szymanowski’s one act opera Hagith, to a libretto by Felix Dörmann, was written between 1911-13 (WP 1922 in Warsaw). Richard Strauss’s works served as the composer’s conceptual model, and the work bears the unmistakable imprint of Salome. The libretto tells the story of an ageing king who believes that he can regain his vitality through the love of a virgin (Hagith). Hagith will be in repertoire at the Opera Dolnóslaska in Wroclaw, Poland from 24/02/06.

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marx / szymanowski


SCHÖNBERG

Art does not come from ability, but from necessity! From the summer of 1921, Arnold Schönberg was preoccupied with the elaboration of his method of composition with twelve tones related only to one another. The Variations for Orchestra op. 31 (1926-28, 20’) was the first orchestral work in which Schönberg employed his new technique. It has a readily perceptible form consisting of a 24-bar theme and nine variations of roughly equal length, all framed by an Introduction and Finale. Simon Rattle, who has been intensively involved with the work in recent years – most recently, in Salzburg and Berlin – is conducting it with the Berlin Philharmonic Orchestra on 21 January 2006 at the Concertgebouw in Amsterdam, and on 25 January at Carnegie Hall in New York. Schönberg worked on his GurreLieder for soloists, chorus and orchestra from 1900-1911, a period in which he left the work’s style far behind. For him its completion represented the documentation of a compositional style and spiritual attitude no longer his own. At its

1913 première in the Vienna Musikverein the piece enjoyed overwhelming success; Schönberg’s pupil Webern wrote: What a moment of my life! Unforgettable… The sensation of this tumultuous noise thrills me to the point where I swoon… The vast work can be heard on 20 and 21 January 2006 in Nuremberg (Nuremberg Symphony Orchestra, conducted by Christoph Prick), while the Orchestre National de Lille are taking it to Lille and Valenciennes on 12 and 13 January 2006 respectively.

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schönberg


WEBERN

Catastrophes that erupt inwards If the untrained ear cannot always follow the progress of the row, it does no harm. Something at least will persist even in the most naïve soul (Webern). Anton Webern’s compositional career began with his Passacaglia for orchestra op. 1, written as a graduation piece at the end of his studies with Schönberg in 1908. In this early work of Webern – wrote Adorno – something announces itself that, later, increasingly became the product of conscious design: catastrophes that erupt inwards. Forthcoming performance venues include Lahti (1 Dec), Zurich (6-8 Dec), Barcelona (14-15 Jan) and Dortmund (16-18 Jan.)

Webern dedicated his Concerto for 9 instruments op. 24 to Schönberg on his 60th birthday, a work Karlheinz Stockhausen analysed in 1953: Superordinate groups, subordinate groups! Morphology of forms – constant presence of the germinal proportion. Meaning: the idea of creating new forms is required at every moment. Concentration is essential: to dwell in the centre of the proportion-yielding germ, not to fall out. The prospect for us: composition as improvisation within a field of selected proportions. Daniel Barenboim will present this work on 15-17/12 with the Berlin Philharmonic in Berlin. Webern wrote his last instrumental work, the Variations for orchestra op. 30, in 1940. The ASKO Ensemble under Oliver Knussen will feature it, alongside the Symphony op. 21 for chamber ensemble (1927/8), on their programme in Amsterdam on 14/02 and on 15/02 in The Hague.

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webern


KRENEK

Gems for students Ernst Krenek wrote School Music between 1938 and 1939, just after his flight from Vienna to the US. At the time the composer was increasingly seeking to gain experience as a teacher, not least because as a little-known musician in America, he saw teaching as the only opportunity to make a living.

ted previous training in the subject they were evidently extremely interested in it. In autumn 1938 he started writing pieces for various instruments that seemed suited to practical work with students. In these works the ambition to come as close as possible to the past artistically was accompanied by the desire to find a form of interpretation in composition and playing technique that is appropriate to one’s own time. Krenek’s aim was the ‘development’ of the ‘facility for musical understanding’ and, not least, the ‘awakening of the enjoyment’ of such ‘musical understanding’. The ten pieces assembled under the title School Music were thus intended to support the individual student’s conscious analysis of music history through its various stages.

The efforts to find a suitable post were soon successful. Amongst various other activities, Krenek gave an overview of ‘modern music’ in the form of a lecture series with example demonstrations, while in a further course on composition he dealt with questions of twelvetone technique in greater detail. Though the students had only limi-

37

krenek


2006 70th 125th 70th 50th 80th 80th 80th 10th 60th 80th 75th 70th 80th 250th 70th 100th 125th 70th

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

Anniv. of Death Birthday Anniv. of Death Birthday Anniversary Anniversary Anniversary Birthday Birthday Birthday Anniv. of Death Anniversary

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

2007 75th 70th 20th 80th 125th 125th 125th 70th 60th 50th 50th 125th

38

anniversaries


70th Anniv. of Death 50th Birthday

Karol Szymanowski † 29 March 1937 Julian Yu * 02 September 1957

2008 25th 90th 70th 80th 100th 60th 60th 70th 75th 80th 100th

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

Anniv. of Death Birthday Anniv. of Death Birthday Anniversary Anniv. of Death Anniv. of Death Birthday Birthday Anniversary Anniversary Anniv. of Death Anniversary Anniversary Anniv. of Death

George Antheil † 12 February 1959 Harrison Birtwistle * 15 July 1934 Frederick Delius † 10 June 1934 Edison W. Denisow * 06 April 1929 Roman Haubenstock-Ramati * 27 Feb 1919 Josef Matthias Hauer † 22 September 1959 Bohuslav Martinu † 28 August 1959 Henri Pousseur * 23 June 1929 Bernard Rands * 02 March 1934 Karl Scheit * 21 April 1909 Alfred Schnittke * 24 November 1934 Franz Schreker † 21 March 1934 Alfred Uhl * 05 June 1909 Roman Vlad * 29 December 1919 Eric Zeisl † 18 February 1959

2009 50th 75th 75th 80th 90th 50th 50th 80th 75th 100th 75th 75th 100th 90th 50th

39

anniversaries


ALBAN BERG / CLYTUS GOTTWALD Im Zimmer from "7 Early Songs" for 8 voices SWR Vokalensemble Stuttgart, c. Marcus Creed 09 February 2006 · Eclat Festival Stuttgart/D Traumgekrönt from "7 Early Songs" for 16 voices SWR Vokalensemble Stuttgart, c. Marcus Creed 09 February 2006 · Eclat Festival Stuttgart/D ALBAN BERG / THEO VERBEY 3 Pieces (I, V and VI) for string orchestra from "Lyric Suite" Amsterdam Sinfonietta, c. Christoph Poppen 02 February 2006 · Stadsgehoorzaal Leiden/NL GEORG FRIEDRICH HAAS 7 Klangräume for the uncompleted fragments of Mozart’s Requiem for choir and orchestra Mozarteum Orchestra Salzburg, c. Ivor Bolton, Salzburger Bachchor 04 December 2005 · Mozarteum Salzburg/A Work for viola d’amore and singers Garth Knox, viola d'amore, Neue Vocalsolisten 11 February 2006 · Eclat Festival, Theaterhaus Stuttgart/D ARVO PÄRT La Sindone for orchestra Estonian National Symphony Orchestra, c. Olari Elts 15 February 2006 · Winter Olympic Ggames, Turin Cathedral/I ROXANNA PANUFNIK All in Tune for choir (SSA), organ and instruments ad lib. New Hall School Choir 09 Dec 2005 · Cathedral of St Mary and St Helen Brentwood/GB

40

world premières


WOLFGANG RIHM Work for chamber ensemble Alarm Will Sound c. Alan Pierson 16 Feb 2006 · Carnegie Hall New York

WOLFGANG RIHM Fremdes Licht for high soprano, violin, clarinet and small orchestra SO of the Bavarian Radio, c. Peter Eötvös Mojca Erdmann, S, Carolin Widmann, vln, Jörg Widmann, clar 27 January 2006 · Kongresshalle Augsburg/D Trio for clarinet, percussion and double-bass saxophone Trio Accanto 12 February 2006 · Eclat Festival Stuttgart/D

41

world premières


MIKE CORNICK 4 Pieces for 6 Hands at 1 Piano for piano for 6 hands UE 21300 MORTON FELDMAN For Aaron Copland for violin UE 21287 RICHARD FILZ Rhythm Coach with CD rhythm workouts for instrumentalists, singers & dancers UE 32347 ELIOT FISK (ARR.) Mozart – Duo KV 423 for violin and guitar UE 32987 ROXANNA PANUFNIK Sleep, Little Jesus, Sleep for soprano, SATB choir and organ choral score UE 70192 score = organ part UE 70122 JAMES RAE Introducing Clarinet – Duets / Trios / Quartets for two / three / four clarinets UE 21310 / UE 21311 / UE 21312 JAMES RAE Style Workout for clarinet UE 21301 WOLFGANG RIHM Ende der Handschrift for voice and piano UE 32742 FRANZ SCHREKER Lieder for voice and piano UE 32955

42

new releases


WIENER URTEXT EDITION

Expedition Klavier Listen – play – discover For piano, with CD UE 50250

Awaken musical creativity and discover the true intentions of the composer! Join Markus Schirmer and his fellow traveller Philipp on an exciting musical journey from Bach to Schönberg.

surprising) answers to these and other questions form part of a gripping adventure which both challenges and stimulates the young player’s musical ideas and fantasies. 12-year-old Philipp demonstrates just how many things you can try out along the way, how fascinating it can be and shows that you don’t have to be a professional to play the piano really well. New ideas, education and fun all in one publication!

Using Expedition Klavier (Wiener Urtext Edition) and the enclosed CD featuring demonstration performances and narration (German language only), the young pianist will be taken on an absorbing journey through music history. Exciting anecdotes will stimulate an interest in the life and work of the great composers and their various places in musical history and form the starting point for creative involvement with style, techniques and personal interpretation. What exactly did a minuet sound like in Mozart’s time, what was it like to have a lesson with Bach, is it possible to play Brahms’ waltzes ‘wrongly’, what does ‘Urtext’ mean or can you ‘paint’ with music? - the (often

43

new releases


LUCIANO BERIO Orchestral Transcriptions Contrapunctus XIX, Opus 120 Nr. 1, Ritirata Notturna..., Rendering Orchestra Sinfonica di Milano Guiseppe Verdi, c. Riccardo Chailly Decca 476 2930 MORTON FELDMAN Triadic Memories Sabine Liebner, pn Oehms CD 510 (2 CD) LEOS JANÁCEK The Excursions of Mr. Broucek Czech Philharmonic Chorus and Orchestra, c. Frantisek Jilek Supraphon SU 0358 LEOS JANÁCEK Taras Bulba, Glagolitic Mass Czech Philharmonic, c. Sir Charles Mackerras Supraphon SU 7009 MAURICIO KAGEL Prima vista, Zwei-Mann-Orchester Klaus Hinrich Stahmer, vcl, Ekkehard Carbow, cemb, Wilhelm Bruck, Theodor Ross, Mauricio Kagel BMG Ariola LC 00316 MAURICIO KAGEL Solo from "Exotica" Kaya Han, pn, Isao Nakamura, perc edition zeitklang ez-80010 ERNST KRENEK Monolog der Stella, Ô Lacrimosa, Durch die Nacht, Die Nachtigall Ilana Davidson, S, Debra Ayers, pn Capriccio CD 67 133 GUSTAV MAHLER Symphonies No. 8 - 10, Das Lied von der Erde Vienna Philharmonic, Concertgebouw Orchestra, James King, T, Dietrich Fischer-Dieskau, Bar, c. Leonard Bernstein DG Collectors Edition 00289 477 5187 (5 CDs) FRANK MARTIN Petite Symphonie Concertante, Etudes Orchestre de Chambre de Lausanne, c. Armin Jordan Radio Suisse Romande RSR 6172 BOHUSLAV MARTINU Concerto, Deux Pièces, Sonate, Deux Impromptus Monika Knoblochova, cemb Supraphon SU 3805-2 BOHUSLAV MARTINU Fresken Symphony Orchestra St. Gallen, c. Jiri Kout Arte Nova 82876 57740 ARVO PÄRT Berliner Messe Kammerorchester Schloß Wernek, Süddeutsches Vokalensemble, c. Rolf Beck BMG Ariola LC 00316 ARVO PÄRT 24 Préludes for a Fugue Cecilia, vergine romana, Which Was the Son of..., Como cierva sedienta documentary and 3 short films by Dorian Supin with Arvo Pärt Idéale Audience DVD 9DS09

44

new on cd / dvd


GUSTAV MAHLER / RUDOLF BARSHAI Symphony No. 10 Junge Deutsche Philharmonie, c. Rudolf Barshai Brilliant Classics BC 922052

LUCIANO BERIO Canticum novissimi testamenti, a-ronne Neue Vocalsolisten Stuttgart, c. Peter Rundel WERGO 0084

ARVO PÄRT Anthem of St John the Baptist The Choir St John's College Oxford, c. Duncan Whitmore Cantoris Records CRCD 6080

LEOS JANÁCEK Jenufa, Katja Kabanova, Aus einem Totenhaus ua. Vienna Philharmonic, c. Sir Charles Mackerras DECCA 475 6872 (9CDs)

WOLFGANG RIHM - Et nunc II Windkraft, c. Kasper de Roo sillton CD 0555 FRANZ SCHREKER Der Geburtstag der Infantin, Kleine Suite, excerpts from: Der ferne Klang, Das Spielwerk, Die Gezeichneten, Der Schatzgräber; Orchestra of the Berlin State Opera, Berlin Philharmonic, Orchestra and Chorus of the Reichsrundfunk, Maria Schreker, Charles Kullmann, c. Franz Schreker Symposion 1271 / 1272 / 1273 (3 CDs) KAROL SZYMANOWSKI Sonate No. 3, Métopes, Masques Piotr Anderszewski, pn EMI Classics CD 545730-2 FELIX WEINGARTNER Symphony No. 4 Symphony Orchestra Basel, c. Marko Letonja cpo 777 098-2

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new on cd / dvd


GYÖRGY KURTÁG Worklist

8 Piano Pieces op. 3 for piano

8’ 1960

The Sayings of Péter Bornemisza op. 7 Concerto for soprano and piano

38’ 1963-1968

In Memory of a Winter Sunset op. 8 4 fragments of poems by Pál Gulyás for soprano, violin and cimbalom 4 Capriccios op. 9 4 Songs to poems by István Bálint for soprano and chamber ensemble

6’ 1969

11’ 1970-1971/1997

4 Songs to Poems by János Pilinszky op. 11 for baritone or bass and chamber ensemble

8’ 1973/1975

3 Songs to Poems by János Pilinszky op. 11a for baritone or bass and piano

6’ 1986

Rückblick. Hommage à Stockhausen Old and new pieces for 4 players (trumpet, keyboard, instruments and double-bass)

70’ 1993

Copyright by Editio Musica Budapest, sub-published by Universal Edition for all countries except Hungary

14 Fragments from “Rückblick. Hommage à Stockhausen” Old and new pieces for 4 players (trumpet, keyboard, instruments and double-bass)

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kurtág worklist

21’ 1993


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: Bรกlint Andrรกs Varga, Eric Marinitsch, Angelika Dworak, Rebecca Dawson, Marion Hermann, Carsten Fastner, Pippa Patterson Design: Egger & Lerch, Vienna Photo Credits: Eric Marinitsch (9), Helmut Wiederin, Yasuko Haas-Ueda, UE Archiv, Spiros Politis, Georges Lentz, New York City Opera / Carol Rosegg, Editio Musica Budapest / Judit Kurtรกg (2), Richard Kalina, Pavel Antonov, Kurt Weill Zentrum Dessau/ Claudia Heysel, Deutsche Oper Berlin / Harry Croner, Opera Wroclaw / Ryszard Kaja, Gisella Salden-Goth, Ludwig Zenk, Charlotte Till-Borchardt, Carnegie Hall / Don Perdue; CDs: Brilliant Classics, Wergo, Supraphon, Cantoris Records.


UE Newsletter Winter 2006 English