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07 Friedrich Cerha. 20th century icon Spiegel-cycle in Bregenz

09 Johannes Maria Staud. A Mozart sketch with consequences Vienna Philharmonic in Salzburg

11 Wolfgang Rihm. To Salzburg with cello, in one movement

25 Kurt Weill. Weill-Feldman première in Aldeburgh Oh, show me the way to the next whisky-bar!

Kurt Weill

newsletter 03/06 • summer 2006


NEWS — 5 COMPOSERS Cerha — 7 Staud — 9 Rihm — 11 Panufnik — 12 Sawer — 12 Haas — 13 Schwartz — 14 Baltakas — 14 Halffter — 15 Boulez — 17 Borisova-Ollas — 18 Furrer — 18 Pärt — 19 Stockhausen — 20 Schnyder — 20 Feldman — 21 Kurtág — 21 Berio — 22 Janácek — 23 Weill — 25 Krása — 27 Bartók — 27 Kodály — 28 Zemlinsky — 28 Shostakovitch — 29 Milhaud — 29 Violin Concertos — 30 Krenek — 31 Schönberg — 31 Berg — 32 Webern — 32


contents 03/2006

Piano Arrangements — 33 Martin — 34 Respighi — 34 Schoeck — 35 Eisenmann — 35


Dear Readers, Do the pleasures of wine really heighten our capacity for musical perception? To put this question to the test, Klangforum Wien and NetZZeit have been inviting audiences to their Symposium: intoxication in eight parts since 2001, during which time the event has acquired cult status. It’s remarkable how accessible new music can be, sitting or lying on a comfortable futon and experiencing the intoxicating music of our time whilst in that state of slowly altering perception that accompanies leisurely inebriation. And, just like at an ancient symposium, in the long pauses between the pieces you can enjoy the culinary delights of a first-class wine list and (modern) Greek cuisine. At the Salzburg Festival 2006 – Already the wine gleams from the golden goblit... The Editors


The Portal for Music of the 20th and 21st Centuries Recently UE joined a collaborative project of the leading German and Austrian music publishers, with the aim of helping the film and advertising industries develop a more challenging – and thus more exciting – repertoire of sounds for their needs. The service is being provided by Hastings Audio Network, a wellknown audio post-production network with numerous international collaborators. The internal portal has been created to present the greatest composers of the 20th

and 21st centuries in a structured manner in the form of well-known, attractive and unusual excerpts. With a few clicks of the mouse the user can find the right music filed under categories, associations or composers’names. aims to promote co-operation between the film, advertising and music industries.



k KUB/Shed 8/Werkstattb端hne

19. JULI BIS 20. AUGUST 2006




Screams, Desert, Terror The Bregenz Festival is celebrating Friedrich Cerha’s 80th birthday with a concert performance of his Spiegel II-VII cycle. Composed from 1960-61 and first performed in 1971, the seven works have a total duration of about 80 minutes and are written for various combinations, culminating in Spiegel II for large orchestra, scored for 55 strings. Spiegel IV, V and VII also feature a part for tape. The cycle is widely considered as one of the composer’s (born in 1926) major works, indeed of post-war Austrian music altogether. The pieces were conceived purely musically, says Cerha, but it is probable that those phenomena which move me most strongly, and with which I am

constantly compelled to engage… have unconsciously nourished my musical imagination. Hence the choice of title. Perhaps a hundred years ago one would have given names to the movements of my Mirror: Mist, Sun, Wind and Sea, Screams, Desert, Terror… But on the conscious level my imagination and compositional procedure remain unaffected by such phenomena. Sylvain Cambreling conducts the cycle on 19 July 2006, with the SWR Symphony Orchestra of BadenBaden and Freiburg. Meanwhile members of Klangforum Wien will perform the Second String Quartet in Bregenz (1 Aug), and Bernd Leukert has invited Stefan Asbury to Frankfurt to conduct the RSO Frankfurt in Cerha’s Langegger Nachtmusik II (1990/91), with its exploitation of acoustic space and hints of African and Papuan influences (2 June).




FESTSPIEL-FINALE 29. bis 31. August 2006

Der Abschied ist ein Aufbruch: Wenn Peter Ruzicka, seit 2001 Intendant der Salzburger Festspiele, mit dem letzten Spieltag des Sommers 2006 seine Amtszeit beschließt, wählt er bewusst Werke des 21. Jahrhunderts zum Ausklang – ein Zeichen für die Zukunft.

KLANGFORUM WIEN Werke von Georges Aperghis (Uraufführung), Matthias Pintscher (Österreichische Erstaufführung) und Helmut Lachenmann Dirigent


Hans Zender

Donatienne Michel-Dansac

Klangforum Wien

Bilder: Jan Voss

Dienstag, 29. August, 20.00 Uhr, Perner-Insel Hallein

KARLHEINZ STOCKHAUSEN MIXTUR (2003) · Uraufführung Musikalische Leitung


Karlheinz Stockhausen André Richard

DSO Berlin

Mittwoch, 30. August, 19.30 Uhr, Lehrbauhof

SYMPOSION Werke von Mahler, Rihm, Furrer, Haas, Poppe, Scelsi, Xenakis, Grisey und Lachenmann Dirigent



Stefan Asbury

Michael Schade

Helmut Lachenmann


Szenische Einrichtung / Ausstattung

Carlo Wolf

Nora und Michael Scheidl

Klangforum Wien

Donnerstag, 31. August, 17.00 Uhr, Perner-Insel Hallein

TICKETS UND INFORMATIONEN Kartenbüro: Tel. +43(0)662/80 45-500 ·


Transitions This year’s Salzburg Festival is to open with the first performance of a newly commissioned work for Mozart Year 2006. On 23 and 24 July Daniel Barenboim conducts Johannes Maria Staud’s Segue – Music for violoncello and orchestra with Heinrich Schiff as soloist. The composition takes as its starting point Mozart’s unfinished sketches for an Andantino in B flat for cello and keyboard, Ka. 46 (374g), but neither imports them as alien elements in the polystylistic sense, nor uses its model as a haunting reminder of a halcyon past. Instead Staud attempts something totally different – which we are not, however, in a position to reveal here…

Also, on 6 June pianist Jenny Lin is giving the US première of Peras – Music for piano (2004/5) at the Spoleto Festival, and on 8 July Violent Incidents (Hommage à Bruce Naumann) for solo saxophone is to receive its first Slovenian performance – soloist is Marcus Weiss, and Jürg Wyttenbach will conduct members of the Ljubljana Symphony Orchestra.

Immediately after the première the composer is flying to the US to appear as guest at the Tanglewood Festival of Contemporary Music and give composition lessons there. His Black Moon (1998) for bass clarinet solo can be heard there on 29 July, and on 30 July Stefan Asbury conducts his Vielleicht zunächst wirklich nur (1999) for soprano and six instruments (alto flute, trumpet, percussion, harp, viola and double bass).




in Salzburg Wolfgang Rihm has written a third cello concerto in response to a commission from the Salzburg Festival. Following Monodram (1982/3) for Siegfried Palm and Styx und Lethe (1997/8) for Lucas Fels, Steven Isserlis and the German Chamber Philharmonia of Bremen under Paavo Järvi will give the first performance of Concerto in One Movement (2005/6) on 15 Aug 06. Two other Rihm works feature on the Festival programme: on 31 July the Minguet Quartet (with Jörg Widmann, clar) perform 4 Studies for clarinet quintet, and on 31 Aug Klangforum Wien under Stefan Asbury play Gejagte Form on the Perner-Insel in Hallein. Additionally, Jonathan Nott has selected the orchestral work Verwandlung (2002) for his concert with the

Bamberg SO at the BBC Proms in London (27 July), while the Festival International de Musique de Salon en Provence is presenting a whole series of chamber works: the septet En plein air (1 Aug), Über die Linie VI for alto flute, violin and cello (3 Aug), the Quintet for winds (8 Aug), Verzeichnung, Duomonolog and other pieces. Soloists of Ensemble Avantgarde in Leipzig are including the percussion piece Tutuguri VI in their concerts on 5 and 6 July, and Carl St. Clair is conducting a fragment from the ‘poème dansé’ Tutuguri, Black and Red Dance, on 18 and 19 June in Weimar, with the Weimar Staatskapelle – who have chosen Rihm as their ‘composer in residence’ and have already interpreted a number of his orchestral works.



Roxanna Panufnik

beration of the church acoustic – therefore I needed to find words that would maximise the potential for intense emotional atmospheres and the rich, overlapping bi-tonal harmonies I love to use. (Roxanna Panufnik)


Bi-tonal harmonies On 09/06 the world première of A Kind of Otherness by Roxanna Panufnik will take place in Scotland. The work was commissioned by and will also receive its first performance from the vocal ensemble Cappella Nova, at Greyfriars Kirk, Edinburgh. The work will also feature in a further two concerts, both at major Scottish churches. The work is composed for twelve solo voices and uses a text by the English poet Geoffrey Hill. When Cappella Nova commissioned this piece for 12 solo voices and with three church performances, I was instantly inspired to write a work that would fully exploit the intensity of that line-up and the generous rever-


Pure sound On 29th April the Young People’s Chorus of New York City gave the world première of David Sawer’s Mutability, a setting for young voices (SSA) of the short poem by Percy Bysshe Shelley (written in 1821 when the poet was 29, one year before his untimely death). It seemed appropriate to set the verse as transparently as possible, unadorned and without decoration and I hope that the pure sound of unaccompanied children's voices will only help to underline the serious tone of Shelley's poem. (David Sawer)


panufnik / sawer


Constant state of flux On 25 August Georg Friedrich Haas’ Schattenspiel for piano and live electronics will be performed at the Salzburg Festival by Siegfried Mauser, who also gave its first performance at the Ruhr Triennale in 2004. Also at the Salzburg Festival, Haas’ in vain (2000) will form the centrepiece of Klangforum Wien’s Symposium: intoxication in eight parts, conducted by Stefan Asbury (Perner-Insel Hallein, 31 August). Here audiences can experience contemporary music lying on futons, with wine and food on offer during intervals. Wolfgang Rihm’s Gejagte Form has also been selected to contribute to these musical and culinary sensations. Of his own work, Haas says: This work for orchestra and light-show was written according to a strict formal plan. in vain is music theatre that doesn’t tell a story. Musically the piece behaves as though it is going forward, and yet actually goes round in a circle. In other words: standstill despite a constant state of flux, and thus in vain. Haas has composed dense music which, especially in its downwardrushing, accelerating scalic forms, exerts an irresistible fascination.

(Christian Fluri, Basler Zeitung). On 1 August Klangforum Wien makes another guest appearance with Haas’ Fourth String Quartet (2003). Here I used live electronics in my work for the first time. What interests me about this is less the possibility of transforming sound than of recording what has been played and playing it back again. (Haas)




Sound under the microscope On 4 April Jay Schwartz’s music for six voices received its first performance in Stuttgart. By means of an extreme digital deceleration of the recording of a spoken text, vowels are reduced to long drawn-out glissandi. For music for six voices I examined the pitches and pitch ranges of each single word of a text reading in this manner and used them as compositional building blocks. The text itself however is neither set nor sung, nor does it appear in the score. It has been intentionally concealed, remains enigmatic. The sung material is confined to the primitive, archaic, basic human utterances ‘m’ and ‘a’. The composer speaks of the fascination of an aesthetic of extreme deceleration. A challenge and experience as much for the performers (Neue Vokalsolisten Stuttgart) as for the audience – and rewarding for both.

Jay Schwartz BALTAKAS

IGNM Fest Stuttgart Incredibly gripping, extremely disturbing (Berliner Morgenpost); as highly consistent as it is totally original (Berliner Zeitung). Lithuanian composer Vykintas Baltakas, whose Poussla was performed to this kind of acclaim by the SWR Symphony Orchestra under Sylvain Cambreling at the Berlin MaerzMusik, is to be represented at the ISCM Festival on 18 July by his ensemble piece Ouroboros. The German première, with Musik Fabrik NRW, will be directed by Johannes Debus.


schwartz / baltakas


‘The arts survive by dreaming’ Cristóbal Halffter’s opera Don Quijote (first performed in 2000 at the Teatro Real, Madrid) has just enjoyed a sensational revival at the Kiel Opera House, where the work had its German première on 30 April in the new, pared-down version (and remains in repertoire until 29 June). Alexander Schulin’s refreshingly lucid production and Johannes Willig’s convincing musical direction earned ecstatic applause. Kiel’s Don Quijote yet again exemplifies how it is only through an inspired second production that a work can fully reveal itself and thus awaken the interest of other opera houses. The press was unanimous: Halffter’s opera denies neither its

spiritual roots in the ’60s, nor his ambition to write Grand Opera for a large audience once again (Deutschlandradio); A stunning 100 minutes – Halffter’s one-actor Don Quijote has lost none of its whitehot expressive power even…on Kiel’s smaller opera stage. The first-night audience unanimously demonstrated how impressed it was by this highly complex masterpiece (Kieler Nachrichten);The Madrid première six years ago at the Teatro Real – one of director Herbert Wernicke’s most suggestive late works – provoked fears that this overpowering example might stand in the way of other approaches. The German première in Kiel has not only scotched that idea, but brought the work into sharper focus: eloquent proof of what smaller and medium-sized houses can achieve – to the positive shame of several other theatres (Frankfurter Allgemeine Zeitung).

Cristóbal Halffter Don Quijote in Kiel 2006




British distinction Pierre Boulez has become only the second non-British recipient – after Lutoslawski – of the Incorporated Society of Musicians’ ‘Distinguished Musician Award’. The distinction has been awarded for outstanding contributions to the musical life of the UK. It recognises his activity as principal conductor of the BBC Symphony Orchestra in the 1970s, which revolutionised British musical life and set new standards for the performance of 20th century music. His operatic interpretations, for example of Debussy’s Pelléas et Mélisande, have likewise been of exceptional quality, and his concerts with the National Youth Orchestra – such as his performance of Schoenberg’s Gurrelieder at the Proms – are unforgettable.

The programme of this year’s Festival d’Aix-en-Provence also includes works by the composer, in part under his own direction. Thus on 13 July he is to conduct the Ensemble Intercontemporain in Dérive 2 and sur Incises, while on 17 July PierreLaurent Aimard plays his First and Third Sonatas. Meanwhile the Nieuw Ensemble under Ed Spanjaard is programming Éclat for 15 instruments at its concert in Maastricht on 17 June, on 21 June Jurjen Hempel directs the Nieuw Ensemble and Contrechamps together in …explosante-fixe… at the Holland Festival in Amsterdam’s new Muziekgebouw, and on 31 July Ensemble Utopik perform Le Marteau sans maître in Le Meije, with alto Isabel Soccoja.




Frozen time Beat Furrer’s Aer for piano, clarinet and cello (1991) is to feature on the programme of the Ensemble Court-Circuit at the Agora Festival in Paris (3 June). Furrer says of his work: After a pause where time stands frozen, the work’s microcosmos is unleashed in a second section comprising ever-new presentations of sound segments and sound fields. Students of the Ensemble Modern Academy will interpret Lied for violin and piano (1993) and Trio for flute, oboe or saxophone and clarinet (1985) on 11 and 12 August.

Victoria Borisova-Ollas BORISOVA-OLLAS

Baltic sounds Victoria Borisova-Ollas has been invited by the Stockholm Radio Symphony Orchestra to compose a new work for the Baltic Sea Festival (Östersjöfestivalen). The festival, which this year celebrates its fourth year of existence, has already established a reputation as a meeting point for the cultures and people of the Baltic nations. For it Borisova-Ollas has written

Open ground, a ten-minute orchestral work that will be performed as part of the opening concert in Stockholm’s Berwaldhallen on 20 August, with the Stockholm Radio Symphony Orchestra under Manfred Honeck. Subsequent performances are already planned for other Baltic cities, as well as a British première in Manchester on 18 January 2007 with the Hallé Orchestra under Marc Elder, as prelude to a larger project planned for the city in the following summer.


borisova-ollas / furrer


The aesthetic power of tonality Of Arvo Pärt’s Lamentate the Frankfurter Allgemeine Zeitung wrote: Lamentate makes a powerful impact. The work, which begins with the trumpets of Jericho and ends with a sustained G# on the piano fading away, at times resembles a slow funeral procession stepping softly forwards, at others screams out a truly bruitist dissonance of lamentation. It is more than simply a fellow genius’ reaction to a literally great work of art [Anish Kapoor’s ‘Marsyas’ at the Tate Modern, 2003]; it is the most impressive demonstration of the enduring aesthetic power of tonality one can imagine. Lamentate has its Austrian première on 10 June at the Vienna Musikverein

with Andrey Boreyko conducting the RSO Wien and Alexei Lubimov at the piano (see ECM New Series 1930). The Presteigne Festival of Music and the Arts in Wales is presenting music from the Baltic nations in its 2006 programme (24 to 29 Aug), including Fratres for cello and piano, Seven Magnificat Antiphons, Psalom for string quartet, Two Sonatinas, Spiegel im Spiegel for violin and piano and Summa for string orchestra. And in 2007 Arvo Pärt is to receive a unusual kind of distinction: the theological faculty of the prestigious Albert Ludwig University of Freiburg in Breisgau has just decided to award him a Doctorate of Theology honoris causa for his ‘great services to sacred music’ – a quite extraordinary honour for a composer and musician.




Events in sound Ever increasing numbers of concert promoters are turning back to the early works of Karlheinz Stockhausen: at the Teatro Malibran in Venice on 9 July, the Orchestra del Teatro La Fenice under Michel Tabachnik is performing Formel for orchestra (1951), which consists of the growth and transformation process of a ‘formula’ in twelve sections. Because the composer considered the work far too thematic, he did not permit its first performance until 1971. Elsewhere, Ensemble Recherche is bringing Prozession to Freiburg (22 June), and on 14 July the electronic work Telemusik can

be heard at the Stockhausen Course in Kürten – a piece written in Japan in 1966 which was intended as music of the whole world, of all lands and races… A universality of past, present and future, of countries and spaces separated by great distances: TELEMUSIK. (Stockhausen) SCHNYDER

Defying convention Daniel Schnyder, Swiss but resident in NYC, is a composer/performer who refuses to be pigeonholed. Composed in 2000 and lasting 30’, The Revelation of St John – a large-scale choral work whose forces are identical to those of Brahms’ Deutsches Requiem – is a cantata of considerable power, and a perfect foil to the intensity of the Brahms. The power and the originality of gesture and orchestration gives Schnyder's Revelation of St John the terrible beauty of a sustained hallucination... (Tom Strini).

Karlheinz Stockhausen


stockhausen / schnyder


Presenting Feldman anew In 1963 Morton Feldman wrote that it was his intention not to ‘compose’ but to project sounds in time. Cellist Matthias Lorenz has developed an exciting new performance concept for Feldman’s 80-minute Piano Trio (1980): his ‘Feldman PLUS’ performances take place in specially selected spaces and also provide an entry point into Feldman’s music. Before the performance, the audience has access to computers which enable them to approach the trio by means of two computer games. Communication thus occurs not because the audience is receptive to someone standing in front of them, but because they themselves can experience something even before they hear the

the piece. The first two concerts with Trio Elole take place on 16 June (Dresden) and 17 June (Görlitz), and more are already planned: details at


Winter’s evening Conceived for soprano, violin and cimbalom, György Kurtág’s In Memory of a Winter’s Evening Op. 8 was written in 1969. In the first few years after his return from Paris Kurtág wrote short solo works or chamber music for small forces, and the subtitle 4 Fragments after poems of Pál Gulyás is typical – the fragment is still one of Kurtág’s favourite forms of expression. The next performance is on 2 June on the island of Hombroich, with Yumiko Tanimura, S, Caroline Widmann (vln), Luigi Gaggero (cimb).

Morton Feldman


feldman / kurtág


Voice of music Key themes in the programme of the Lucerne Festival Academy 2006 are the works of Arnold SchÜnberg and Luciano Berio. For the opening concert of the Academy on 27 August Susanna Mälkki is to conduct vocal works by Berio: O King, Sequenza III and Calmo (with Luisa Castellani as soloist). Solo violin and viola take centre stage in the concert of the Lucerne Festival Academy Ensemble under Pierre Boulez on 13 September, with performances of Corale (su Sequenza VIII)



and Chemin II. Other important performances this summer include Folk Songs in Tel Aviv (19 and 21 June, Tel Aviv Chamber Music Society conducted by Alex Wasserman, soloist Shosh Lagil); Sinfonia in Brunswick (18 and 19 June, Staatsorchester Braunschweig / Jonas Alber) and Rendering in Berlin (28 June and 2 July, Humboldt University SO / Constantin Alex). Our latest book tip is Remembering the Future (Harvard UP, 2006), the collected Charles Eliot Norton Lectures given by Berio in the US between 1993-4. In Remembering the Future Luciano Berio shares with us some musical experiences that invite us to revise or suspend our relation with the past and to rediscover it as part of a future trajectory. His piquant meditations on music and ways of experiencing it reflect the composer's profound knowledge of historical connections and contemporary musical practice.

Leos Janacek, Sinfonietta, Nederlands DansTheater JANÁCEK

The mystery of life I am trying to forge a language which enables me to go deeper, get closer to human beings and their hearts says Jirí Kylián. His dance scenarios are concerned above all with the ‘mystery of life’ – its subjects are elemental human themes such as love and suffering, joy and grief, the will to live and the fear of death. Kylián does not narrate concrete stories but sketches universal situations, often with open conclusions. His marked affinity for the music of his compatriot Leos Janácek came to the fore in 1978, when he produced one of his best-known choreographies for the Nederlands DansTheater using the music of the orchestral work

Sinfonietta (1926). It was subsequently performed countless times on stages across Europe and helped him achieve international breakthrough. Even then it was already clear that alongside choreographic interpretations of formal structures, space and colour, an equal emphasis on the emotional energy of the music was central to Kylián’s work. Faced with the Sinfonietta’s radiant optimism, he clearly did not find it hard to translate these emotions into dance. Short, pregnant motifs form the essential substance of this five-movement, cyclically conceived work; its emotional content accessible to every listener, it is a work of the highest quality with an exuberant richness of invention. The pioneering dance production opens on 28 June in Dresden, performed by the Ballet of the Semperoper; there are further performances on 1, 4 and 7 July.



sommer 1 0. 8. – 1 7. 9. 2 0 0 6 Bei lucerne festival, sommer treffen sich die weltweit besten Sinfonieorchester, Dirigenten und Solisten. Dabei nimmt die Moderne einen grossen Raum ein. Der kompositorische Umgang mit «Sprache» ist besonders im 20. und 21. Jahrhundert vielfältig und fruchtbar. Ausgehend von einem SchönbergZyklus werden markante Sprachvertonungen von Kurt Schwitters «Sonate in Urlauten», Pierre Boulez’ «cummings ist der dichter» bis hin zu neuen Werken von Hans Ulrich Lehmann, Annette Schmucki, Mischa Käser und Michel Roth präsentiert. 16 Uraufführungen u.a. von Klaus Huber, Heinz Holliger, Hanspeter Kyburz und Beat Furrer werden spannungsvoll erwartet. Sinfonisch besetzte Uraufführungen steuern auch die beiden «composers-in-residence» bei: hk Gruber schreibt ein Stück über eine Mozartsche 12-Ton-Reihe, Matthias Pintscher ein Flötenkonzert für Emmanuel Pahud. Im Mittelpunkt der lucerne festival academy unter der Leitung von Pierre Boulez stehen Vokalwerke des 20. und 21. Jahrhunderts. Die zwölf Schlagzeuger der lucerne percussion group widmen sich auch dieses Jahr wieder dem Repertoire für ihr Instrumentarium. Es gelangen im Rahmen der Akademie sieben Auftragswerke zur Uraufführung.


t +41 (0)41 226 44 00 f +41 (0)41 226 44 60

performance… The première of this unique arrangement is now fixed for 13 June, as part of the 59th Aldeburgh Festival ( The Composers Ensemble and soloist Gweneth-Ann Jeffers perform under the direction of Dominic Muldowney.


Weill-Feldman première! Painter and occasional jazz trombonist Howard Kanovitz remembers clearly how, in 1984, he asked his friend Morton Feldman to write a piece for him and his East Thirteenth Street Band. To everyone’s astonishment, Feldman supplied an arrangement of Kurt Weill’s Alabama Song, scored for the exact line-up of the band – alto and tenor sax, trumpet, piano, bass and drums – plus female vocalist ad lib. But despite great enthusiasm, the work never achieved

Further highlights of the ‘Summer of Weill’ include: new staged productions of Der Jasager, Der Lindberghflug / Ozeanflug and (in co-production with the Edinburgh Festival) the Seven Deadly Sins (Schott Music), plus the French première of One Touch of Venus at the Opéra National de Lyon (; a focus on Weill at the Lucerne Festival Summer ( with performances, among other things, of the Berliner Requiem, Vom Tod im Walde, Öl-Musik and Violin Concerto; and, in Berlin, a new production of the Threepenny Opera by Klaus Maria Brandauer, with punk star Campino as Mack the Knife and the German Film Orchestra of Babelsberg, which has already excited great media interest (11 Aug – 24 Sept).



Pierre Boulez Jessye Norman Peter Fried Le Château de Barbe-Bleue Bluebeard's Castle Blaubartsburg 10, 13 et 16 juin 2006 à 20 heures Orchestre de Paris


Miniaturs in Lucerne Hans Krása was 21 years old when, in 1920, he wrote his 4 Orchestral Songs. The first performance, conducted by his teacher Alexander Zemlinsky, took place in Prague two years later, on 1 Dec 1922, with Max Klein as soloist. These miniatures (none lasts longer than 2’) to texts from Christian Morgenstern’s Gallows Songs are to be performed by soprano Rinat Shaham in Lucerne on 21 and 22 June 2006, with John Axelrod conducting. UE publishes several works by the composer, who was murdered in a concentration camp in 1944, among them the opera Verlobung im Traum.

again with Boulez at the rostrum, and with another Hungarian baritone – Péter Fried – playing opposite Jessye Norman’s Judit. Bartók’s compositions have long been an integral part of the international repertoire, and this year his 125th birthday is being celebrated in his homeland with festive concerts and other special events. Thus in May the Hungarian Radio is presenting the concert cycle ‘Hommage à Bartók’, during which 34 composers (among them Cerha and Halffter) from 14 countries pay tribute to the Hungarian master in words and music.


Jessye Norman is Judit For decades Pierre Boulez has repeatedly conducted Béla Bartók’s only opera Duke Bluebeard’s Castle, and recorded it in 1998 for DGG with Jessye Norman as Judit and László Polgár as Bluebeard. On 10, 13 and 16 June the work is in repertoire at the Châtelet in Paris, once

Jessye Norman


krása / bartók

Zoltán Kodály

Hungarian work has become one of the most frequently performed of Kodály’s compositions around the world. Ivan Törzs conducts it on 1 and 2 July in Antwerp, with tenor Timothy Simpson and the Symphony Orchestra and Chorus of the Vlaamse Opera.


Psalmus Hungaricus in Belgium If I had never studied ancient Hungarian literature, I would never have had the idea of composing the Psalmus, Zoltán Kodály said in a 1963 interview. The name of preacher Mihály Kecskeméti Vég was unknown outside philological circles, and only his 1561 translation of the 55th psalm has come down to us. Kodály set the psalm’s powerful text, enriched with allusions to Hungarian circumstances, to commemorate the 50th anniversary of the union of Pest, Buda and Óbuda to form Budapest in April 1923, during a period of creative paralysis. By November Psalmus hungaricus work had already enjoyed its première under E. von Dohnányi, and since then this profoundly


Of life, love and death Alexander Zemlinsky’s Sechs Gesänge Op. 13 to texts by Maurice Maeterlinck were first composed for piano. Four of them had their first performance in orchestral versions at the legendary ‘scandal concert’ on 31 March 1913 in Vienna. Zemlinsky skilfully arranged the selected texts to form six dramatically effective scenes. Performances take place on 2-3 June 2006 in Budapest (Budapest Festival Orchestra under Jiri Belohlavek, Dagmar Peckova as soloist) and 8-9 June in Basle (Basle Symphony Orchestra under Armin Jordan, soloist Cornelia Kallisch).


kodály / zemlinsky


Highly expressive episodes UE owns the rights to the works of Russian composer Dmitri Shostakovich for Austria, but there are only a few of his works that UE represents internationally. One of these is the Gogol opera The Nose (1927). The musical principle governing the opera is stylistic mixture on every level: gallops, polkas and waltzes rub shoulders with artful fugati, bizarre declamations with arioso laments, atonal, highly expressive episodes alternate with playful, neo-classical or folkloristic elements (Sigrid Neef). The Nose has its première on 4 June at Essen’s Aalto Theatre, produced by Johannes Schaaf and conducted by music director Stefan Soltesz. Between 3-11 July the opera can also be heard in a new production at the Teatro Nacional de Sao Carlos in Lisbon.

version for 16 solo instruments and 2 percussion, dating from the same year, was performed in Ulm by European Music Project under Juergen Groezinger. In 1927 Milhaud wrote three short stage works for modest forces – the opéras-minutes – first performed in Wiesbaden in 1928. One of these – Die verlassene Ariadne – was heard in a new production in Münster on 30 April.


Ballet and opera Darius Milhaud devised the subject of his ballet L’Homme et son désir in 1918 in collaboration with Paul Claudel. On 12 May the concert

Darius Milhaud


shostakovich / milhaud


The (dis)continuous beauty of the violin is demonstrated by five violin concertos from the UE catalogue to be performed in prominent venues this summer, spanning the entire twentieth century: 1916 – 1924 – 1935 – 1973 – 1984. Karol Szymanowski’s complex Violin Concerto No. 1, Op. 35 (1916) departs from the classical form scheme with its single-movement construction. Oriental and impressionist influences, but also traces of Wagner and Scriabin account for the atmospheric effect of this piece, which has the ability to fascinate merely through brilliant orchestral colouration (SchleswigHolstein Music Festival, 19-20 Aug; 31 Aug, Edinburgh).

Kurt Weill’s Concerto for Violin and Wind Orchestra (1924) is surprising on account of the peculiarity of the conception – the exclusion of all strings except double basses. Weill avoids all the sweetness and kitsch associated with the genre (Adolf Weissmann, 1926) (Lucerne, 26 Aug). Alban Berg’s Violin Concerto (1935) unites Schönberg’s twelve-tone technique with late Romantic expressivity and sensuous timbres (23 June, Berlin). The violin in Frank Martin’s Polyptique for solo violin and two small string orchestras (1973) is no opponent to the orchestra but first instrument among equals, giving rise to an impressive gestural unity in this work (11-12 Aug, Apeldoorn). And finally in his Violin Concerto No. 4 (1984), Alfred Schnittke masterfully creates melodic tension by free use of ‘old’ and ‘new’ techniques (1 June, Ostrava).


violin concertos


The taming of Death

Arnold Schönberg KRENEK

Entertainment or critique? Hovering between these extremes, in the 1920s Ernst Krenek founded the genre of ‘Zeitoper’ with Jonny spielt auf. Its close connection with the modernism of its day presents great challenges to today’s producers. Should Zeitoper remain tied to its period for the sake of impact, or does a timeless message lurk beneath a surface burdened with effects? To scratch that surface is certainly an adventure for any ensemble! Jonny spielt auf at the Teatro Colón, Buenos Aires, conducted by Stefan Lano (22 Aug – 1 Sep).

In 1912 Arnold Schönberg wrote his three times seven melodramas from Albert Giraud’s ‘Pierrot lunaire‘ Op. 21 for reciter and five instrumentalists. And unquestionably – this I can sense, said Schönberg, I am moving towards a new form of expression. Here sounds express sensual and spiritual emotions with quite animal directness. This year the Festival d’Aix-en-Provence is giving a repeat performance of the highly successful 2003 production of Pierrot with Anja Silja and the Ensemble Intercontemporain under Pierre Boulez, which juxtaposes it with works of de Falla and Stravinsky.The evening’s central theme is the allusion to the topic of death latent in all three works. According to the programme booklet, For the duration of the performance a tame Death is simply a means to entertain us. Materialising before us at an adequate distance behind the footlights, his horror is dissipated.


krenek / schönberg

which the Arditti Quartet is performing on 20 July in Aix-en-Provence, as his little memorial to a great love, in which he poured out his hopeless passion for Hanna Fuchs, the wife of a Prague industrialist. George Perle is editor of the facsimile edition The Secret Vocal Part (UE 70017), showing the part that Berg entered in the score in coloured pencil and sent to Hanna Fuchs secretly. Anton Webern WEBERN BERG

A box on the ear for the conductor When, on 19 June in Tokyo, Renée Fleming and the Metropolitan Opera Orchestra perform Alban Berg’s Five Orchestral Songs on Picture-postcard Texts by Peter Altenberg Op. 5 (1912), it is scarcely conceivable that the audience will shout at one another, wreck the furnishings or even give the conductor a box on the ear, as happened at the first performance in 1913 under Schönberg’s direction. Today we can no longer think of the vocal repertoire without this work. Berg thought of his Lyric Suite (1926),

Music is language In August the Gustav Mahler Youth Orchestra under Philippe Jordan is taking Anton Webern’s Six Pieces for Orchestra Op. 6a (1909) on a European tour. The piece marks Webern’s transition to free tonality and, at its Vienna première in 1913, unleashed such an incredible uproar that the audience drowned out the music (see above). Shortly afterwards appeared the Five Pieces for Orchestra Op. 10 (1911-3), in which Webern carried his investigation of tonality and timbre still further (Nieuw Ensemble Amsterdam / Ed Spanjaard, Maastricht 17 June).


berg / webern


Music for four hands At the time of Universal Edition’s foundation in 1901 there was a great demand for new, ‘universal’ editions of the Classical and Romantic repertoire. Thus numerous composers were commissioned to produce challenging piano versions of the great Classical and Romantic works for home use, and – thanks to the masterly hands by which they were arranged or edited – several of these works are more than simple piano arrangements. Zemlinsky undertook the preparation of piano editions of several major operatic works, and two of these (Die Zauberflöte, UE708A-B and Fidelio, UE690) are once again on sale. The new

recording of Mozart’s Magic Flute in the piano duet version by Dennis Russell Davies and Maki Namekawa has once again drawn the music world’s attention to this work of Zemlinsky’s, in which orchestral and vocal parts are artfully interwoven (CD: Ruhr Piano Festival Vol. 10, Avi 2 CD 553019). The discovery of a manuscript of whose existence one was hitherto unaware is one of the most exciting experiences in the world of music publishing. This happened in 2004, when a manuscript by Richard Strauss was discovered in the archives of Universal Edition. The work in question was Strauss’ arrangement of Two Marches from Joachim Raff’s incidental music to the tragedy Bernhard von Weimar by Wilhelm Genast. Strauss arranged these two marches for piano duet, probably at the age of 21 in 1885. They are now available for purchase, UE1360.


piano arrangements


The Gates of Heaven In the commentaries to his Six Monologues from Everyman Frank Martin describes how, looking for a text to set for the baritone Max Christmann, he came across Hofmannstahl’s theatre piece Everyman. At first he planned to make an opera out of it, but then he selected six monologues that he set for voice and piano in 1943. In 1949 there followed the orchestral version, which Claudio Abbado is to perform with the Lucerne Festival Orchestra on 11 August, with soloist Thomas Quasthoff.

Martin intended to express a psychological progression in his music, from the fear of death to the prayer in which the rich young man repents of his sins and pleads to heaven for forgiveness. In the Sixth Monologue he realises that his faith and repentance have earned him God’s mercy and that the gates of heaven will be opened for him.


Gregorian chant In her memoirs Elsa Respighi, pupil and wife of composer Ottorino Respighi, relates how one day she asked him whether he would not like to devote himself to the study of Gregorian chant. This stimulus led to the creation of a whole series of important works, among them the violin concerto Concerto gregoriano, composed in 1921 and first performed in 1922, which has been repeatedly performed by conductors and violinists. Giancarlo Andretta is conducting it on 20 May in Aarhus, Horia Andreescu on 26 May in Sofia.

Frank Martin


martin / respighi


Nachhall Of the 21 works by Swiss composer Othmar Schoeck in the UE catalogue, all but two are written for the voice. His last composition, on which he worked for two years (1954-6) is Nachhall Op. 70, a set of songs for medium voice and orchestra to poems by Lenau and Claudius. Schoeck was born in 1886 and died in 1957, so next year the music world will commemorate the 50th anniversary of his death. Nachhall is regarded as his farewell to creative work, and the prevailing atmosphere of this 39-minute piece is consequently one of resignation and melancholy. According to baritone Arthur Loosli, who recorded Nachhall on disc some years ago, amongst his circle of friends Schoeck himself described this work as ‘my requiem’. Leon Bonstein conducted the piece in New York on 21 May, with the American Symphony Orchestra and John Hancock as soloist.

Othmar Schoeck EISENMANN

100th Birthday Composer Will Eisenmann was born in Stuttgart in 1906, but emigrated to Switzerland in 1935 and lived near Lucerne until his death in 1992. This year his adoptive homeland remembers the 100th anniversary of his birth: since February a series of twelve concerts has been offering a rich selection from his oeuvre, including from the UE catalogue Seven Songs from Gitanjali (1934), with Jennifer Davison (sop.) and the Aargau Chamber Orchestra under Cristoforo Spagnuolo (10 June Baden, 13 June Zurich, 16 June Aargau).


schoeck / eisenmann

2006 70th 125th 70th 50th 80th 80th 80th 10th 60th 80th 75th 70th 80th 250th 70th 100th 20th 125th 70th

Birthday Anniversary Birthday Anniv. of Death Anniversary Birthday Birthday Anniv. of Death Birthday Anniversary Birthday Birthday Birthday Anniversary Birthday Anniversary Anniv. of Death 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 Shostakovich * 25 Sep 1906 Alexandre Tansman † 15 November 1986 Karl Weigl * 06 February 1881 Hans Zender * 22 November 1936

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

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 Richard Meale * 24 August 1932 Gösta Neuwirth * 06 January 1937 Paul Patterson * 15 June 1947 Thomas Daniel Schlee * 26 October 1957 Othmar Schoeck † 08 March 1957

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



125th Anniversary 70th Anniv. of Death 50th Birthday

Karol Szymanowski * 06 October 1882 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



JOHANNES MARIA STAUD Segue. Music for cello and orchestra Salzburg Festival Vienna Philharmonic c. Daniel Barenboim Heinrich Schiff, vlc 23. 07. 2006 · Grosses Festspielhaus Salzburg/A

ROXANNA PANUFNIK A Kind of Otherness for 12 solo voices a cappella Cappella Nova 09. 06. 2006 · Greyfriars Kirk Edinburgh/GB WOLFGANG RIHM Konzert in einem Satz for cello and orchestra Salzburg Festival, Deutsche Kammerphilharmonie Bremen c. Paavo Järvi, Steven Isserlis, vlc 15. 08. 2006 · Felsenreitschule Salzburg/A KURT WEILL / MORTON FELDMAN Alabama Song from Aufstieg und Fall der Stadt Mahagonny for ensemble and voice ad. lib. Composers Ensemble, c. Dominic Muldowney, Gweneth-Ann Jeffers 13. 06. 2006 · Snape Maltings Concert Hall Aldeburgh/GB


world premières

ALBAN BERG Kammerkonzert ed. by Douglas Jarman, edition for two pianos and violin, new edition from the Critical Complete Edition pocket score PH 561 UE 33150 ROBERT HUDSON 30 Modern Studies for trombone UE 21317 ARVO PÄRT Lamentate for piano and orchestra study score UE 32667 JAMES RAE Easy Blue Flute Duets for two flutes UE 21320 Style Workout Studies in classical, jazz, rock and latin for flute UE 21319 JOACHIM RAFF / RICHARD STRAUSS Zwei Märsche op. 127 from Bernhard von Weimar edition for piano for four hands UE 1360 WOLFGANG RIHM Eins und doppelt 5 Lieder aus dem Zwielicht for baritone and piano UE 32979 ARNOLD SCHÖNBERG Variationen op. 31 for orchestra transcription for piano, ed. by Dante S. Anzolini UE 33311 KURT WEILL / MORTON FELDMAN Alabama Song for ensemble and voice ad. lib., arrangement by Morton Feldman score UE 32423 KURT WEILL Die Dreigroschenoper for voice, choir and orchestra ed. by E. Harsh / S. Hinton after the Critical Complete Edition study score UE 32992


new releases


Sonata op.1 for piano UE 33070

FOR THE FIRST TIME! the new revised edition of Berg’s Sonata Op. 1 The history of the origins and subsequent publication of Alban Berg’s famous Sonata Op. 1 is, today as ever, surrounded with question marks and misunderstandings. One of the greatest misunderstandings has without doubt been the reproduction of the Sonata on the basis of the ‘second, improved edition’ of 1920. It is obvious that Berg’s alterations to the Sonata were not taken comprehensively into account until the appearance of the ‘new revised edition’ in 1926.

Foundation and appears in Vol. 1/8 of the historical-critical edition of Berg’s complete works. Without doubt, a milestone!

The new edition now available scrupulously corrects this misunderstanding, and represents the current state of knowledge after extensive preparation and research. The principal source is the ‘new revised edition’ of 1926. A complete fair copy as well as the first impression and the second edition have served as secondary sources. The Sonata Op. 1 has been published with the support of the Alban Berg


new releases

New music never heard any? I walk past a group of teenagers, excitedly pressing headphones to their ears, from which emerges their favourite music – Boulez’s Notations, Rihm’s Ländler, an excerpt from Berg’s Wozzeck. Entering the shopping mall, I am bombarded by familiar department store favourites – something by Bartók or Kodály. At home I tune in to this week’s newcomers – Johannes Maria Staud’s Towards a Brighter Hue and David Sawer’s Parthenope – and lay out crisps and cola in readiness for Halffter’s Don Quijote, whose third TV repeat still holds new things in readiness for me… I then wake up – in my hand the Nth newspaper eulogy for Mozart’s birthday, while from the radio alarm rock band ‘Tokyo Hotel’ is asking us to ‘Save me!’ The dream of new music as everyday experience is over! Or would be, if there were not a new generation whose openness and curiosity is raised to the level of fascination precisely by the new and unknown. HEARING, EXPERIENCING, SELF-DISCOVERY, free from classical models. This unprejudiced curiosity is simply there – and supporting it the central aim of educational projects at UE.

To see on what fertile soil it falls, one need only look, for example, at the young pianists discovering ‘their’ own music with sound painting and wordplay under the heading Sounds New. Or the schoolchildren whose homemade 12-note music video makes nonsense of the question Who’s afraid of Arnold Schönberg? They are there then, the open ears – and our dream is nearer than we think!


new releaes

KURT ATTERBERG Värmlandsrhapsodie op. 36 Rundfunk-Sinfonieorchester Berlin, c. Roger Epple cpo CD 777 106-2 ALBAN BERG Violin Concerto Christian Ferras, vln, Orchestre de la Suisse rom., c. Ernest Ansermet Claves 50 3516 ALBAN BERG Wozzeck stage production Peter Mussbach, Choir and Children’s Choir of the Frankfurt Opera & Frankfurt Museumsorchester, c. Sylvain Cambreling, Dale Duesing, Kristine Ciesinski Arthaus DVD 102031 LUCIANO BERIO Folk Songs Dawn Upshaw, S, The Andalusian Dogs Deutsche Grammophon DG / Universal CD 447 5414 PIERRE BOULEZ Anthèmes Carolin Widmann, vln Telos TLS 116 FRIEDRICH CERHA Baal Gesänge, Requiem für Rikke RSO Wien, c. Friedrich Cerha, Theo Adam, Kenneth Riegel ORF CD 343 MORTON FELDMAN Triadic Memories Pia Blum, pno TonArt CD 9628 HANS GÁL 3 Skizzen, 24 Preludien Leon McCawley, pno Avie/Musikwelt 3 CD 2064 CLYTUS GOTTWALD Arrangements for choir a cappella after Alban Berg Im Zimmer, Traumgekrönt und Gustav Mahler Ich bin der Welt abhanden gekommen SWR Vokalensemble Stuttgart, c. Marcus Creed Carus 83.181 MAURICIO KAGEL Transición II, Phonophonie Nicholas Isherwood, bass, Stefano Bassanese, electronics mode records 127 ERNST KRENEK Alpbach Quintett, Kleine Suite, Trio etc. Csaba Klenyán, clar Hungaroton Classic HCD 32363 GUSTAV MAHLER Symphony No. 2 Vienna Philharmonic, c. Pierre Boulez Christine Schäfer, S, Michelle DeYoung, Wiener Singverein Deutsche Grammophon 00289 477 6004


new on cd and dvd

VYKINTAS BALTAKAS Ouroboros Gaida Ensemble c. V. Baltakas (Lithuanian Music Information and Publis hing Centre) LMIPC 032

F. CERHA Konzert für Violine und Orchester, Fasce RSO Wien, c. Bertrand de Billy, Johannes Kalitzke, Ernst Kovacic, vln col legno WWE CD 20251

ROXANNA PANUFNIK Beastly Tales City of London Sinfonia, c. Sian Edwards, Patricia Rozario, Yvonne Howard,Roderick Williams EMI 356 6922

KARLHEINZ STOCKHAUSEN Punkte WDR Sinfonieorchester Köln, c. Peter Eötvös WDR Stockhausen CD 81

WOLFGANG RIHM String Quartets Vol. 4 (Nos. 10 & 12, Quartettstudie) Minguet Quartett col legno WWE 1 CD 20227 WOLFGANG RIHM Streichquartette Nr. 1, 4, 8 und 5 doelenkwartet Cybelerecords SACD 261.101 WOLFGANG RIHM Chiffre-Zyklus musikFabrik, c. Stefan Asbury cpo 777 169-2 KARLHEINZ STOCKHAUSEN Punkte, Gruppen WDR SO Köln, c. Peter Eötvös, Arturo Tamayo, Jacques Mercier BMC Records 117 KAROL SZYMANOWSKI Mazurkas Anna Kijanowska, pno, Dux/Musikwelt CD 0417


new on cd and dvd

ROXANNA PANUFNIK worklist A Kind of Otherness 12’ 2005 for 12 solo voices a cappella, text: Geoffrey Hill Abraham A Concerto for Hope 17’ 2004 for violin and orchestra All in Tune 3’ 2005 for choir (SSA), organ and instruments ad lib. Angels Sing ! 4 tradition Polish carols 12’ 1998 3 versions: for soprano, baritone, choir and organ, for upper voices and piano or for children’s choir and orchestra Around Three Corners 9’ 1996 for violin, cello and piano Ave Maria 4’ 2004 for choir (SSA) and organ The Christmas Life 2’30’’ 2002 for soprano, baritone, choir and organ or piano Colombine, Too text: Albert Giraud 5’ 1995 for mezzo-soprano, flute, Bb clarinet, violin, cello and piano The Crocodile and the Monkey 20’ 2001-2002 for soprano and orchestra The Crocodile and the Monkey 20’ 2001-2002/2005 The Frog and the Nightingale 16’ 2003 The Hare and the Tortoise 25’ 2005 for soprano, mezzo-soprano, baritone and orchestra source text: Vikram Seth Beastly Tales from Here and There Deus, Deus Meus from Westminster Mass 7’ 1997 for treble or soprano and double choir Douai Missa Brevis 12’ 2001 for soprano, baritone and choir fff "Fulham Festival Fanfare" 1’ 2002 for organ I dream'd Garland for Linda 5’ 1990/1999 for string quartet If I Don't Know cycle of 7 songs 22’ 2003 for soprano and piano Laughing Song 3’ 2000 for mixed choir a cappella, text: William Blake source text: Songs of Innocence & Experience


panufnik worklist

Leda 30’ 2003 ballet on a scenario by Cathy Marston Letters from Burma 12’ 2004 for oboe and string quartet Little Polish Suite 7’ 1987 for flute, oboe, clarinet in Bb and bassoon Mine Eye A love song text: William Shakespeare 4’ 1999 for mezzo-soprano and piano or for mezzo-soprano and strings 4’ 1999/2000 The Music Programme chamber opera in 1 act 75’ 1999 Oh, Kreisler! 4’ 1998 for violin and piano Olivia text: William Shakespeare 14 - 16’ 1996 for string quartet and optional children’s choir Piano Tuner, Untune Me That Tune text: Ogden Nash 5’ 1994 for narrator and piano Powers & Dominions 14’ 2001 Concertino for harp and orchestra Prayer text: George Herbert 5’ 2000 for soprano and double choir or for brass tentet Private Joe 20’ 2000 for baritone and string quartet or for baritone and string orchestra Remember 4’30’’ 2000 for tenor recorder and harpsichord Second Home 8’ 2003 for piano Sleep, Little Jesus, Sleep — Lulajze Jezuniu from Angel Sing! 3’ 2000 for soprano, mixed choir and organ Spirit Moves 15’ 2001 for brass quintet



Spring text: Gerald Manley Hopkins 8’ 1997 for double choir and organ or piano Suite Memories 6’ 2000 for wind band Sweet Love Remember’d 5’ 2005 for alto and piano, text: William Shakespeare The Sweet Spring 12’ 2004 for voices and piano, text: Thomas Nashe 5’ 1999 Time Piece text: Christina Jones 7’ 1995 for 3 female voices, 2 male voices, guitar and cello Undiscover'd Country 9’ 2000 for violin and double choir, text: William Shakespeare The Unexpected Heart 4’ 2003 for baritone and piano The Upside Down Sailor 23’ 1998 for narrator and wind nonet, text: Richard Stilgoe Virtue text: George Herbert 6’ 1992 for mezzo-soprano and string orchestra Westminster Mass 28’ 1997 for treble or soprano, mixed choir and orchestra or for treble or soprano, mixed choir and organ or for treble or soprano, mixed choir, tubular bells, harp and organ A Wind at Rooks Haven text: Mel Cox 5’ 1997 for mezzo-soprano and flute or for mezzo-soprano and clarinet The Young Wizard for piano 2004 Inkle and Yarico opera, text editor: Jonathan Moore 135’ 1996 (arranged and orchestrated from the harpsichord score of Dr Samuel Arnold’s 1787 work) Korean Elegy Roxanna Panufnik and Kim Yun Joon (*1916) 5’ 2000 for cello and orchestra Modlitwa (Prayer) for string quartet or 5’ 1990/1999 for mezzo-soprano and piano or for soprano (mezzo-soprano) or unison choir and string quartet text: Jerzy Pietrkiewicz, completion of a song by Andrzej Panufnik Flight of the Bumblebee — Der Hummelflug 3’ 1900 from the opera "Skaska o Zare Saltane" by N. A. Rimsky-Korsakov for cello and orchestra; arranged by Roxanna Panufnik (2005)



UNIVERSAL EDITION Austria: A-1015 Vienna, PO Box 3 tel +43-1-337 23 - 0, fax +43-1-337 23 - 400. Great Britain: 48 Great Marlborough Street, London W1F 7BB tel +44-20-7437-6880, fax +44-20-7292-9173. USA: European American Music Distributors LLC 35 East 21st Street, 8th Floor, New York, NY 10010 tel +1-212-871-0230, fax +1-212-871-0237. Web: Chief Editors: Angelika Dworak and Eric Marinitsch Contributors: Bálint András Varga, Angelika Dworak, Eric Marinitsch, Angelika Dworak, Rebecca Dawson, Marion Hermann, Pippa Patterson and Nick Cutts Design: Egger & Lerch, Vienna Photo Credits: Photo by Stone / courtesy of the Kurt Weill Foundation for Music New York, Alfred Schlee, Frank Helmrich, Manon Praetorius, Eric Marinitsch (6), Keith Saunders / Arena PAL (3), Theater Kiel / Olaf Struck, Martina Holmberg, Rolando Paolo Guerzoni, Barbara Monk-Feldman, Nederlands Dans Theater / Hans Gerritsen, Kurt Weill Foundation for Music, Philips / Carol Friedman, Hunnia Filmstudio / Kertész Gyula, Hilda Reis, UE Archiv, Mats Lundqvist, Godfried de Groot, Salzburg Festival; CD: LMIPCCD, col legno, EMI, WDR.

UE Newsletter Summer 2006 English  

Summer 2006. The latest news on Universal Edition composers and their works

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