13 Harrison Birtwistle. A new ceremony
04 Luke Bedford. New to UE
05 Saed Haddad. New addition to the UE portfolio
32 Gustav Mahler. The five movements of Symphony No. 10
Victoria BorisovaOllas Salman Rushdie staged in Manchester
newsletter 03/07 â€˘ summer 2007
COMPOSERS Luke Bedford — 4 Saed Haddad — 5 Borisova-Ollas — 7 Rihm — 9 Baltakas — 11 Staud — 11 Sotelo — 12 Panufnik — 12 Birtwistle — 13 Pärt — 14 Haas — 15 Schnyder — 15 Schwartz — 17 Halffter — 18 Kurtág — 18 Berio — 19 Boulez — 21 Stockhausen — 21 Kagel — 22 Schnittke — 22 Ligeti und Kodály — 23 Bartók — 24 Casella — 24 Weill — 25 Weigl — 25 Braunfels — 27 Schoeck — 28 Schmidt — 28 Martin — 29 Milhaud — 29 Szymanowski — 30 Marx — 30 Schreker — 31 Strauss — 32 Gustav Mahler — 32 Alma Mahler — 32 Janácek — 33
Berg — 34 Schönberg — 35 Webern — 36 David Bedford — 37 Patterson — 37 RETROSPECTIVE Respighi — 26 Liebermann — 26
ANNIVERSARIES — 38 - 39 WORLD PREMIÈRES — 40 - 41 NEW RELEASES — 42 - 43 NEW ON CD + DVD — 44 - 45 WORKLIST Stockhausen — 46 - 47 ACKNOWLEDGEMENTS — 48
Dear Readers, Just before going to press we received these two important news items: The construction of a new opera house for children has begun in Dortmund this April, following two years of planning. The building will seat 99 and be open ready for the next season. Two productions per season with 30 performances are planned, and children are to play the main role on the stage of the new house. The Children’s Opera in Cologne on the other hand is celebrating its 10th birthday this year. An illustrated book will be forthcoming to accompany this success story. We are also keeping up with the boom of children’s operas: as of today, UE publishes Das Kinderfüchslein (The Children’s Vixen), a version of Leos Janácek’s opera Das schlaue Füchslein suitable for children, by Alexander Krampe and Ronnie Dietrich. The world premiere in Zurich was enjoyed by 1300 enthusiastic children – they’re the audience of tomorrow. We’re looking after them today! The Editorial Team
whilst in receipt of a Mendelssohn Scholarship.
New to UE UE is delighted to announce a new addition to the catalogue – that of British composer Luke Bedford. In April 2007 Bedford’s new work for orchestra Outblaze the Sky received a critically acclaimed world première at the hands of Daniel Harding and the LSO, and just a month later, Bedford’s songcycle Or voit tout en aventure was nominated for a prestigious Royal Philharmonic Society prize, in the category for large-scale composition. Born in 1978, Bedford’s works have been performed successfully throughout Europe, Japan and the USA. He studied composition with Simon Bainbridge and Edwin Roxburgh on a scholarship at the RCM, and then gained his MMus at the RAM, studying with Bainbridge
Among his honours are the RPS Composition Prize for under-29’s (2000), Second Prize in the Toru Takemitsu competition in Tokyo (2001) and the BBC Radio 3 Listeners’ Award at the British Composer Awards (2004). Most recently, he won the selected work in the under-30 category at the UNESCO International Rostrum of Composers (2005). He has received commissions from the BBC, NDR and the RPS (for the London Sinfonietta), and in 2004 he was selected to take part in the London Sinfonietta’s seminal Blue Touch Paper project; Or voit tout en aventure was the outcome, and has already been taken up by Ensemble Modern and BCMG (next performance: 15 June at the Aldeburgh Festival with BCMG and Knussen). Forthcoming commissions include a 20’ piece for the BBC NOW, which will be premièred in December 2007, a new piece for BCMG, to be premièred in Spring 2008 and a work for the Sing-Akademie zu Berlin for the 400th anniversary of Milton.
New addition to the UE portfolio The first thing that strikes you about the website of Jordanian composer Saed Haddad (b. 1972) is the proud, energetic and elegantly embellished Arabic calligraphy of his name – and, right underneath it, the same name in plain Roman script. You don’t need to ponder this dichotomy for long, however – the composer helps you out with a statement composed in English, whose very first sentence comes straight to the point. He is, he says, ‘a Christian Arab and a Western contemporary music composer’. And, as such, he is an ‘other’ in every sense of the word: ‘otherness’ is a key concept for his work. Yet Haddad, who lives in northern Germany, has also succeeded in
establishing a place for himself in European musical life. His works are performed by leading ensembles (Ensemble Modern, Nieuw Ensemble, London Sinfonietta) and commissioned by the leading festivals like Donaueschingen. For example, the Arditti Quartet gave the first performance of Joie voilée at the Donaueschingen Festival in 2006, and the positive reception of this première by critics and professionals has led to a second commission: Haddad has been asked to write a work for Donaueschingen 2008, this time entrusted to Ensemble Modern. Saed Haddad’s music represents a new addition to the UE portfolio, and both composer and publisher are embarking on an adventure which they look forward to full of optimism and joy. www.saedhaddad.com
Salman Rushdie staged Shortly after it appeared in 1999, Salman Rushdie’s novel The Ground Beneath her Feet fell into the hands of Victoria BorisovaOllas. This book exerted on her a quite special kind of fascination: a complex, many-layered novel whose core is a love story – a modern variant of the myth of Orpheus and Eurydice – and which at the same time skilfully interweaves countless Western and Eastern myths. It was precisely this multi-layered, multi-cultural dimension which so fascinated Borisova-Ollas, and she became convinced that the novel would yield the ideal subject matter for a work of music drama that would also manifest itself on different levels of reality and
imagination. The project matured in her mind over several years before Alex Poots of the Manchester International Festival learned of it, and invited her to realise her idée fixe in Manchester. The result was a musico-dramatic piece for two singers, a narrator and orchestra. The librettist, Edward Kemp, has focused the plot on the fate of the two protagonists Ormus (baritone) and Vina (soprano). In order to do as much justice as possible to the novel’s complexity in its translation to the concert hall, film-maker Mike Figgis (nominated for an Oscar in 1996 for his film Leaving Las Vegas) has directed a silent film to accompany the performance. The first performance of The Ground Beneath her Feet is on 29 June 2007 in Manchester, with Mark Elder conducting the Hallé Orchestra. www.manchesterinternational festival.com
Classical inspiration Wolfgang Rihm has explored the classics of German literature in two of his most recent works. GoetheLieder will receive its première at the Ruhr Piano Festival on 3 June, performed by veteran Rihm interpreters Christoph Prégardien, tenor, and Siegfried Mauser, piano (Essen, 3 June). Rihm has also gladly agreed to a request by Harry Vogt, of WDR, to contribute a new work to a concert coinciding with the Evangelical Church Conference in Cologne, which will also include works by Varèse, Scelsi and Ginastera. The new piece is called Diptychon – according to Vogt,‘the idea of using (high) voice, and setting Hölderlin poems, came only later on’. Stefan Asbury conducts the WDR Symphony Orchestra on 8 June, with Mojca Erdmann as soloist.
mance is on 21 July in Erl (Tyrol), with Nicholas Hodges and the Haydn Orchestra under Gustav Kuhn. Bassoonist Pascal Gallois is giving the premère of Psalmus with the Bavarian State Orchestra under Kent Nagano on 27 July in Munich. Rihm is spending part of the month of August in Davos, whose Festival is devoted to his work. Chamber works both older (for example the piano trio Fremde Szenen III) and newer (like the Clarinet Quintet or the septet En plein air) feature on the programme.
Rihm’s oeuvre has also been enriched by 2 concertante works. His piano concerto for Daniel Barenboim Sotto voce (1999) has now been joined by a sister piece, Sotto voce 2, a commission from the Busoni Piano Competition, the BolzanoFestivalBozen and the Lucerne Symphony Orchestra. First perform-
Audio perspectives Vykintas Baltakas writes as follows of his commission for the Munich musica viva: ‘For a long time I have been trying to construct a non-linear dramatic progression. This is not easy, because we always perceive events in time and space. I also try to discover a sound, an imaginary proto-sonority for the work I’m composing. It must be rich and alive
possessing a state which is never present totally, but only in various different aspects. I am striving towards a drama of audio perspectives.’ The first performance takes place on 6 July at the Herkulessaal in Munich, with Peter Rundel directing the Bavarian Radio SO.
Sydenham Music For the two commissions from the Aldeburgh Festival and European Forum Alpbach, Johannes Maria Staud has written Sydenham Music, a trio for flute, viola and harp which takes its name from the London suburb where he is now living. ‘I’ve always been attracted by this line-up,’ says the composer, who has a great admiration for Debussy’s Sonata for these three instruments. The combination is ‘curiously subdued’ and ‘absolutely pre-ordained for tenderness’; the sonata is a ‘distillation of musical impressionism, a swansong for an entire epoch’. The première takes place on 15 June in Aldeburgh; the first Austrian performance is fixed for 16 August in Alpbach. In Hamburg, the concert programme for 1 June has been supplemented by another Staud piece: the North German RSO is performing Violent Incidents for saxophone solo (Marcus Weiss), wind and percussion.
baltakas / staud
Nocturne The initial stimulus for Night was an engraving by Sean Scully, which Mauricio Sotelo received from the artist’s New York studio after dedicating the première of Wall of Light Black to him. ‘Night begins with a vibrating, very rapid and rhythmically shadowy texture. It approaches and recedes again like a nocturnal image. The whole ensemble becomes a refined percussion apparatus, imitating the special playing techniques of the percussionist Miguel Bernat, who plays with specially prepared beaters. In addition a
kind of sound cascade, always getting louder, gradually develops in the solo part: like a frenzy of very fast rhythmic movements, which recall the rhythmic precision of a flamenco dancer’s extremely rapid stamping.’ (Mauricio Sotelo) The première takes place on 16 June in Porto with the Remix Ensemble, directed by Emilio Pomárico.
A new Dance for London Roxanna Panufnik’s Cavatina and Moravian Dance was commissioned by the Cavatina Music Trust partly to be used for outreach work within schools. The ‘Cavatina’ is a ‘signature tune’, which is easily recognised by young listeners but challenging enough for a professional group to perform, whilst the ‘Moravian Dance’ follows and is based upon a traditional Czech folk melody. The Wihan Quartet premières the work at the Wigmore Hall in London on 26 June and will perform it again on 21 July in Wallingford.
sotelo / panufnik
A new Ceremony June 2007 will be a significant month for music in London, as it is then that the newly renovated Royal Festival Hall will open once more to the public. After being closed for nearly two years for a radical, major refurbishment project, the venue will re-open with a splash: 48 hours of continuous performances beginning at dusk on 8 June followed by a first night gala concert on June 11! To honour the occasion, Harrison Birtwistle agreed to “revisit” his seminal work from 1990, Ritual Fragment, which was originally composed for the London Sinfonietta. The result is Cortege, a ceremony for fourteen musicians, in memory of Michael Vyner, and this will be performed by the London Sinfonietta, one of Southbank
Centre's four Resident Orchestras, as part of the June 11 concert. The newly-composed solos follow the same principle as in Ritual Fragment itself, namely that they are to be played from the single solo position, but for the world première of Cortege the solos have been reworked by Birtwistle in an even more virtuosic style than before. www.southbankcentre.co.uk/ festivals-series/signature-concerts Another work from Birtwistle’s series for the London Sinfonietta – Secret Theatre – will also be featured in June. The first performance, as part of the Spitalfields Festival, will be given on 15 June by the Manson Ensemble (with Baldur Bronniman conducting), and the second performance will take place in Madrid on 25 June, with the Modus Novus Ensemble, conductted by Santiago Serrate.
Sonning Music Prize Since its inception in 1959, the Léonie Sonning Music Prize (EUR 80,000) has established itself as the paramount event in Danish musical life. The prize is awarded annually to an internationally acknowledged composer, performer, conductor or singer. The jury has just announced Arvo Pärt as the 2008 prize-winner, describing Pärt’s work in the rationale for its decision as ‘rich in spiritual overtones’ and as ‘one of the most original voices of our times’. The presentation of the prize will take place in May next year: www.sonningmusik.dk Another distinction, of a quite special kind, has been received by
Gidon Kremer for his 60th birthday: Arvo Pärt presented him with the score of Passacaglia (originally for violin and piano) in a version for 1 or 2 violins, vibraphone (ad lib.) and string orchestra. Kremer is to give the first performance of the new work on 30 June 2007 in Riga. As part of its ‘Nordic Music 2007’ festival, the Musikfestspiele in Saar (Germany) is featuring a composer portrait called ‘Arvo Pärt Triathlon’. Over three days the Estonian Philharmonic Chamber Choir under Tõnu Kaljuste and Paul Hillier are performing important choral and orchestral works, including Passio and the German première of In Principio for mixed choir and orchestra. They are accompanied by the Orchestra of the Pfalztheater, Kaiserlautern: www.musikfestspielesaar.de
Each of the ten instrumental parts of … Einklang freier Wesen … for an ensemble of soloists is at the same time a solo piece (each called … aus freier Lust … empfunden … ). In addition, smaller ‘sub-ensembles’ may be formed from these. On 5 July in Leipzig, Johannes Kalitzke and the Sinfonietta Leipzig present two versions (2 percussionists plus bass clarinet; bass flute plus 2 percussion) as part of a concert evening entitled ‘Wahn!Sinn(?)’ . … aus freier Lust … empfunden … for solo trombone will be given its première on 19 June by Dirk Amrein in Rheinfelden.
Daniel Schnyder’s jazz-inspired Trumpet Concerto – a work that masterfully exploits the wide spectrum of the instrument – has just been released on Marsyas Records (www.marsyas.biz) on the CD “Brass”. Kristjan Järvi conducts the NDR Radiophilharmonie with Reinhold Friedrich as soloist. As a special treat we are offering the full score of the concerto as a download from our website ( w w w. u n i ve r s a l e d i t i o n . co m / schnyderscore) until the end of September 2007. The piano reduction is also now on sale (UE 70029) from your sheet music shop or directly from our webshop www.universaledition-shop.com.
After the première of ….... for viola and six voices in Stuttgart in February 2006, the press spoke of a ‘lively, genial piece full of enigmatic humour and creative wit’. The work will receive what is already its third performance on 14 June in Berlin, with the Neue Vocalsolisten Stuttgart and Barbara Maurer.
haas / schnyder
documenta 12 The Kassel documenta is an international exhibition of modern art held every 4-5 years since 1955, which sets itself the goal of documenting the international contemporary art scene. Quite early on the documenta gained a reputation as one of the most important exhibitions of contemporary art in the world. As part of the supporting programme for documenta 12, Jay Schwartz has been invited to realise his impressive sound installation Music for 8 Autosonic Gongs (for eight electro-acoustically operated tamtams and Chinese gongs). The installation will be running from 16 June to 23 September in the St Martin church in Kassel. Schwartz explains his concept of the ‘autosonic gong’ as follows: ‘The instrument is set in vibration by an electro-acoustic process,
without any contact. The sounds produced this way are therefore entirely organic – neither electric, nor electronically amplified. A microphone is placed very close to the front of the tam-tam, and a loudspeaker suspended on the other side. An electro-acoustic feedback loop is created simply by switching on and controlling the loudspeaker microphone circuit. The tam-tam picks up the feedback, begins to vibrate with its own personal resonance, and becomes independent. The feedback remains inaudible. The instrument speaks with the primal screams inhabiting its innermost depths.’ In addition, as part of the musical programme accompanying the documenta 12, the premiere of Music for Flute will be given (Evelyn Degen, fl), and a portrait concert on the 24th June will include Music for 12 Cellos, Music for Six Voices and Music for Chamber Ensemble. (St Martin’s, Kassel)
Lazarus in Kiel A commission to write an opera is often the highpoint of a composer’s life, testifying as it does to great trust and esteem. But it is rare indeed that a composer receives two commissions from one and the same opera house within the space of a few years. This, however, is what has happened to Cristóbal Halffter. The Kiel Opera, which gave the German première of the reduced version of Don Quijote in 2006, has now – encouraged by the piece’s success – commissioned Halffter’s next opera Lazarus, which will have its première on 4 May 2008. As early as this autumn (details to follow) Rafael Frühbeck de Burgos will give the first performance of the Introduction and Scene II at the Burgos Festival: the German première will take
place under Georg Fritzsch on 16–17 March 2008 in Kiel. Fandango has its first US performance on 2 July at the Aspen Festival. KURTÁG
Important early works Almost ten years passed after the String Quartet before György Kurtág completed, in 1968, what remains one of his most important works today, The Sayings of Péter Bornemisza. Elena Vassileva and PierreLaurent Aimard are presenting this ‘concerto’ on 21 Aug in Hamburg. The Four Capriccios were Kurtág’s first work for voice and ensemble. Composed in 1970-1, and revised in 1997, it features in the programme of Christine Whittlesey and Ensemble Kontrapunkte under Peter Keuschnig on 18 June in Vienna.
Cristóbal Halffter Don Quijote Kiel 2006
halffter / kurtág
Synonymous Even during his lifetime Luciano Berio was regarded as a modern master – his music played a crucial role in shaping the second half of the 20th century. Two works especially immediately spring to mind as ‘synonymous’ with him: the Sequenzas and Sinfonia. Berio’s pieces for solo instruments, the Sequenzas, are ‘written for performers whose virtuosity is above all a virtuosity of knowledge’. The Sequenzas attempt to expand the horizon of instrumental possibilities from the standpoint of the instrument itself. Berio dedicated his last completed Sequenza, Sequenza XIV, to the cellist Rohan de Saram, who had introduced Berio to the traditional instruments of his native Sri Lanka. Influences of a percussive nature in particular are incorporated in this Sequenza, which, since its 2003 première, Rohan de Saram has already played dozens of times all over the world, and which can be heard again in the coming months in Toronto (3 June), York (26 June) and Lisbon (17 July).
Symphony No. 2, the Resurrection. Antonio Pappano is conducting no less than five performances of Sinfonia in the coming months: on 14 July in Sienna, 16 July at the BBC Proms in London, and on 13, 14 and 15 October in Rome, to inaugurate the concert season of the Orchestra Nazionale di Santa Cecilia.
Sinfonia for 8 singers and orchestra was written in 1968 for Leonard Bernstein in New York and laid the foundations of Berio’s international reputation as a composer. At the heart of the Sinfonia is the tonguein-cheek adaptation from Mahler’s
European Highlights Three important performances of seminal works by Pierre Boulez take place over the next three months. There will be a performance of Pli selon pli on 5 June in Amsterdam; Reinbert de Leeuw will conduct the ASKO Ensemble, with soprano Barbara Hannigan. Then, on 30 June, the Mahler Chamber Orchestra performs Mémoriale (soloist Chiara Tonelli) at the Festival d'Aix-en-Provence, conducted by Daniel Harding, who also led the LSO in a ravishing performance in London in April.
Our third featured performance, of Dérive 2, will be given by the London Sinfonietta, with conductor Susanna Mälkki. The performance will take place as part of the BBC Proms on 31 July. The 45’ work – for 11 players – toured extensively with the EIC last year (Paris, Milan, Badenweiler, Bern, Nanterre, Madrid), and has also been taken up by other major sinfoniettas such as ASKO and musikFabrik.
In his Kontra-Punkte for 10 instruments, first performed in 1953, Karlheinz Stockhausen fully developed his idea of a ‘pointillist music’. It ‘no longer [consists] of melodic lines, but rather of timbres, rhythms and individual pitches, which are composed more or less as single, atomised events. Musical form dissolves into a strictly worked-out sound process of abstract beauty.’ On 19 June the piece can be heard at the Hochschule für Musik in Saarbrücken.
boulez / stockhausen
Mauricio Kagel Exotica Munich 1962
Exotica Scored for ‘non-European instruments’, Exotica was a commission for the 20th Olympic Games in Munich, 1972. The first performance took place under the direction of Mauricio Kagel, and the instrumentalists included such wellknown new music personalities as Vinko Globokar, Siegfried Palm, Christoph Caskel and Michel Portal. The six participants had to ‘manhandle’ around 200 wind, string and percussion instruments wholly unknown in Europe. Werner Klüppelholz’s programme note makes the composer’s intention clear: he wanted to question ‘the dominance of Western music or “culture”’ or ‘go back to the primeval origins of music-making, when singing was still at one with making sound out of simple, everyday objects’. Ensemble
Modern is performing Exotica and Morceau de concours on 7 June at the Agora Festival in Paris.
Polystilistic With his String Quartet No. 3 (1983), Alfred Schnittke embarked on a new stylistic path. While in earlier pieces the musical quotations often had an ‘irritating’ effect and were consciously introduced as contrasting, alien presences, here the citations used (from Beethoven and Lassus) are, for the first time, introduced into the musical flow and even brought into a relationship with one another. A new version for string orchestra by Peter Manning is now available. Numerous national premières are already planned, and study scores are available for perusal.
kagel / schnittke
LIGETI AND KODÁLY
Classic Hungarians When György Ligeti’s Atmosphères premièred at the 1961 Donaueschingen Festival, it caused a sensation. The work’s static iridescence so fascinated its listeners that they demanded an immedediate repeat performance. Ligeti had flung the door wide open to new worlds of sound and structure. Some idea of how revolutionary his work was may be gained from a glance at the study score: narrow and tall, it looks like a miniature skyscraper, with up to 87 staves piled on top of one another, each of them representing one instrumental part. Even now, Ligeti’s soundscape has lost none of its overwhelming effect. Attaining
popularity through its use as film music for Stanley Kubrick’s 2001: A Space Odyssey, it can be heard in Spain on 14 and 15 June (Seville, Orquesta Sinfonica de Sevilla/Marc Soustrot) and at two of the most important festivals: in Salzburg on 30 August and in Lucerne on 8 September. Daniel Barenboim, who is conducting the Vienna Philharmonic in Salzburg on 30 August, is taking two other classic scores along with him: Béla Bartók’s Music for Strings, Percussion and Celesta, the most important work of Bartók’s middle period (first performed 1936), and Zoltán Kodály’s Dances from Galánta. When Kodály composed this orchestral piece in 1933, he used musical impressions of a gypsy band from Galánta, a Hungarian village where he had spent seven years as a child.
Zoltán Kodály, Budapest
ligeti / kodály
Béla Bartok, The Miraculous Mandarin, Teatro alla Scala di Milano
The stage works
Michelle de Young and Albert Dohmen (27 August).
CASELLA Béla Bartók’s sole opera, Duke Bluebeard’s Castle, and his two ballets The Miraculous Mandarin and The Wooden Prince are established repertory pieces. The Grand Théâtre in Geneva is producing Bluebeard and Mandarin together (first night 20 June). Taking the stage here is one of the best Bluebeard interpreters in the world, László Polgár, who portrays the Duke as a vulnerable, pitiful human being. Petra Lang sings Judit, Denis Marleau and Stéphanie Jasmin direct, and Thomas Rösner conducts; choreographer of Mandarin is Kader Belarbi. The opera can also be seen at Welsh National Opera which tours to Birmingham, and in concert form at the Lucerne Festival with James Levine at the rostrum, and soloists
Italianità Alfredo Casella was one of the most popular Italian composers of the 20th century. In his compositions he succeeded in showing how a typically Italian style could still be integrated into modern music. In his orchestral rhapsody Italia (1909), Casella depicted in music Sicilian and Neapolitan life. Thanks to Marzio Conti and the Dortmund Philharmonic Orchestra, this Italian zest for life has already been successfully communicated to Dortmund audiences several times this February. Funiculi, funiculà … !
bartók / casella
WEILL / BRECHT
… off to Spoleto Since it was established in 1977 by Gian Carlo Menotti, the Spoleto Festival USA has developed into one of the most important showcases for the American music and opera scene. This year’s festival is opening with a new production of Kurt Weill and Bertolt Brecht’s The Rise and Fall of the City of Mahagonny. Emmanuel Villaume, who is also musical director of the opera and the orchestra, is at the rostrum. The production is by Moshe Leiser and Patrice Caurier, who have already produced Janácek’s Jenufa in Spoleto with great success. www.spoletousa.org Luciano Berio’s three Weill arrangments – Le grand Lustucru, The Ballad of Sexual Obsession, Surabaya Johnny – can be heard in an unusual setting on 14 July. They
form part of a Berio concert held under the auspices of the Festival de Saintes in France, which takes place at the Abbaye aux Dames in Saintes. www.abbayeauxdames.org WEIGL
Viennese tradition Schönberg considered Karl Weigl (1881-1949) one of the best composers of the older generation who ‘continued the resplendent Viennese tradition’. His route as a composer did not lead to involvement with twelve-tone music; instead he followed the late Romantic tradition. His one-movement Rhapsodie for string orchestra creates a synthesis between tradition and advanced harmony in the style of Gustav Mahler. The Musici Medici under Jürgen Bruns is playing the work on 15-16 June in the Konzerthaus, Berlin and in Schöneiche.
Kurt Weill Rise and Fall of the City of Mahagonny Spoleto Festival 2007
weill / weigl
Music as seismograph With their sensitive antennae, composers in Italy – as in other European countries – were already reacting to the approaching danger before the outbreak of World War I. Hence at its 1915 première Ottorino Respighi’s Sinfonia drammatica (composed 1913) was interpreted as a reflection of the European situation. This work, one of Respighi’s most ambitious compositions, is heavily laden with
tension and has a underlying mood that perhaps came too close to that of the audience in this second war year. The reaction was correspondingly mixed, and until today, the work has had difficulties establishing itself in the repertoire. The instrumentation (including 6 horns) and duration (ca. 60 min.) may also have contributed to this. The Orquesta Sinfonica de Bilbao and its conductor Tuomas Olilla take up the challenge on 19–20 April, Bilbao.
Unequal marriage More than 50 years after its first performance in Donaueschingen, Rolf Liebermann’s Concerto for jazz band and symphony orchestra, composed in 1954 ‘in strict dodecaphonic style’, has lost none of its fascination. Every year there are several performances, including in 2007 (amongst others) one on 28 April in Vilnius (conductor: Juozas Domarkas). Liebermann saw the piece as an attempt to integrate the popular dances of his day (jump, blues and boogie-woogie) into art music. At the end, both ensembles join together in a mambo.
Walter Braunfels Die Vögel Teatro Lirico di Cagliari 2007
Opera composer makes come-back In the 1920’s Walter Braunfels belonged, alongside Franz Schreker and Richard Strauss, to the most successful group of opera composers of the German-speaking world. It was his lyrical, fantastic work Die Vögel that provided his breakthrough as an opera composer. The opera was first performed in Munich in 1920, under Bruno Walter. Aristophanes’ comedy The Birds, from which Braunfels fashioned his libretto, is itself already a political piece, an anti-war play. During the Nazi period all performances of his works were forbidden on account of his half-Jewish origins. Only since the 1990’s has Die Vögel once again been able to conquer the world’s opera stages. On 27 April 2007 the first Italian
performance took place at the Teatro Lirico of Cagliari in Sardinia, in Giancarlo Cobelli’s new production and under the musical direction of Roberto Abbado. www.teatroliricodicagliari.it There’s another Braunfels rediscovery to look forward to at the Munich Prinzregententheater: his musical comedy Don Gil von den grünen Hosen will be performed there in a concert version on 6 and 13 June, conducted by David Stahl. www.staatstheater-am-gaertner platz.de And the first staged performance of Scenes from the Life of St Johanna, in April 2008 at the Deutsche Oper in Berlin, is already making the headlines: enfant terrible Christoph Schlingensief has been engaged as director.
Celebrating 70 Othmar Schoeck
A Swiss musical language Featured in the Festival Strings concert at the Lucerne Festival on 19 August is Notturno by the important, but still neglected Swiss composer Othmar Schoeck (1886-1957). This 45-minute, five-movement work for low voice and string orchestra, dating from 1931–3, is partly based on poems by Gottfried Keller, a close friend of the composer, whose poetry he set several times. The soloist at this performance is Matthias Goerne; Achim Fiedler conducts.
Even today, Franz Schmidt’s setting of the Apocalypse of John, The Book with Seven Seals, is considered to be the greatest and most moving oratorio of modern times. 70 years after its completion (2 years before his death – a truly final work), the work is to enjoy its first Cologne performance, with the Cologne Symphony Orchestra and the choir of the Cologne Bach Society under the direction of Thomas Neuhoff (7 June). The Australian Nicholas Milton is also conducting The Book with Seven Seals with the Jena Philharmonie in Weimar and Jena (25–7 May and 1 June) with soloists from the German National Theatre of Weimar. Fabio Luisi is conducting the Symphony No. 2 in Vienna in May and June, with the Vienna SO. And in Karlsruhe the disturbing Symphony No. 4, ‘Requiem for my Daughter’, is receiving performances on 3 and 4 June, with the Badische Staatskapelle under Uwe Sandner.
schmidt / schoeck
Pilate At Easter, concert promoters and conductors often turn their thoughts towards Frank Martin’s great oratorio Golgotha; it is rarer that his cantata Pilate wins their vote. From the point of view of its subject matter, Pilate would be just as relevant if the figure of Jesus were omitted: influenced by Arnoul Gréban (d. 1471) and his Mystère de la Passion, Martin concentrated on the inner conflicts of Pilate, who despite his conviction that Jesus is innocent must still condemn him to death (Warsaw, 6 April, Polish RSO and Chorus / Lawrence Foster). When, in the summer of 1944, Martin received a commission from Radio Geneva to compose a vocal work that could be broadcast at the end of the war, he was certain that it ought to have a religious character. He wrote In terra pax, which is to be performed in Dresden and Leipzig on 3 and 5 June under Harmut Haenchen.
from 3–6 minutes – even within such minuscule confines Darius Milhaud could create something lasting. The Abduction of Europa, one of his three ‘opéras-minutes’ (first performed in 1927 in BadenBaden, along with Weill’s Mahagonny Songspiel) is being presented on 22 June at Regensburg University, conducted by Bernhard Hofmann. And all five of the symphonies were performed by Collegium Musicum on 6 May, at Schloss Johannisburg in Aschaffenburg.
Miniatures A ten-minute opera, five symphonies for 7-10 instruments lasting
martin / milhaud
MDR Symphony Orchestra
Clear form Credited with the renewal and reform of Polish music, Karol Szymanowski created in his Stabat mater (1926) a work which is deeply rooted in tradition and expresses a homely piety. The simple structure, clear form, astringent harmony and spare orchestration single the work out as a formal and compositional tour de force, whose purity and formal logic hold the listener spellbound. Szymanowski here renounced diversity of expressive means in favour of maximum concentration. The work is receiving several performances in the coming months, including one with the MDR Symphony Orchestra and Choir under Hartmut Haenchen at the Kreuzkirche, Dresden on 3 June (Leipzig, 5 June) as part of the Dresden Music Festival, and three others at the
Schleswig-Holstein Festival, with the Cappella Istropolitana under Rolf Beck (1–4 August).
Music for festive occasions In 1928 Joseph Marx wrote Eine festliche Fanfarenmusik for 22 brass instruments, 2 (or 4) timpani and snare drum. The solemn character of this work, just under 5 minutes long, makes it perfect as a curtain-raiser for a concert or dignified introduction to an important event. Marx’s Festive Fanfare Music resounded in Vienna to mark his 125th birthday (he was born on 11 May 1882), performed by the ÖGZM Wind Ensemble under Werner Hackl. To learn more about the composer, visit www.josephmarx.org
szymanowski / marx
The chamber work Der Wind, after a poem by Grete Wiesenthal, will be heard in Finland (Kuhmo, 15 July). STRAUSS
If music was ‘thought’ for Arnold Schönberg, for Franz Schreker it was, primarily, ‘sound’. In his opera Die Gezeichneten, alongside moments of decadence, the opposition between art and life takes centre stage above all else. Since the acclaimed Salzburg Festival performance in 2005 (conducted by Kent Nagano) the work has found more sympathy. Now it is being accorded its rightful status in Amsterdam (Het Muziektheater Amsterdam, conducted by Ingo Metzmacher, 3 June). Director is Martin Kusej. Schreker’s Nachtstück (the interlude from Act 3 of the opera Der ferne Klang) is being performed by Sylvain Cambreling on the occasion of Michael Gielen’s 80th birthday, with the SWR SO Baden-Baden (Berlin 2 July, Freiburg 4 July).
Wanderers Sturmlied, op. 14 Richard Strauss was 20 years old when, while working in Meiningen, he set Goethe’s poem for six-part mixed chorus and orchestra. Looking back, he wrote about it in his Observations and Memories: ‘The fruits of my infatuation with Brahms at that time (under Bülow’s suggestive influence) were the ‘Wanderers Sturmlied’ and the ‘Burleske.’’ The remarkably precocious piece, which demonstrates both heroic and meditative features, can be heard at Hamburg University on 1 July under Bruno de Greeve.
Franz Schreker Die Gezeichneten Salzburg 2005
schreker / strauss
The Symphony is the World Gustav Mahler’s symphonies continue to dominate orchestral repertoire worldwide, and indeed there are a number of important performances taking place in the coming months. Firstly, Symphony No. 8 can be heard in Vienna on 18 and 19 June performed by the Vienna Philharmonic under the baton of Fabio Luisi. Then, on 1 July Symphony No. 10, completed by Rudolf Barshai, can be heard in Berlin, with Gabriele Ferro conducting the Orchestra Giovanile Italiana. Symphony No. 1 will be performed on 27 & 28 July by the Vienna Philharmonic and Franz Welser-Möst as part of the Salzburg Festival, and the same orchestra will also perform Symphony No. 9 in Salzburg,
on 27 & 31 Aug, this time conducted by Simon Rattle. Symphony No. 3 will be performed by the Lucerne Festival Orchestra on 18 & 19 Aug (Lucerne) and on 22 Aug (London), with Claudio Abbado conducting. ALMA MAHLER
Lieder in Weimar Alma Mahler was a muse to many artists – Kokoschka, Zemlinsky and Mahler himself, to name but three – but her own music is heard all too rarely. However, since the sensitive orchestrations of her Lieder by the UK composers Colin and David Matthews have become an established part of the repertoire, this situation has improved. There will be two performances of her 7 Lieder (by Staatskapelle Weimar) on 10 and 11 June; the soloist will be the mezzo-soprano Iris Vermillion, and the conductor Jac Van Steen.
alma + gustav mahler
Leos Janácek From the House of the Dead Vienna Festival 2007
Truth and beauty ‘Truth does not preclude beauty. On the contrary: we need more of both.’ This was how Leos Janácek once formulated his aesthetic credo, to which he remained faithful to the end. It also holds true for his last, and unfortunately far too rarely performed opera From the House of the Dead (after sketches by Fyodor Dostoevsky, 1862). The topicality of the subject matter and the boldness of the musical setting still shock today. Pierre Boulez (conductor) and Patrice Chéreau (director) have produced the opera for the Wiener Festwochen, and the production can now be seen at the Holland Festival (29, 31 May; 2 June) and the Festival d’Aix-en-Provence (16–22 July). Further performances of Janácek operas include: The Excursions of Mr Broucek (Theater Lübeck, 17
June), the Brno version of Jenufa (London, Opera Holland Park, 6 June); the Prague version of Jenufa (Hamburg Staatsoper, 13 June), Katya Kabanova (Theater Düsseldorf, 3 June; Theatre Royal, Nottingham 7 June; Theatre Royal, Newcastle 14 June; The Lowry, Salford, 21 June) and The Makropulos Affair (Pfalztheater, Kaiserlautern, 6 June). And now there’s also Janácek for children: The Children’s Vixen, after the opera The Cunning Little Vixen, by Alexander Krampe (arrangement) and Ronnie Dietrich (text) for 12 instrumentalists and singers. It’s precisely this work that seems so ideal for introducing children to the world of opera: a fairy-tale story, an original inventive animal world, and accessible motifs and melodies.
The eighth Song In 1928 Alban Berg published his Seven Early Songs, both for voice and piano and for full orchestra. The songs are almost the only ones published from the more than 80 that he wrote before and during his studies with Arnold Schönberg. An eighth Song, An Leukon, was only published posthumously in 1937, and now an orchestra version arranged by Christopher Gordon has been added. The première of this new version – together with the Seven Early Songs – will take place at the BBC Proms on 6 August. Gianandrea Noseda conducts the BBC Philharmonic Orchestra – the soloist is Renée Fleming. Christopher Gordon has written a fascinating essay on the work, exploring Berg’s hidden numbers (the work has 23 bars: Berg’s ‘fate’ number) and letters. The full text can be found at w w w. u n i ve r s a l e d i t i o n . c o m / promotion/anleukon.pdf. The motive behind Berg’s Violin Concerto was the early death of Manon Gropius, the daughter of Alma Mahler and Walter Gropius, which is why the work carries the sub-title To the memory of an angel. Zubin Mehta conducts Gil Shaham and the Israel PO Orchestra at the Salzburg Festival on 22 Aug.
The 3 Pieces for Orchestra – Berg’s musical vision of the horrors of the First World War – will be performed in Dresden by the Staatskapelle Dresden, conducted by Daniele Gatti (1–3 Juli). Pierre Boulez conducts the Berlin Philharmonic in the same work from 7–9 June in Berlin.
A chamber music première Arnold Schönberg’s 6 Orchestral Songs op. 6 of 1904 were composed for large orchestra, which naturally presents an acoustic challenge for the vocal soloist. They are his first orchestral songs, predating both the Gurrelieder and the Orchestral Songs op. 22. For practical reasons, in the course of the years various arrangements were prepared for the forces of the Society for Private Musical Performances – including some by Schönberg himself, as well as by
Hanns Eisler and Erwin Stein. The third song in the collection – Sehnsucht – has now been re-orchestrated by Klaus Simon, musical director of the Holst Sinfonietta. In his pared down version the balance between singer and orchestra is less problematic and permits performance by a lyric soprano. The first performance of all six songs together in the chamber music arrangement took place on 13 May in Wasserschloss Nordkirchen (Westphalia); Klaus Simon directed Britta Stallmeister and the Holst Sinfonietta. Alongside works of Luciano Berio, Schönberg’s Pierrot Lunaire is being performed at the Laieszhalle, Hamburg, on 1 July, directed by Simone Young (who also plays the piano in the performance). Verklärte Nacht is receiving performances in Paris and Geneva as well as at the Salzburg Festival under Metzmacher and at the Lucerne Festival under Zubin Mehta. Also in Lucerne and Salzburg, the WestEastern Divan Orchestra under Daniel Barenboim is playing the Variations for Orchestra, op. 31.
Anton Webern and Helmut Zenk
Sensuous experience ‘To surrender oneself utterly to the listening experience’ – this is what Anton Webern’s music demands. ‘To recognise sounds, to experience them sensuously’ – these are the composer’s main concerns. His works are among the most important compositions of the 20th century and represent the most radical and logically consistent continuation of the 12-tone technique developed by Arnold Schönberg. ‘He could express a whole novel in a sigh’, said Schönberg of his compressed writing style. His first masterpiece, the Passacaglia for orchestra op. 1 (first performed in 1908) is a remarkable testimony to Webern’s handling of the late Romantic orchestral apparatus as well as to his clear formal organi-
sation of its 269 bars. Marek Jankowski is performing it with the RSO Berlin on 2 and 3 June at the Berlin Konzerthaus. Up until 1914,Webern wrote musical aphorisms of unheard-of brevity, extraordinarily radical in the fragility of their gestures. In Webern’s case, working processes orientated around the molecular level replaced the customary obsession with expansive creativity. The Artis Quartet is performing the Five Pieces op. 5 and Six Bagatelles for String Quartet op. 9 on 23 August at the Salzburg Festival. The Six Pieces for Orchestra op. 6 marked Webern’s transition to free tonality and gave expression to psychological states that overwhelmed him directly before and after his mother’s death. The première in Vienna in 1913 unleashed an incredible uproar. Pierre Boulez is conducting the work with the Berlin Philharmonic in Berlin (7–9 June) and Aix-en-Provence (7 July).
70th Birthday We extend our warmest wishes to composer David Bedford, who celebrates his 70th birthday on 4 August 2007. The composer studied with Lennox Berkeley in London and then with Luigi Nono in Venice. For over 40 years he has received commissions from major orchestras, festivals and artists throughout the UK, and has also written and orchestrated many works for film and TV programmes. Bedford also writes music for educational purposes and is in frequent demand for creative workshops in the UK and overseas.
music. As part of the celebrations, the Hampstead and Highgate Festival invited the New London Orchestra and the Highgate Choral Society to perform Stabat Mater on 12 May, conducted by Ronald Corp.
Birthday Celebrations David Bedford Paul Patterson celebrates his 60th birthday this year, and has long been at the forefront of new music. He was influenced by Penderecki and Lutoslawski and taught by Richard Rodney Bennett at the Royal Academy of Music, where he himself now teaches, and his output includes everything from aleatoricism to simple sacred
bedford / patterson
2007 75th 70th 125th 60th 20th 80th 125th 125th 125th 75th 70th 60th 50th 50th 125th 70th 50th
Anniv. of Death Birthday Anniversary Anniv. of Death Anniv. of Death Birthday Anniversary Anniversary Anniversary Birthday Birthday Birthday Birthday Anniv. of Death Anniversary Anniv. of Death Birthday
Eugen d'Albert † 03 March 1932 David Bedford * 04 August 1937 Walter Braunfels * 19 December 1882 Alfredo Casella † 05 March 1947 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 Karol Szymanowski * 06 October 1882 Karol Szymanowski † 29 March 1937 Julian Yu * 02 September 1957
Anniv. of Death Anniversary Anniversary Birthday Anniversary Anniversary Birthday Birthday Birthday Birthday Anniv. of Death Birthday Anniversary Anniversary
Cathy Berberian † 06 March 1983 Alfredo Casella * 25 July 1883 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 R. Murray Schafer * 31 October 1933 Tona Scherchen * 12 March 1938 Max von Schillings † 24 July 1933 Karlheinz Stockhausen * 22 August 1928 Eugen Suchon * 25 September 1908 Anton Webern * 03 December 1883
2008 25th 125th 90th 70th 80th 100th 60th 60th 75th 70th 75th 80th 100th 125th
2009 50th 75th 75th 80th 150th 90th 50th 200th 50th 80th 75th 100th 75th 75th 100th 90th 50th
Anniv. of Death Birthday Anniv. of Death Birthday Anniversary Anniversary Anniv. of Death 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 Joseph Bohuslav Foerster * 30 Dec 1859 Roman Haubenstock-Ramati * 27 Feb 1919 Josef Matthias Hauer † 22 September 1959 Joseph Haydn † 31 May 1809 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
Anniv. of Death Anniv. of Death Birthday Birthday Anniversary Anniversary Birthday Anniversary Anniv. of Death
Hugo Alfvén † 08 May 1960 Alban Berg * 24 December 1935 Paul-Heinz Dittrich * 04 December 1930 Cristóbal Halffter * 24 March 1930 Rolf Liebermann * 14 September 1910 Gustav Mahler * 07 July 1860 Arvo Pärt * 11 September 1935 Toru Takemitsu * 08 October 1930 Egon Wellesz * 21 October 1885
2010 50th 75th 80th 80th 100th 150th 75th 80th 125th
VYKINTAS BALTAKAS Scoria for orchestra musica viva, SO des Bayerischen Rundfunks, c. Peter Rundel 06 July 2007 · Herkulessaal München/D HARRISON BIRTWISTLE Cortege a ceremony for 14 musicians in memory of Michael Vyner London Sinfonietta 11 June 2007 · Royal Festival Hall London/GB VICTORIA BORISOVA-OLLAS The Ground Beneath Her Feet a staged performance for 2 singers, narrator and orchestra Manchester International Festival, Hallé Orchestra, c. Mark Elder 29 June 2007 · Bridgewater Hall Manchester/GB GEORG FRIEDRICH HAAS "... aus freier Lust ... verbunden ..." for trombone Dirk Amrein, trb 19 June 2007 · Landesgartenschau Rheinfelden/D ROXANNA PANUFNIK Cavatina and Moravian Dance for string quartet Wihan Quartet 26 June 2007 · Wigmore Hall London/GB ARVO PÄRT Passacaglia for 1 or 2 violins, vibraphone (ad lib.) and string orchestra Kremerata Baltica, c. Gidon Kremer, vln 30 June 2007 · Riga/LV WOLFGANG RIHM Diptychon after Hölderlin’s poetry for high soprano and orchestra WDR SO Cologne, c. Stefan Asbury, Mojca Erdmann, S 08 June 2007 · Cologne/D Goethe-Lieder for tenor and piano Piano Festival Ruhr, Christoph Prégardien,T; Siegfried Mauser, pno 03 June 2007 · Folkwang Hochschule Essen/D
WOLFGANG RIHM Sotto voce 2 capriccio for piano and small orchestra Festival Erl - Haydn Orchestra Bozen-Trient c. Gustav Kuhn, Nicholas Hodges, pn 21 July 2007 · Passionsspielhaus Erl/A
JAY SCHWARTZ Music for 8 Autosonic Gongs for eight electro-acoustically operated tam-tams and Chinese gongs sound installation at documenta 12 16 June - 23 September 2007 · Church St Martin Kassel/D Music for flute Evelyn Degen, fl 24 June 2007 · documenta 12, Church St Martin Kassel/D MAURICIO SOTELO Night for percussion and ensemble Ensemble Remix, c. Emilio Pomàrico, Miguel Bernat, perc. 16 June 2007 · Casa de música Porto/P JOHANNES MARIA STAUD Sydenham Music for flute, viola and harp Aldeburgh Festival, Birmingham Contemporary Music Group 15 June 2007 · Snape Maltings Concert Hall Aldeburgh/GB
PIERRE BOULEZ 2 extraits de “Le Marteau sans Maître” for alto flute UE 33404 JOHANNES BRAHMS Paganini-Variations for piano Urtext Edition ed. by Johannes Behr UT 50172 DAVID BROOKER String Play Around the World for flexible string ensemble (piano ad lib.) UE 21313 MIKE CORNICK Blue Baroque Flute for flute and piano UE 21380 WALTER ERNST HABERL Latin for Alex for cello and piano UE 33349 GYÖRGY KURTÁG Az hit ... for cello solo UE 33372 ARVO PÄRT 4 Easy Dance Pieces Music for children’s theatre for piano UE 33374 Da Pacem Domine for string quartet score and parts UE 33340 JAMES RAE Play it Cool – Viola for viola and piano (CD included) (PLAY ALONG and full version) UE 21369 Jazzy Recorder Duets for 2 alto recorders UE 21395 KURT WEILL Die Legende vom toten Soldaten for mixed choir a cappella chorus score UE 33673
Paganini Variations Urtext edition edited by Johannes Behr; fingering and suggestions for interpretation by Peter Roggenkamp for piano UT 50172
For the first time this new edition draws on all known sources, including two early manuscripts thought to have disappeared after 1945, which were rediscovered in St Petersburg only a few years ago. Brahms
Incorporating revisions from the St Petersburg sources for the first time The Paganini Variations occupy a special place in Johannes Brahms’ piano output. While, according to the title page, a collection of studies, they are at the same time suitable for concert performance. This indeed played a role in Brahms’ own treatment of the pieces. When he conceived the variations, it was still as a collection of individual studies, which Brahms the pianist used as finger exercises. Only in 1865 did he develop this collection of studies into a ‘work’, publishing it in 1866. This dual function of the Paganini Variations is of interest to pianists today because they can not only significantly improve their piano technique with them, but at the same time prepare an extremely effective concert piece.
Paganini Variations UT 50 172
Brahms Paganini-Variationen Behr / Roggenkamp
Wiener Urtext Edition Schott / Universal Edition
LUCIANO BERIO Solo Oslo Philharmonic Orchestra, c. Peter Rundel, Christian Lindberg, trb BIS SACD 1638 LUCIANO BERIO Sonata, Six Encores, Rounds, Sequenza IV Andrea Lucchesini, pn Avie Records AV CD 2104 PIERRE BOULEZ Messagesquisse Members of the Chicago Symphony Orchestra, c. Daniel Barenboim Archive of the CSO CD07-2 PIERRE BOULEZ Douze Notations Daniel Fray, pn Edition Piano Festival Ruhr Vol. 15 CA vi-music 6 CD Box 42 600855053 3 JOSEF MATTHIAS HAUER Romantic Phantasy, 7. Suite for Orchestra, Concerto for Violin and Orchestra, Zwölftonspiel for Orchester RSO Wien, c. Gottfried Rabl, Thomas Christian, vln CPO / JPC CD 777 154-2 LEOS JANÁCEK Taras Bulba, Suite “From the House of the Dead” Janácek Philharmonic Orchestra, c. Christian Arming Arte Nova Classics 74321 67524 2 GEORGES LENTZ Caeli enarrant ... I OS de Radio-Télé-Luxembourg, c. Marcel Wengler Editions LGNM CD GUSTAV MAHLER Symphonie No. 2 Diana Damrau, Petra Lang, Staatskapelle Berlin, Chorus of the German State Opera Berlin, c. Pierre Boulez arte Euroarts Naxos DVD 2054418 FRANK MARTIN 5 Songs of Ariel RIAS Kammerchor, Scharoun Ensemble, c. Daniel Reuss Harmonia Mundi HMC 901834 OTTORINO RESPIGHI Quartetto Dorico New Hellenic Quartet BIS/Classic CD 1454 WOLFGANG RIHM Musik für Oboe und Orchester, Styx und Lethe, Dritte Musik, Erster Doppelgesang SWR Symphony Orchestra Baden-Baden and Freiburg, Hans Zender, Michael Gielen, Jan Latham-König SWR music / hänssler classic / Naxos CD 93.185 DANIEL SCHNYDER Trumpet Concerto Phil. Orchestra of NDR, c. Kristjan Järvi, Reinhold Friedrich, trp Marsyas MAR CD 1802 2
new on cd + dvd
LUCIANO BERIO Folk Songs, Sequenza VI, Chemins II etc. Orquesta de Cámara del Auditoitorio de Zaragoza c.Juan José Olives Columna Música 1CM0143
J. M. HAUER Violinkonzert, 7. Suite, Rom. Phantasie etc. RSO Wien, c. Gottfried Rabl, Thomas Christian, vln CPO / JPC CD 777 154-2
FRANK MARTIN Le vin herbé RIAS Kammerchor, Scharoun Ensemble, c. Daniel Reuss Harmonia Mundi HMC 901935.36
DARIUS MILHAUD Ballade, Cinq Etudes SWR RO Kaiserslautern, c. Alun Francis, Michael Korstick, pn CPO / JPC CS 777 162-2
OTHMAR SCHOECK Für ein Gesangsfest im Frühling MDR Radio Choir and Symphony Orchestra, c. Mario Venzago Claves Records CD 50-2701 ROBERT SCHUMANN Symphonies No. 2 & 4 (orch. by Gustav Mahler) Gewandhausorchester Leipzig, c. Riccardo Chailly Decca CD 475 8352 KAROL SZYMANOWSKI Notturno and Tarantella The Kielce Philharmonic Orchestra, c. Jacek Rogala The Polish Album, GM Records via PWM Edition 2006 PANCHO VLADIGUEROV Vardar Bulgarian Rhapsody, Dreamplay-Suite, 7 Symphonic Bulgarian Dances Radio Symphony Orchestra Berlin, c. Horia Andreescu CPO/JPC CD 777 125-2 HERMANN CONEN (HG.) ARVO PÄRT Die Musik des Tintinnabuli-Stils Book, Dohr Verlag, Köln 2006
new on cd + dvd
KARLHEINZ STOCKHAUSEN Worklist (summary)
Adieu No. 21 for wind quintet 16’ 1966 Aus den sieben Tagen No. 26 for variable instrumentation unlimit. 1968 15 text compositions for intuitive music Carré No. 10 for 4 orchestras and 4 choirs (4 conductors) 36’ 1959-1960 Choral No. 1/9 for mixed choir (SATB) a cappella 4’ 1950 Chöre für Doris No. 1/11 for mixed choir (SATB) a cappella 10’ 1950 Dr. K-Sextett No. 28 for flute, bass clarinet, percussion 3’ 1969 (tubular bells and vibraphone), piano, viola and cello Formel No. 1/6 for orchestra 12’57’’ 1951 Fresco No. 29 for 4 orchestral groups approx. 5 hours 1969 wall sounds for meditation Frühe Noten anthology 1950 - 1951 (Choral · Chöre für Doris · 3 Lieder · Sonatine) Gruppen No. 6 for 3 orchestras 24’25’’ 1955 - 1957 Klavierstücke 1–4 No. 2 for piano 8’ 1952-1953 Klavierstück 5 No. 4 for piano 6’ 1954 Klavierstück 6 No. 4 for piano 26’ 1954/1955 Klavierstück 7 No. 4 for piano 7’ 1954/1955 Klavierstück 8 No. 4 for piano 2’ 1954 Klavierstück 9 No. 4 for piano 10’ 1954/1961 Klavierstück 10 No. 4 for piano 23’ 1954/1961 Klavierstück 11 No. 7 for piano 15’ 1956 Kontra-Punkte No. 1 for 10 instruments 14’13’’ 1952-1953 Kreuzspiel No. 1/7 for oboe, bass clarinet, piano and 11’30’’ 1951 3 percussionists Kurzwellen No. 25 for 6 players 50-65’ 1968 3 Lieder No. 1/10 for alto and chamber orchestra 19’26’’ 1950 Mikrophonie I No. 15 minimum duration 22’ 1964 for tam-tam, 2 microphones, 2 filters and potentiometers (6 players) Mikrophonie II No. 17 for choir (6S, 6B), 15’ 1965 Hammond organ or synthesizer, 4 ring-modulators and tape Mixtur No. 16 for orchestra, sine-wave generators and 2 x 27’ 1964 ring modulators Mixtur No. 16 1/2 for orchestra, sine-wave generators and 2 x 27’ 1967 ring modulators (small instrumentation) Oben und unten for instrumentalists ad lib. minimum duration 40’ 1968 Theatre piece from No. 26 “Aus den 7 Tagen”
Originale No. 12 2/3 musical theatre with “Kontakte” 94’ 1961 Plus minus No. 14 for variable instrumentation min. duration 35’ 1963 Prozession No. 23 for 6 players (tam-tam, viola, min. duration 32’ 1967 electronium or synthesizer, piano, microphonist, filter & level controller) Punkte No. 1/2 for orchestra 27’ 1952/1962/1993 Refrain No. 11 for 3 players (pn and 3 wbl, vlc (or synth) 12’ 1959 and 3 cymbales antiques, vib and 3 cow bells, 3 glockenspiel bars) Schlagtrio No. 1/3 for piano and 2 x 3 timpani 12’ - 24’ 1952/1974 Solo No. 19 for melody instrument with feedback 10 - 19’ 1965/1966 (1 players and 4 assistants) Sonatine No. 1/8 for violin and piano 10’ 1951 Spiel No. 1/4 for orchestra 16’1’’ 1952 Spiral No. 27 for one soloist with short-wave min. duration 90’ 1968 receiver Stimmung No. 24 for 6 vocalists (2 S, A, 2 T, B) ca. 75’ 1967 Stimmung No. 24 1/2 “Paris version” ca. 75’ 1967 for 6 vocalists (2 S, A, 2 T, B) Stop No. 18 for orchestra 20’ 1965 Stop No. 18 1/2 “Paris version” for 18 players in 6 groups 20’36’’ 1969 Telemusik No. 20 for electronics 18’ 1966 Zeitmaße No. 5 for 5 woodwinds 15’ 1955-1956 Zyklus No. 9 for one percussionist 12 - 16’ 1959
The complete UE worklist, with all specific details, can be found at: www.universaledition.com The complete list of all works by Stockhausen is available at: www.stockhausen.org
UNIVERSAL EDITION Austria: P O Box 3, A-1015 Vienna, Austria tel +43-1-337 23 - 0, fax +43-1-337 23 - 400 UK: 48 Great Marlborough Street, London W1F 7BB tel +44-20-7437-6880, fax +44-20-7292-9173. USA: European American Music Distributors LLC 254 West 31st Street, 15th Floor, New York, NY 10001-2813 tel +1-212-358-4999, fax +1-212-871-0237. W eb: www.universaledition.com Chief Editors:Angelika Dworak and Eric Marinitsch Contributors: Bálint András Varga, Angelika Dworak, Eric Marinitsch, Wolfgang Schaufler, Jonathan Irons, Rebecca Dawson, Marion Dürr and Nick Cutts Design: Egger & Lerch, Vienna Photo Credits: Eric Marinitsch (8), Matt Stuart, Jonathan Irons, Keith Saunders, Eva Smirzitz, www.marsyas.biz, Theater Kiel / Olaf Struck, UE-Archiv (6), Imre Varga, Teatro alla Scala / E. Pampolini, Spoleto Festival / Marc Vanappelghem, Respighi Archive, Teatro Lirico di Cagliari / Priamo Tolu, Milkenarchive / Imogen Cunningham, MDR-Sinfonieorchester, Salzburger Festspiele / Bernd Uhlig, Volkswagenbank Residence, Wiener Festwochen / Ros Ribas, Allison Bedford, Festspiele Erl, Kathinka Pasveer; CDs: Columna Música, CPO / JPC (2), Harmonia Mundi. DVR: 0836702