Page 1

13 Wolfgang Rihm

Golden Lion of the Venice Biennale goes to Wolfgang Rihm

36 Alban Berg / E. Kloke

World Première of the new 3-act Lulu at the Copenhagen Opera

19 Luciano Berio / Pierre Boulez

An impressive presentation at the musikfest berlin

29 Kurt Weill / Bertolt Brecht

La Fura dels Baus stages Mahagonny at the Teatro Real in Madrid

Arvo Pärt

75th Birthday on 11 September

1

newsletter thema 04/10 • autumn 2010


Contents

news The Gustav Mahler Blog: new interviews — 4 composers Pärt — 7 Staud — 9 Haas — 11 Rihm — 13 Halffter — 15 Cerha — 15 Sotelo — 16 Baltakas — 17 Borisova-Ollas — 17 Boulez — 19 Berio — 20 Schwartz — 21 Sawer — 21 Lentz — 21 Haubenstock-Ramati — 22 Birtwistle — 22 Stockhausen — 23 Feldman — 25 Einem — 26 Kagel — 26 Wellesz — 27 Weill / Brecht — 29 Braunfels — 29 Martin — 30 Marx — 30 Bartók — 31 Kodály — 31 Liebermann — 32 Denisov — 32 Martin� — 33 Szymanowski — 33 Schreker — 34 Schmidt — 34

= World Première

2

contents 04/2010


Dear Readers, Zemlinsky — 35 Krása — 35 Berg — 36 Schönberg — 37 Mahler — 38 Janá�ek — 39 anniversaries — 40 - 41 world premières — 42 - 43 New releases — 44 - 45 New on cD — 46 - 47 acknowledgements — 48

“I must offer your firm (or its management) my sincere compliments. What a shame my other works were not published by you. With warm thanks, I am, in haste, your most obedient servant Mahler.” These lines written by Gustav Mahler in February 1910 to Emil Hertzka, who had taken over the helm of Universal Edition in 1907, show the publisher’s early commitment to Mahler’s work – long before it became profitable. Even Theodor W. Adorno believed that only Symphony No. 2 would enjoy lasting success. Today we know how Mahler was judged by (musical) history. At the time, however, the publishing of Mahler's works presented an incalculable risk. The philosophy of UE has not changed at all since then. We find the best composers of the day, invest in them, promote them – and hope! The Editorial Team

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universal edition

New interviews on our UE Mahler Blog There are three more new interviews on our Gustav Mahler Blog: Valery Gergiev, Sakari Oramo and Manfred Honeck. For all interviews please go to www.universaledition.com/mahler

Sakari Oramo: “It’s like a foreign language for us Finns. It’s not as natural and it takes more time for us to find this natural pulse of the music. It’s not like for people of Central European origin. (…) The greatest thing that he gave to hu4

news

Sakari Oramo

manity was to open the human soul. And that’s why so many people can adapt themselves to Mahler’s music, can feel the power of the contrasts, of the simplicity and beauty on one part and of the complexity and even the chaotic nature of some other parts of his music.”

Manfred Honeck: “I would ask him to compose more music for soloists. I would like to have a violin concerto by Mahler or a cello or piano concerto. Or, even more, an opera. Personally, I would ask him what he thinks about the meaning of life, about death. That would be a very interesting conversation.” Manfred Honeck

Valery Gergiev

Valery Gergiev: “I feel much more protected when I take all my experience with Shostakovich and look at Mahler’s symphonies. I hear things which maybe people do not find immediately. It’s the intensity and the way the music tries to express what is in your heart or mind. Mahler was a man who was so far ahead of his time that some musicians, especially in New York, simply didn’t understand him. Being a gigantic musician, there’s no doubt he knew everything about instruments and orchestration. He had trouble just being understood … which maybe strongly influenced his early death.”


Mauricio Kagel Kompositionswettbewerb 2010 – Gesucht wurden Stücke für Klavier, die sich an Kinder und Jugendliche wenden und sich daher einer Beschränkung des technischen Schwierigkeitsgrades unterwerfen, die aber andererseits in künstlerischen Ansprüchen keine Kompromisse eingehen und in einer zeitgemäßen Tonsprache den Lernenden

Anregungen,

Erkenntnisse,

neue

Erfahrungen

anbieten:

Erfahrungen über sich selbst und die Welt, in der sie leben. – Mauricio Kagel Composition Competition 2010 – We are looking for piano pieces written for children and young adults which, although

K2010 Reflections Reading a Poem SF_oia

limited in their technical difficulty, remain uncompromising in their artistic aim; pieces written with a contemporary compositional technique which offer the young student stimulus, insight and new experiences: experiences about oneself and the world in which we live. – Mauricio Kagel Kompositionswettbewerb 2010 Spanisch – Gesucht wurden Stücke für Klavier, die sich an Kinder und Jugendliche wenden und sich daher einer Beschränkung des technischen Schwierigkeitsgrades unterwerfen, die aber andererseits in künstlerischen Ansprüchen keine Kompromisse eingehen und in einer zeitgemäßen Tonsprache den Lernenden Anregungen, Erkenntnisse, neue Erfahrungen anbieten: Erfahrungen über sich selbst und die Welt, in der sie leben. – Mauricio Kagel

für Klavier for piano pour piano para piano

Composition Competition 2010 Französisch – We are looking for piano pieces written for children and young adults which, although limited in their technical difficulty,

たて型ピアノ

remain uncompromising in their artistic aim; pieces written with a contemporary compositional technique which offer the young student stimulus, insight and new experiences: experiences about oneself and the world in which we live. – Mauricio Kagel Kompositionswettbewerb 2010 Japanisch – Gesucht wurden Stücke für Klavier, die sich an Kinder und Jugendliche wenden und sich daher einer Beschränkung des technischen Schwierigkeitsgrades unterwerfen, die aber andererseits in künstlerischen Ansprüchen keine Kompromisse eingehen und in einer zeitgemäßen Tonsprache den Lernenden Anregungen, Erkenntnisse, neue Erfahrungen anbieten: Erfahrungen über sich selbst und die Welt, in der sie leben.

UE 13 154

Universal Edition

The goal of the Mauricio Kagel Composition Prize 2010 was to stimulate new music for the piano which is written in the language of our time but can also be played by young pianists, without compromising the artistic quality. The three winning works, selected from 190 entries from 37 countries, have now been published by Universal Edition:

Clay McMillan Reflections Jason Freeman Reading a Poem Juan de Dios Magdaleno SF_oia UE 34990


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3

Fr a t r e s Gi d o n K r e m e r : v i o l i n / Ke i t h J a r r e t t: p i a n o Cantus In Memor y Of Benjamin Brit ten St a a t s o r c h e s t e r St u t tg a r t D e n n i s Ru s s e l l D av i e s: c o n d u c to r Fr a t r e s T h e 12 C e l l i s t s of t h e B e r l i n P h i l h a r m o n i c O r c h e s t r a Ta b u l a r a s a Gi d o n K r e m e r : v i o l i n / Ta t j a n a Gr i n d e n ko: v i o l i n A l f r e d S c h n i t t ke: p r e p a r e d p i a n o L i t hu a n i a n Ch a m b e r O r c h e s t r a S au l i u s S o n d e c k i s: c o n d u c to r C D w i t h 20 0 - p a g e h a r d b o u n d b o o k w i t h t e x t s i n G e r m a n a n d En g l i s h and an introduction by Paul Grif fiths E C M N e w S e r i e s 127 5 / 476 3 879 / U E 3 5 2 2 2

e


pärt

2 premières for a 75th celebration On 11 Sep Arvo Pärt celebrates his 75th birthday. One of the great composers of the last few decades, he has always followed his own path, finding his true voice in the 1970s. A voice which has spoken to and enthralled a world-wide audience. Pärt has received many awards in recognition of his work in recent years, including most recently a lifetime achievement prize at the Istanbul Music Festival. The award was presented on 7 Jun by the president of Turkey (Abdullah Gül) and Estonia (Toomas Hendrik Ilves) in Istanbul. There are a number of concerts in celebration of his birthday in autumn 2010, including two important

world premières: In spe for brass quintet and string orchestra is performed on 9 Sep at the Vale of Glamorgan Festival in Wales. Pärt developed this piece from his vocal work An den Wassern zu Babel sangen wir und weinten. The BBC National Orchestra of Wales performs under Tõnu Kaljuste. www.bit.ly/paert_inspe What does Arvo Pärt have to do with the Eiffel Tower in Paris? The answer can be heard in Paris on 4 Nov: Paavo Järvi conducts the Orchestre de Paris in the première of Silhouette for string orchestra and percussion. Silhouette is, as the subtitle suggests, an homage to Gustave Eiffel. Happy Birthday, Arvo, and many happy returns!

Arvo Pärt 7

pärt


staud

Boulez conducts His numerous world premières testify to Johannes Maria Staud’s standing as the most successful Austrian composer of his generation. None other than Pierre Boulez is to present his new orchestral piece Contrebande (On Comparative Meteorology II) with the Ensemble Modern Orchestra in Paris on 6 Nov. Other performances: 7 Nov in Luxembourg, 8 Nov in Berlin and 9 Nov in Frankfurt. The world première of the new revised version of On Comparative Meteorology, which was commissioned by the Cleveland Orchestra, can be heard at the opening concert of the Festival Musica in Strasbourg on 24 Sep (Orchestre Philharmonique de Radio France under Pascal Rophé). www.bit.ly/staudmusica The same work will receive its Austrian première at the opening concert of Wien Modern, which is focusing extensively on Staud this year (29 Oct, RSO Wien, conductor: Peter Eötvös). Wien Modern will also play host to the world première of Über trügerische Stadtpläne und die Versuchungen der Winternächte (Dichotomie II) – with its title inspired by Bruno Schulz – for string quartet and orchestra (5 Nov, RSO Wien,

Arditti Quartet, conductor: Emilio Pomárico). Lagrein, Sydenham Music and Vielleicht zunächst wirklich nur will be showcased in a portrait concert (10 Nov, Vienna Konzerthaus). www.wienmodern.at One Movement and Five Miniatures for harpsichord, live electronics and ensemble is to receive its Polish première in Warsaw on 17 Sep with the Österreichisches Ensemble für Neue Musik. Esquisse retouchée (Incipit 2) for trombone and bass drum can be heard in Strasbourg/F (26 Sep).

Johannes Maria Staud

9

staud


KLANGSPUREN FESTIVAL ZEITGENÖSSISCHER MUSIK SCHWERPUNKT RUSSLAND, 09.09. – 26.09.2010 DONNERSTAG, 09.09.

20.00 Uhr, Franziskanerkirche, Schwaz Windkraft – Kapelle für Neue Musik Sofia Gubaidulina, Johannes Kalitzke, Sergej Newski

FREITAG, 10.09.

20.00 Uhr, Aula der Sowi Innsbruck Ensemble Modern Edison Denissow, Vladimir Tarnopolski, Olga Rayeva, Heinz Holliger, Friedrich Cerha

SAMSTAG, 11.09.

19.00 Uhr, Franziskanerkloster Schwaz Teilnehmer der Internationalen Ensemble Modern Akademie, Lettischer Radio Chor, Sandor Veress, Heinz Holliger, Anton Webern

SONNTAG, 12.09.

10.00 Uhr, Hotel Grafenast, Schwaz Pilzwanderung mit Komponist Friedrich Cerha, Zitherkonzert mit Martin Mallaun Franz Hautzinger, Manuela Kerer, Georg Friedrich Haas

SONNTAG, 12.09.

20.00 Uhr, Kirche St. Martin Schwaz Teilnehmer der Internationalen Ensemble Modern Akademie Galina Ustwolskaja, Georg Friedrich Haas, Anton Webern, Friedrich Goldmann, George Benjamin, Vladimir Tarnopolski

DONNERSTAG, 16.09.

19.30 Uhr, Kultur- und Veranstaltungszentrum Kiwi, Absam Collegium Novum Zürich Xavier Dayer, Cécile Marti, Rico Gubler, Stefan Wirth

FREITAG, 17.09.

20.00 Uhr, Leokino, Innsbruck Natalia Pschenitschnikova Sopran Alexandra Filonenko Jurjew Den-Film von Kirill Serebrennikow

SAMSTAG, 18.09.

20.00 Uhr. Aula der Sowi Innsbruck Moscow Contemporary Music Ensemble Alexander Mosolov, Alexei Sioumak, Vladimir Deshevov, Dmitiri Kourliandski, Boris Filanovsky, Alexei Sysoev, Sergej Prokofjew

SONNTAG, 19.09.

ab 8.30 Uhr Pilgerwanderung von Scharnitz über Seefeld und Mösern bis Telfs; Abschlusskonzert im Dom zu St. Jakob Innsbruck Sofia Gubaidulina, Alexandra Filonenko, Alfred Schnittke, Tigran Mansurian, Alexander Knaifel, Vadim Karassikov, Eduard Demetz

DIENSTAG, 21.09.

20.00 Uhr, Kultur- Und Veranstaltungszentrum KiWi, Absam Quadrat:sch Extended feat. Zeena Parkins Christof Dienz

MITTWOCH, 22.09.

20.00 Uhr, ORF Tirol Kulturhaus Vladimir Sorokin Der Zuckerkreml – Lesung, Mikhail Dubov, Klavier Olga Rayeva, Alexandra Filonenko, Sergej Newski, Michael Fuchsmann

DONNERSTAG, 23.09.

20.00 Uhr, Kirche St. Martin, Schwaz Asasello Quartett Judith Unterpertinger, Sergej Newski, Sofia Gubaidulina, Peter Jakober

FREITAG, 24.09.

20.00 Uhr Leokino, Innsbruck Ensemble 2e2m Dmitri Kourliandski Musik zum Film Aelita

SAMSTAG, 25.09.

20.00 Uhr, Konservatoriumssaal Innsbruck Orchester der Akademie St. Blasius Luna Alcalay, Valentin Silvestrov, Franz Baur, Vladimir Rosinskij, Alfred Schnittke

SONNTAG, 26.09.

11.00 Uhr, ein Sicherheitsstollen der neuen Unterinntaltrasse KLANG-WORT-INSTALLATION Barbara Hundegger, Christoph Reiserer

SONNTAG, 26.09.

19.30 Uhr, Kirche, St. Martin 16, Schwaz Münchener Kammerorchester Nikolaus Brass, Galina Ustwolskaja, Georg Friedrich Haas, Alfred Schnittke Trio

t +43 5242 73582, www.klangspuren.at


haas

Four world premières limited approximations by Georg Friedrich Haas is a piece for 6 micro-tonally tuned pianos and orchestra. The tuning of the pianos enables music within a scale of 72 equal frequency ratios per octave to be heard precisely. This tonal system enables a far more differentiated composition of merging and friction than the conventional twelve-tone temperament. The piece will receive its

world première in Donaueschingen on 17 Oct (c.: Sylvain Cambreling). Arthur F. Becker (od. Buhr?) was commissioned by the Prinzhorn foundation. Hans Prinzhorn collected drawings by mentally ill patients at the Psychiatric University Clinic in Heidelberg up to the year 1921. Haas’ work refers to a sketch by the patient Arthur F. Becker; a sketch with an intricate, dense web of intertwined lines depicting a landscape. The threatening feeling, however, is created by the blank areas of the sketch. The world première will be held on 22 Oct with KlangForum Heidelberg. www.prinzhorn.uni-hd.de “... damit ... die Geister der Menschen erhellt und ihr Verstand erleuchtet werden ...” was composed for the 550th anniversary of the University of Basel, for 4 saxophones, 8 brass instruments, accordion and organ, 3 string quartets and 2 double basses (all string players also play a second instrument with micro-tonally tuned strings). The piece is to receive its world première on 26 Nov (conductor: Jürg Henneberger).

Georg Friedrich Haas

... wie stille brannte das Licht can finally be heard in the version for soprano and piano. Soloists: Sarah Wegener, s, Cornelius Witthoefft, pno (27 Nov, Luxembourg). 11

haas


dongiovanni e l’uom di sasso biennale musica 2010 23 SETTEMBRE | 2 OTTOBRE www.laBiEnnalE.ORg

Don Giovanni a Venezia Jodlowsky Tadini Zen Filotei Troncatti Tomner Zorzini Marinoni Franceschini Camarero Seidl / Kötter Neue Vocalsolisten Stuttgart Bussotti Paris Dohmen Ligeti Ensemble Intercontemporain Accentus/Axe 21 Romitelli Berio Quartetto d’archi del Teatro La Fenice Corghi Martinsson Lutosłavski Parker /Guy / Lovens + Prati + FurT Longobardi Sciarrino Taglietti ravel Orchestra di Padova e del Veneto Montalti Del Corno Lang Maresz Mitteleuropa Orchestra Verunelli Casale Colasanti Antonioni Castiglioni Ensemble Phoenix Basel Grisey Tarnopolski Vassena Kyburz Michiels Kurtág Boulez Nono Lachenmann Mdi Ensemble Donatoni Aralla Gorli Fuentes Sugiyama Cori Magnanensi Ensemble resonanz Schlagquartett Köln Xenakis Perini Furrer Bartók Malmö Academy of Music Percussion Ensemble Cage Vinao Broström Sandström Latvian Radio Choir Messiaen Ratniece Pärt Feldman Malmö Academy of Music Wind Ensemble Debussy Stravinskij Takemitsu Lindberg Orchestra Sinfonica Nazionale della Rai Rihm Mantovani Ensemble l’arsenale Orchestra dell’Arena di Verona Maderna Brewaeys Matthews Arditti Quartet Bravi Bulfon dall’Ongaro Exit_03


rihm

A bright performance Wolfgang Rihm will be awarded the Golden Lion in Venice on 30 Sep. Schwebende Begegnung, Diptychon and Schwarzer und roter Tanz will be performed as part of the event (Orchestra Sinfonica Nazionale della RAI, conductor: Pascal Rophé). www.bit.ly/biennalerihm Following the great success of Gesungene Zeit, Rihm's first violin concerto written for Anne-Sophie Mutter, she has asked Rihm to write her another: Lichtes Spiel premières on 18 Nov at Carnegie Hall. The orchestration is based on that of Mozart's concertos. Independently of one another, two Italian festivals celebrate Wolfgang Rihm this autumn: MITO Settembre Musica and the Biennale di Venezia.

Turin and Milan will see a number of performances: IN-SCHRIFT, Über die Linie II (17/18 Sep, Orchestra Sinfonica Nazionale della RAI, soloist: Jörg Widmann, conductor: Matthias Hermann), Et Lux (18 Sep, Turin, Arditti Quartet, Hilliard Ensemble), Will Sound, Gejagte Form (20/21 Sep), Verwandlung, Bildlos/ Weglos (20/22 Sep, Orquesta de la Communidad de Madrid, conductor: José Ramon Encinar). Baritone Dietrich Henschel sings the Wölfli-Liederbuch in Weimar on 3 Sep. Klangforum Wien take Chiffre II to Amsterdam (14 Oct). The New Japan Philharmonic Orchestra performs Verwandlung 2 in Tokyo (22/23 Oct). Ensemble Modern plays Fremde Szene I in Bruges (26 Oct). The Orchester des Staatstheaters Darmstadt interprets KOLONOS for alto (countertenor) and small orchestra (31 Oct). Tutuguri VI is performed in Zurich (14 Nov) and the Ensemble Intercontemporain plays Gejagte Form in Paris (27 Nov).

Wolfgang Rihm 13

rihm


28. 10., 19.30 Uhr | Musikverein Wien

Aufhören? Zuhören!

Keine Angst vor Neuer Musik Tonkünstler-Orchester Niederösterreich Andrés Orozco-Estrada Dirigent Elisabeth Kulman Mezzosopran Alexander Moore Moderation OLGA NEUWIRTH «Clinamen / Nodus» ALMA MARIA MAHLER Orchesterlieder SOFIA GUBAIDULINA «Märchenpoem» LILI BOULANGER «D’un matin de printemps» KAIJA SAARIAHO «Orion»

´ OROZCO-ESTRADA ANDRÉS

Mit Einführung & Chill-Out www.tonkuenstler.at I T: (01) 586 83 83


cerha

Modernist classic

Cristóbal Halffter halffter

Living cell “It is important to have a ritual in life,” says Cristóbal Halffter, composer in residence at the Grafenegg Music Festival/A this summer. His new 20-minute orchestral work, Ritual, consists of two parts, linked by a moment of silence – in which the conductor continues conducting. Halffter does not develop the work from one theme, which is then worked on routinely. Instead, he allows Ritual to grow slowly from a pianissimo, taking advantage of the great potential of a large orchestra and using it to create sound organically. Ritual therefore resembles a living cell, which divides and constantly produces new forms. The composer conducts the world première on 5 Sep with the Tonkünstler Orchestra in Grafenegg/A. www.bit.ly/ritualE

Friedrich Cerha has been awarded the “Salzburg Music Prize 2011”. The international award for composition, with a prize of EUR 60.000, will be presented to him at the Salzburg Biennale 2011. www.bit.ly/musikpreiscerha The Royal Northern College of Music in Manchester have invited Cerha to the most extensive presentation of his music in Great Britain so far. The opening concert kicks off with two British premières: the Concerto for soprano saxophone and orchestra and the Wiener Kaleidoskop. Also on the programme: Like a Tragicomedy. HK Gruber directs the BBC Philharmonic Orchestra on 19 Oct. The same day also sees a chamber concert featuring premières of Serenade and Curriculum. The RNCM New Ensemble performs. There is also the opportunity to hear Neun Bagatellen for string trio and the Saxophone Quartet (20 Oct) in the UK for the first time. The virtuosic Concerto for percussion and orchestra could become a modernist classic. Andrés Orozco Estrada conducts it in Stuttgart. The soloist is star percussionist Martin Grubinger (7/8 Nov). 15

halffter / cerha


sotelo

Wall of pain In his double concerto Klang-Muro… I for flute, double bass and ensemble, Mauricio Sotelo summed up his power as a composer. In this work, large passages performed by the solo instruments evoke the broad and splendid spectrum of the “cante” – the singing used in the many different forms of flamenco, such as “Soléa”, “Siguiriya” or “Buléria” – in the same way as it would be expressed by the voice of a flamenco singer like Enrique Morente. Each line of the horizon, the edge or intersection of vibrating fields of colours that create a wall of sound (muro sonoro) corresponds to the melody line of the solo instruments – “voz de dolor, i canto de gemido” (F. de Herrera, Canto I). The sound surfaces, in turn, are created in such a way as to recall the “walls of light” in the

Mauricio Sotelo 16

sotelo

series of works by the great Irish painter Sean Scully. Klangforum Wien will perform the work dedicated to Scully in Alicante/E on 23 Sep. In Muros de dolor... VI: Soleá for solo cello, Sotelo also combines the traditional expression of pain with a new technique of composition. The work will receive its world première in Tokyo on 24 Sep. Cripta Colonia Güell – música para la ESMUC for two flamenco singers, choir, ensemble and electronics was commissioned by the Catalan Higher Institute of Music in Barcelona, where it will première on 25 Oct. Próxima Centauri... I for ensemble (flute, saxophone, piano, percussion) and electronics is to receive its world première on 4 Nov at the Teatro Municipal in Guarda/P. The large-scale Arde el alba for soprano, flamenco singer and orchestra can be heard again in Madrid on 9 Oct under Peter Rundel. The soloist is Arcángel, as at the world première.


bALTAKAS

New works for autumn

“Vykintas Baltakas’ (co) ro(na) is a picturesque study in tensions and texture, with instruments producing high, antic fluttering sounds about the grounding force of piano, percussion and long tones on horn. Some strange and sonic tone poetry is at hand, with the bracing sounds balanced by suspended clouds of harmony.” (LA Times Culture Monster, on the Los Angeles performance). The next performance of the work, for ensemble, will be given in Caen by the Ensemble de Basse-Normandie on 14 Nov, conducted by Jean Deroyer and part of the festival Les Boréales. (co)ro(na) has just been released on the new CD by musikFabrik. Krönung (Coronation) is not about royalty, but about music that sends up shoots and blossoms like crowns. Available now on Wergo: www.bit. ly/coronawergo. Baltakas’ new work Scoria, for orchestra in three groups, will be given its world première at the musica viva Festival in Munich. Lucas Vis conducts the Munich Radio Symphony Orchestra on 24 Sept. www.bit.ly/musicaviva Another new work can be heard at the Transit Festival on 24 Oct. The composer conducts Champ d’Action in Leuven/B. www.bit.ly/leuven

Victoria Borisova-Ollas borisova-ollas

Wonderful suffering Victoria Borisova-Ollas’ new work, Wunderbare Leiden, for two pianos and orchestra, is a “fantasy on themes by Robert und Clara Schumann”, and will be given its world première in Düsseldorf on 8 Oct (with repeat performances on 10 and 11 Oct). Andrey Boreyko conducts the Düsseldorf Symphoniker, who commissioned the work as part of their Schumann2010 celebrations. Martin Fröst gives the Dutch première of Golden Dances of Pharaohs for clarinet and orchestra in Utrecht on 1 Oct, with Eivind Gullberg Jensen conducting the Dutch Radio Philharmonic Orchestra. www.bit.ly/goldendances

17

baltakas / borisova-ollas


Berliner Festspiele in Zusammenarbeit mit der Stiftung Berliner Philharmoniker

musik fest berlin

1o

2. September bis 21. September

Philharmonie | Kammermusiksaal Gethsemanekirche | Parochialkirche Konzerthaus Berlin

Le vierge, le vivace et le bel aujourdâ&#x20AC;&#x2122;hui

StĂŠphane MallarmĂŠ Im Mittelpunkt des musikfest berlin 2010: das musikalische OEuvre von

Karten + Infos: (030) 254 89 100 www.berlinerfestspiele.de

Pierre Boulez und Luciano Berio


Pierre Boulez and Luciano Berio boulez

A transcending universality Like Luciano Berio, Pierre Boulez has been fascinated by non-European music since his early years. But unlike Berio, his music does not employ quotations and transcriptions. Whatever he is interested in as a composer – whether Webern, Stravinsky, Berg or Mahler, music from Bali, Japan or Central Africa, the sound of the steel drums from Trinidad or harps played by Indian farmers in the Peruvian Andes – is transformed into an unmistakable style of his own in his work and given a transcending universality. Musikfest berlin is dedicating an extensive portrait to Boulez in the year of his 85th birthday, in which all of these influences can be heard. Performances: Figures – Doubles – Prismes (15 Sep, DSO Ber-

lin, cond. David Robertson), Rituel in memoriam Bruno Maderna (16 Sep, Konzerthausorchester Berlin, cond. Lothar Zagrosek), Cummings ist der Dichter (7 Sep, Ensemble Modern, cond. Beat Furrer), sur Incises (18 Sep, EIC, cond. Susanna Mälkki), Le Marteau sans maître (19 Sep, EIC), Pli selon pli (19 Sep, Bamberger Symphoniker, cond. Jonathan Nott), Dérive 1, Notations I–IV and 12 Notations (20–21 Sep, Staatskapelle Berlin, conductor and soloist Daniel Barenboim). www.berlinerfestspiele.de Pierre-Laurent Aimard is also performing Première Sonate at the Philharmonie on 4 Sep. Boulez will have a central role at the Lucerne Festival, conducting the Lucerne Festival Academy Ensemble on 5 Sep with Figures – Doubles – Prismes. Jean Déroyer will be performing Messagesquisse, Mémoriale and Dérive 1 with the Lucerne Festival Academy Ensemble on 3 Sep. www.bit.ly/lucerneE 19

boulez


berio

Comprehensive overview Along with Pierre Boulez, Luciano Berio is the second featured composer at musikfest berlin. Berio enjoyed the esteem of his colleague and friend Boulez all his life. It was at Boulez’s suggestion that the 4 dédicaces received their world première posthumously. Mariss Jansons is now conducting the German première (5 Sep, Concertgebouw Orkest). Stanze, Berio’s last orchestral work, which he never heard performed, is also set to receive its German première (6 Sep, London Philharmonic Orchestra, conductor: Vladimir Jurowski, soloist: Daniel Henschel). The programme in Berlin will include the two long-time favourites Sinfonia and Folk Songs (London Symphony Orchestra, conductor:

Luciano Berio 20

berio

Daniel Harding), Coro (10–12 Sep, Berlin Philharmonic, conductor: Simon Rattle, who already presented the work in Birmingham), Voci (9 Sep, Rundfunk-Sinfonieorchester Berlin, conductor: Marek Janowski), Naturale, Kol od (13 Sep, musikFabrik, conductor: Peter Eötvös), Concerto (14 Sep, Bayerisches Staatsorchester, conductor: Kent Nagano) and Chemins I (16 Sep, Konzerthausorchester Berlin, conductor: Lothar Zagrosek). An impressive collection and a fantastic achievement! www.berlinerfestspiele.de Berio’s Schubert-based work Rendering, as well as Concerto (1–2 Oct, Bamberg, conductor: Jonathan Nott) and Sinfonia (14–15 Oct, Munich, Bavarian Radio SO, c.: Riccardo Chailly) can be heard in Germany too. Concerto is also scheduled for Bonn (3 Oct, soloists: Katia and Marielle Labèque). Folk Songs can be heard in South Korea (20 Oct, Seoul Philharmonic Orchestra) and Sinfonia in London (7 Nov, LSO).


schwartz

Musical intoxication “The sensuously rich music of American composer Jay Schwartz needs no introduction. It affects you directly and is itself a means to an end – it’s exactly the kind of contemporary music that you can enjoy lying on your back on a comfortable quilt – your lulled eye lost wandering amongst the music’s construction. … His Music for Five Stringed Instruments II is like being intoxicated by and bathed in sound at the same time.” (Heidemarie Klabacher, DrehPunktKultur, writing after the Salzburg performance in June 2010) www.universaledition.com/schwartz sawer

Works for orchestra David Sawer's catalogue of works includes the following music for orchestra: Byrnan Wood (18’, 1992) – “an exploration of how the sound perspective of an orchestra may be altered, and how sound can appear to move in space although the source of the sound, the orchestra, remains stationary.” (Andrew Clements); From Morning to Midnight

Symphonic Suite (30’, 2005) taken from his opera based on the expressionist play by Georg Kaiser, which traces the disintegration of a clerk who steals a fortune from his bank; the greatest happiness principle (12’, 1997), a work inspired by the utopian ideas of the English philosopher Jeremy Bentham; and the Trumpet Concerto (13’, 1994) – “The trumpet in Sawer’s concerto is a protagonist who takes on the orchestra, and, almost literally, lifts it up in a series of four fights.” (Martin Cotton). www.universaledition.com/sawer Lentz

A hundred million suns “Georges Lentz communicates in short telephonic pulses, distant vibrations, cracklings, and silence, somehow endowing them with a sense of perspective that makes everything remote, as though a barely registered noise represented the collapse of a hundred million suns. Part of this perspective is built up through a carefully calibrated rhythmic sense, with layers moving at radically different time rates: something fleeting set against the rhythm of eons.” (The Sydney Morning Herald on the viola concerto Monh). www.universaledition.com/lentz 21

schwartz / sawer / lentz


Haubenstock-Ramati

Music like the clouds Roman Haubenstock-Ramati wrote the orchestral work Nocturnes I for the Grazer Musikprotokoll in 1981, to a commission by ORF. The composer himself described the piece as music made up of “many short, tender, shifting melodies and whispering noises; the light and the darker, like ever-changing clouds.” The Nocturnes I are presented as part of the Wien Modern festival on 19 Nov along with Tableau I. www.wienmodern.at Tableau I, composed in 1967 for orchestra without percussion, was the first work which HaubenstockRamati transcribed according to his new system of notation. As the piece developed, he found that an interplay developed between the notation and the notated. Acous-

tics arose from visual stimuli and graphics arose from acoustic stimuli. The RSO Wien performs under Beat Furrer. birtwistle

Viennese secrets Harrison Birtwistle said that his Clarinet Quintet grew from the desire to write “several small, postcard sized statements, all in the same, very simple format, something like entries in a diary.” Ensemble Contrechamps performs the work in Lausanne on 22 Nov. Secret Theatre is a “vast exploitation of the time honoured principle of melody and accompaniment” (Andrew Clements). The work will be performed at the Wien Modern Festival on 20 Nov by PHACE | CONTEMPORARY MUSIC, conducted by Simeon Pironkoff.

Roman Haubenstock-Ramati 22

haubenstock-ramati / birtwistle


Karlheinz Stockhausen stockhausen

Scandal in Darmstadt Kreuzspiel (1951) for oboe, bass clarinet, piano and 3 percussion – the world première of which Karlheinz Stockhausen conducted at the International Summer Course for New Music in Darmstadt in 1952 – caused a scandal owing to its unprecedented radicalism. Stockhausen himself regarded the piece as his first “original work”. It is now available in an edition which fulfils the composer’s intentions as far as possible.

records which the composer had collected and documented from his own performances over the years and decades. While the music itself has not been touched, the instructions for performance and instrumentation (in German, English and French) have been greatly extended and improved. The piece was last performed on 6 Aug during the Stockhausen courses in Kürten/D.

A corrected score (UE35004, for sale and hire) and improved performance materials (UE35392, for hire) are now available for the piece. Their revision was based on an evaluation of the experiences and 23

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al v i t Fes usik s a D ür M art f enw eg G r de

29. 10. – 20. 11. · Karten & Information: Konzerthaus 242 002 · Musikverein 505 81 90 · www.wienmodern.at Konzerthaus | Musikverein | Kunsthalle Wien project space | Casino Baumgarten | Odeon | Arnold Schönberg Center | Alte Schmiede | Dschungel Wien | Garage X | Ruprechtskirche Schömer-Haus | mica | Semperdepot Atelierhaus der Akademie der bildenden Künste Wien


feldman

Magical aura Two festivals are focusing on music by Morton Feldman this autumn: while Marino Formenti is presenting Feldman’s late piano works at the musikprotokoll at the steirischer herbst festival in Graz/A (25 Sep–2 Oct), the Wien Modern festival is offering an overview of Feldman’s oeuvre from 1970 through to his death in 1987.

Morton Feldman

In Graz, Formenti will perform Palais de Mari (1986) several times, as well as For Bunita Marcus (1985, length: 75 min) and Triadic Memories (1981, length: 90 min). www.bit.ly/musikprotokoll On Triadic Memories, his longest piano piece, Feldman once said, “It is probably the largest butterfly in captivity.” In the piece, relations of time blur, listening leads into a new world of time and sound perception.

The lengthiness of many of Feldman’s later works presents a challenge for musicians and audiences alike. In the 1970s, Feldman began developing the compositional methods which lend his mature works such an incomparable character or even a magical aura. With his intricate chamber music – e.g. Four Instruments (1974), Wien Modern: RSO Wien, conductor Beat Furrer, 19 Nov – and works for large orchestra – such as the orchestral piece Coptic Light (1985–86), Wien Modern: oenm, 16 Nov – Feldman succeeded in writing living, breathing pieces, always with a different balance of sound colour and structure. On 2 Nov, the Arditti Quartet will be performing his 100-minute String Quartet No. 1 in Vienna. www.wienmodern.at

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feldman


Gottfried von Einem Dantons Tod Wiener Volksoper 1992 einem

kagel

Danton’s Death

Clichéd film

In the years following the Second World War, the subject-matter of Dantons Tod was all too current, depicting as it does a revolution that gives rise to a dictatorship, with leading revolutionaries like Danton overthrown by their friends and executed before a baying mob. The success of the première of Gottfried von Einem’s opera (libretto based on Georg Büchner: Boris Blacher) at the Salzburger Festspiele in 1947 was sensational, forming the foundation of the young composer's international reputation. “The particular message of this opera is that even today there are no morals to be drawn or lessons to be learned from such catastrophic human situations“ (Gernot Friedel). The Neue Oper Wien show their new interpretation of Dantons Tod (Vienna, 3–10 Oct) under Walter Kobéra. www.bit.ly/dantonstod

music In his piece MM 51, film music for piano (and metronome) from 1976, Mauricio Kagel deliberately makes references to Arnold Schönberg’s Begleitungsmusik zu einer Lichtspielscene (accompaniment to a film scene) and the typical affects associated with it. Kagel did not have a specific film in mind either, although he later produced two film versions of it based on Murnau’s silent movie Nosferatu. Unlike Schönberg, however, he created a clichéd musical rendering of “looming danger, fear, catastrophe” to unmask the established film music stereotypes familiar to audiences of film industry productions. A soloist from Ensemble InterContemporain is to perform the piece on 14 Nov at the Cité de la Musique in Paris.

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einem / kagel


EGON wellesz (1885–1974)

Return of a great, forgotten composer The name of the Austrian composer Egon Wellesz is still rarely seen in international concert programmes. As a pupil of Schönberg and friend of Berg and Webern, he belonged to the Second Viennese School and was considered one of the most important contemporary composers up until 1938. But the Anschluss of Austria with Hitler’s Germany forced him to flee the country. He was able to emigrate to England where he had already received an honorary doctorate from Oxford University in 1932 (his great cantata Mitte des Lebens for soprano, choir and orchestra is dedicated to Oxford). However, Wellesz unfortunately failed to emulate his earlier successes as a composer after 1945. 21 Oct would have been his 125th birthday. In honour of the occasion, several projects have long been underway, supported by the Egon Wellesz fund of the Gesellschaft der Musikfreunde Wien (Vienna Society of Music Friends). The concerts by the Musikfreunde in Vienna, of which Wellesz is an honorary member, pay homage to the composer.

Several CDs have been published recently, including Piano Concerto op. 49 (Capriccio) and his spiritual choir music (Nimbus). A CD (cpo) is being produced with Ensemble Kontrapunkte under Peter Keuschnig, presenting a series of previously unreleased works, such as Persisches Ballett and Suite für Violine und Kammerorchester (cpo). Egon Wellesz’s music is worth discovering. www.universaledition.com/wellesz www.egonwellesz.at

Egon Wellesz

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wellesz


Rise and Fall of the City of Mahagonny Kurt Weill

Libretto by Bertolt Brecht

Premiere in Teatro Real

New production of Teatro Real Conductor Directors

Pablo Heras-Casado Alex Ollé, Carles Padrissa (La Fura dels Baus)

Leocadia Trinity Moses Jenny Smith Jim Macintyre

Jane Henschel Willard White Measha Brueggergosman / Elzbieta Szmytka Michael König / Christopher Ventris

September: 30

October: 2, 3, 5, 6, 8, 9, 11, 12, 14, 16, 17

General Manager: Miguel Muñiz

Artistic Director: Gerard Mortier


Gérard Mortier weill / Brecht

Braunfels

Mahagonny - a must Hope of In the very first month of his tenure as artistic director of the Teatro Real in Madrid, Gerard Mortier stages The Rise and Fall of the City of Mahagonny by Kurt Weill and Bertolt Brecht. There could hardly be a more timely moment for this opera, showing us Mahagonny's descent into the crisis which will eventually overcome it. The list of artists involved with the project – including Measha Brueggergosman as Jenny – has already attracted international attention. The opera will be directed by those magicians of the stage Alex Ollé and Carles Padrissa (La Fura dels Baus). The 12 scheduled performances start on 30 Sep. www.teatro-real.es

salvation Fascinated by the tale of Joan of Arc and buried in an internal emigration in provincial Germany after Hitler seized power, Walter Braunfels set the story of Joan of Arc’s execution to music in 1939–1943, in accordance with the records of the case from 1431. His Szenen aus dem Leben der Heiligen Johanna are musical illustrations consisting of eight self-contained, independent entities which are highly colourful and graphic musically. In individual miniatures, to some extent, he briefly sketches Joan of Arc’s life, the stifling hopelessness under English occupation, the unfailing hope of salvation and the belief in Joan of Arc as a God-sent redeemer against all probability. The Deutsche Oper Berlin, where the opera received its staged world première in 2008, is offering a repeat performance under Ulf Schirmer on 30 Oct, based on an idea and concept by Christoph Schlingensief. www.bit.ly/braunfelsjohanna

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weill / brecht / braunfels


martin

marx

Late première

Mediterranean

In the purely instrumental work of Frank Martin, ballades play an important role. Almost all the ballades are written for a particular solo instrument and then orchestrated. In the last UE newsletter we reported the discovery in Martin's papers after his death of a new version of Ballade No. 2 for flute and piano (UE34699), expanded for flute, string orchestra, piano and percussion. The première of the Ballade No. 2, probably arranged for string orchestra towards the end of the 1930s, has now been scheduled: the Orchestra Nazionale Sinfonica della RAI Torino will perform on 19 Nov in Turin under Marco Angius, with Mario Caroli (flute) and Giuseppe La Licata (piano).

lifestyle On one of his many long drives through Europe, Joseph Marx travelled to Rome, where he discovered the charm of Castelli Romani, the legendary area near Rome which has been settled since classical times by well-off Romans. He then named his second piano concerto in E-flat major Castelli Romani. In the piece, Marx managed to capture the feeling of life in the Mediterranean (his grandmother was Italian), with highly atmospheric imagery. Pianist Markus Schirmer has made the work his own and can be heard performing it several times internationally in the first half of 2011. We will report further details.

Nemi (Castelli Romani)

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martin / marx


Bartók

Scandalous one-act play Béla Bartók only ever wrote three works for the stage. The opera Bluebeard’s Castle (1911) and the ballet The Wooden Prince (1917) were followed in 1919 by the ballet The Miraculous Mandarin. For this work Bartók used a scenario by the Hungarian writer Menyhért Lengyel, a tale of crooks, prostitutes and seduction. The play premièred in Cologne in 1926 and was immediately removed from the repertoire following a public furore. The orchestral suites based on the play, on the other hand, rapidly became part of the orchestral repertoire. The suites are performed on 7, 8 and 9 Nov by the Gürzenich-Orchester under Gilbert Varga in the Cologne Philharmonie. www.bit.ly/guerzenich kodály

Worcester Cathedral 250 years before. For soloists, mixed choir and orchestra, the piece is the only commissioned work for which Kodály was not free to choose the form. The first of its three parts opens with a fanfare, recalling the rejoicing heroes of Budapest. The second part is developed around a Gregorian chant, while in the third, a fantastic double fugue unfolds, which finishes with a piano passage, extolling eternal peace. The English Symphony Orchestra is to present the piece with the Midland Festival Chorus in Worcester Cathedral/GB on 9 Oct (conductor: Malcolm Goldring). www.eso.co.uk

Te Deum for Budapest Zoltán Kodály wrote Budavári Te Deum in 1936, in memory of the liberation of Budapest from the Turks 31

bartók / kodály


Rolf Liebermann Rolf liebermann (1910–1999)

A celebration

On 14 Sep we celebrate Rolf Liebermann’s 100th birthday. His cooperation with Universal Edition began already during the Second World War, when the publisher Alfred Schlee said to him (in Liebermann’s words): “give us your works exclusively, I promise that we’ll publish them when this mess is over.” The State Opera in Hamburg, where Liebermann was the director for many years, is presenting an evening in his honour (4 Sep), including performances of the Herings-Quintett, the Four Chinese Lovesongs, and the Symphony for Jazz-Ensemble. Swiss Television is broadcasting a two-part documentary on the life and work of Liebermann, to be shown on SF Schweizer Fernsehen (12 Sept), 3sat (18 Sept) and NDR. The Swiss Post is even introducing a new Rolf Liebermann stamp to

celebrate the centenary! At the Opéra de Bordeaux, Liebermann’s opera buffa, The School of Wives, takes to the stage in a new production by Eric Génovèse. After the world première of the complete version in 1957, the Süddeutsche Zeitung wrote: “It’s music of the highest aural delicacy, graceful and transparent, full of brio and careful sentiment. An opera for beautiful voices!” www.bit.ly/ecoledesfemmes Edison Denisov (1929–1996)

Composing in conflict Edison Denisov was one of the unofficial Soviet avant-garde. He composed seriously and successfully in the style of the Second Viennese School, clearly with different results from those in the west. In 1970, Denisov wrote Peinture for large orchestra, a work which fascinatingly reflects all the elements of the conflict to which the composer was subjected as he was caught between western avant-garde and official Russian musical tradition. (Orchestre Philharmonique de Nice under Igor Dronov, Nice/F, 20 Nov).

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liebermann / denisov


martin�

Human issues Ten years before he died, Bohuslav Martin� discovered The Epic of Gilgamesh, the philosophy of which held him spellbound. When he set some scenes to music in 1954–55, they became a moving legacy: “I came to the conclusion that, in spite of our huge progress in technology and industry, the feelings and issues that move people have remained unchanged and exist in the literature of ancient peoples as well as in our literature. These are the issues of friendship, love and death. In The Epic of Gilgamesh, the longing for answers to these questions is expressed with an almost Bohuslav Martin� The Greek Passion Bad. Staatstheater Karlsruhe

poignant disquietude – the questions to which we have yet to find answers.” The Osnabrücker Symphonieorchester under Johannes Rahe will perform the oratorio in three parts for soloists, mixed choir and orchestra on 7–8 Nov in Osnabrück’s Hoher Dom cathedral. The Badisches Staatstheater in Karlsruhe will be playing host to Martin�’s Zurich version of the 4-act opera Die griechische Passion (The Greek Passion, 1957–1959), which premièred in April 2010, from 19 Sep. The Badische Zeitung newspaper wrote: “The intensity with which the opera is sung, played and performed in Karlsruhe makes the piece so stirring.” www.bit.ly/griechischepassion Szymanowski

Grandiose climax Karol Szymanowski wrote his Symphonie No. 2 in B-minor, op 19, shortly after his first visit to Germany in 1909–1910, and it is now considered one of the most important works of his early creative period. “In the ferocity of its grandiose climaxes, in its rhythmic asymmetry, in its ever-abrogating functional harmonies, it demonstrates itself to be something unique, ahead of its time.” The Budapest Festival Orchestra interprets the piece under Antoni Wit from 18–20 Nov in the National Concert Hall in Budapest. 33

martinů / szymanowski


schreker

Irrelohe in Bonn The idea for the opera Irrelohe came to Franz Schreker on a journey when his train stopped at a station called Irrenlohe in the Upper Palatinate in Germany. He sketched out the libretto in just three days and rapidly progressed with the composition of the complex and richly orchestrated score. But Schreker was reluctant to hand over his work and made major changes to it time and again. In parallel to this process, the leading opera houses of the day showed a growing interest in the world première. It was finally

Franz Schreker 1931

performed on 27 March 1924 in Cologne and again in Stuttgart and Frankfurt a few days later. However, the work disappeared from concert programmes between the end of the 1920s and the mid-1980s. The Theater Bonn is presenting a new staging of it this season. The première will be held on 7 Nov. For details, see www.bit.ly/irrelohe schmidt

Symphony as requiem Franz Schmidt dedicated his Symphony No 4 (1933) to his daughter, who died in 1932 during the birth of her first child. The work is suffused with his despair, expressed most hauntingly in the funeral march of the Adagio. Schmidt said of the Symphony: “I do not know if it is my best work, but it is certainly the most true and the most personal”. Ilan Volkov conducts the Göteborger Symphoniker on 15 and 16 Sep. www.bit.ly/schmidtsymphony Schmidt's oratorio The Book of Seven Seals premièred in Vienna in 1938. The timeless masterpiece employs many different epochs of musical history, virtuosically bound together into a new language. Rich in imagery, the piece is performed on 20 and 21 Nov in Karlsruhe. (Camerata 2000, Bachchor Karlsruhe, cond.: Christian-Markus Raiser).

34

schreker / schmidt


12–19 Oct (musical director: Stefan Lano, soloists: James Johnson, Evan Bowers and Deanne Meek). www.bit.ly/tragediaflorentina Teatro Colón, Buenos Aires zemlinsky

Alma and the consequences ... After Alexander Zemlinsky’s disastrous love affair with Alma Schindler, which ended abruptly when she became engaged to Gustav Mahler in December 1902, Zemlinsky’s views changed: his interest became focused on issues of class differences, depicted in the form of encounters between weak or disfigured persons and their strong or beautiful counterparts. Each of his later operas, such as A florentine Tragedy (1916), Der Zwerg (1922) and Der Kreidekreis (1932), offers a different way of expressing his solidarity with the poor, downtrodden and meek and presenting his own, self-chastising reflection: the face of an ugly man. A florentine Tragedy can be seen at the Teatro Colón in Buenos Aires on

Hans krása (1899–1944)

A new man “Watch out – a new man,” read the heading of Oskar Baum’s review of the world première of Hans Krása’s (1899–1944) cantata Die Erde ist des Herrn ... in 1932. The work is mainly in a chamber music style, with only few passages requiring the whole orchestra and extensive percussion section. This gives it a finely detailed structure, which makes it easy for listeners to follow. The Nordwestdeutsche Philharmonie is presenting the cantata on three successive evenings (12–14 Nov).

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zemlinsky / krása


berg

A new Lulu Alban Berg left his opera Lulu unfinished. His untimely death on 24 Dec 1935 prevented him from completing the orchestration for Act 3, which he left as a short score. The first integral performance of the whole opera took place in Paris in 1979. Act 3, which was completed by Friedrich Cerha, offered the choice of a two-act or three-act version. Another version is set to join these two versions this autumn. Eberhard Kloke has developed a type of ‘modular system’ for Act 3, allowing performers to structure the scenes and dramatic flow more freely, with the aim of streamlining the act. The world première of Kloke’s Lulu takes place on 15 Oct at the Royal Opera in Copenhagen. Michael Boder conducts Sine Bundgaard (Lulu), Randi Stene (Countess Geschwitz), Johan Reuter (Dr. Schön) and the orchestra of the Royal Opera House. Stage director is Stefan Herheim and the stage design is by Heike Scheele. www.bit.ly/klokelulu Boder also takes charge of the orchestra at the Liceu in Barcelona on 3 Nov for their presentation of Olivier Py’s Lulu staging – seen this 36

berg

February in Geneva. Patricia Petibon returns to the stage in the lead role. The autumn’s concert programmes contain once more a great amount of Berg performances, leading up to the 75th anniversary of his death on December 24th. Amongst the concerts are Gustavo Dudamel’s performance of the Seven Early Songs with the Gothenburg Symphony Orchestra and Geraldine McGreevy as the soloist (27 Nov, Stockholm). www.bit.ly/gsorch

Alban Berg / Eberhard Kloke Lulu Kopenhagen 2010


schönberg

Succinct sound language Arnold Schönberg composed Das Buch der hängenden Gärten in 1908–1909, in which he set a selection of 15 poems from a larger collection by the German poet Stefan George to music. The song cycle is arranged for voice and piano, the majority of the songs lasting less than two minutes. Each individual poem can therefore be enjoyed as an excerpt of a fleeting mood or thought. Christian Gerhaher (bar) and Gerold Huber (pno) are performing the piece at the Philharmonie Essen on 30 Oct. www.bit.ly/schoenberg4 The UE catalogue is now offering two larger arrangements in addition to the original work: a version for voice and ensemble by Howard Burrell and a version for voice and chamber orchestra by Richard Dünser. Both are available for hire. Under Pierre Boulez, the Ensemble Modern Orchestra will be performing Schönberg’s Variations op. 31 in Paris, Luxembourg, Berlin and Frankfurt on 6–9 Nov. The composer began working on this piece back in 1926, but did not complete it until requested by Wilhelm Furtwängler in 1928. Along with a twelve-tone

theme, which is transformed into nine variations, the sequence of notes B flat-A-C-B (which spells out B-A-C-H in German notation) is used throughout the work, recalling Schönberg’s respect for Bach from whom he learnt “the art of creating everything from one thing and transforming one structure into another” (Nat. Musik, 1931).

37

schönberg


symphonies as a cycle under Simon Rattle. The Munich Philharmonics and the Symphony Orchestra of Bayerischer Rundfunk will also be presenting all of Mahler’s works. You can find the exact dates of the performances on our Mahler blog. Gustav Mahler mahler

New conductor’s scores The many many visitors to our Mahler blog (www.universaledition/mahler) testify to the great interest in background information on Gustav Mahler. However, wellfounded discussions are only possible with scores that represent the current state of research. In addition to the study scores with a new layout – Symphonies No. 1, 3, 4, the Rückert-Lieder and the Wunderhorn-Lieder (2 volumes) – Universal Edition is now offering conductor’s scores for purchase. These are based on the current state of research and are presented in clear and legible format. A large number of performances are scheduled for Mahler’s two anniversary years. The Berlin Philharmonic is to perform all of his 38

mahler

Here is a small selection of the forthcoming performances: Symphony No. 1: Berlin Philharmonic (Simon Rattle) in London (3 Sep), Hamburg (25 Sep), Berlin (5 Nov), Sydney (17 Nov) Symphony No. 3: Kon. Concertgebouworkest (Mariss Jansons) in Lucerne (3 Sep) Symphony No. 9: Vienna Philharmonic (Esa-Pekka Salonen) in Vienna (19 Oct), Lucerne Festival Orchestra (Claudio Abbado) in Paris (20 Oct) Das Lied von der Erde: Orchester der deutschen Oper Berlin (Donald Runnicles) in Berlin (17 Sep)


janá�ek

World première of Brouček Leo�š Janá�ek initially planned to arrange the satirical novel The Excursions of Mr. Brou�ek to the Moon by Svatopluk �ech as an opera in four acts, later changing the structure of his work to three acts and an epilogue. Once he had finished composing the opera, he decided to set the sequel of the novel to music. This tells of Mr. Brou�ek’s excursions to Hussite Prague in the 15th century. Janá�ek discarded the entire epilogue and the finale of the third act from his opera, and merged the remaining music to create two acts. He made his decision to continue working on the opera and to add The Excursions of Mr. Brou�ek to the 15th Century

following the success of Jen�fa in Prague. The second, patrioticallytinged excursion to the era of the Hussites was to be a homage to the new republic. It was not until 1918, when Janá�ek had finished composing the second “excursions”, that he realised that the epilogue of the first excursions was now superfluous. The composer therefore discarded the epilogue. It has only ever been performed once – by the Czech broadcasting corporation in 1936 – and has never been produced on stage. Lasting around 30 minutes, the epilogue is therefore the only finished piece by the mature Janá�ek to be completely unknown. This is now set to change with a late world première at the Janá�ek Festival in Brno (17 and 19 Nov), presenting the epilogue and new finale. www.bit.ly/broucek

Brno/CZ 39

janáček


2010 50th Anniv. of Death 75th Anniv. of Death 85th Anniversary 85th Birthday 80th Birthday 80th Birthday 100th Anniversary 150th Anniversary 75th Birthday 100th Anniversary 100th Anniversary 150th Anniversary 200th Anniversary 80th Anniversary 125th Anniv. of Death

Hugo Alfvén † 08 May 1960 Alban Berg † 24 December 1935 Luciano Berio * 24 October 1925 Pierre Boulez * 26 March 1925 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 Mario Peragallo * 25 March 1910 Ennio Porrino * 20 January 1910 Emil Nikolaus von Reznicek * 04 May 1860 Robert Schumann * 08 June 1810 Toru Takemitsu * 08 October 1930 Egon Wellesz * 21 October 1885

2011 75th Birthday 75th Birthday 100th Anniversary 85th Birthday 75th Anniversary 85th Birthday 80th Anniversary 125th Anniversary 75th Birthday 85th Birthday 200th Anniversary 100th Anniv. of Death 75th Birthday 75th Anniv. of Death

Gilbert Amy * 29 August 1936 Sir Richard Rodney Bennett * 29 March 1936 Paul Burkhard * 21 December 1911 Francis Burt * 28 April 1926 Cornelius Cardew * 07 May 1936 Friedrich Cerha * 17 February 1926 Mauricio Kagel * 24 December 1931 Heinrich Kaminski * 04 July 1886 Ladislav Kupkovic * 17 March 1936 György Kurtág * 19 February 1926 Franz Liszt * 22 October 1811 Gustav Mahler † 18 May 1911 Steve Reich * 03 October 1936 Ottorino Respighi † 18 April 1936

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anniversaries


50th 50th 125th 50th 25th 75th

Birthday Birthday Anniversary Birthday Anniv. of Death Birthday

David Sawer * 14 September 1961 Daniel Schnyder * 12 March 1961 Othmar Schoeck * 01 September 1886 Mauricio Sotelo * 02 October 1961 Alexandre Tansman † 15 November 1986 Hans Zender * 22 November 1936

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

Kurt Atterberg * 12 December 1887 David Bedford * 04 August 1937 Hanns Eisler † 06 September 1962 Morton Feldman † 03 September 1987 Silvia Fómina * 1962 Peter Kolman * 29 May 1937 Richard Meale * 24 August 1932 Caspar Neher † 30 June 1962 Gösta Neuwirth * 06 January 1937 Bo Nilsson * 01 May 1937 Wolfgang Rihm * 13 March 1952 Rodion K. Schtschedrin * 16 December 1932 Alexander Zemlinsky † 15 March 1942

Birthday Birthday Anniv. of Death Birthday Birthday

Georg Friedrich Haas * 16 August 1953 Zygmunt Krauze * 19 September 1938 Marcel Poot † 12 June 1988 Raymond Murray Schafer * 18 July 1933 Tona Scherchen * 12 March 1938

2012

125th 75th 50th 25th 50th 75th 80th 50th 75th 75th 60th 80th 70th

2013

60th 75th 25th 80th 75th

41

anniversaries


Vykintas Baltakas Scoria for orchestra RSO Munich, cond. Lucas Vis 24 September 2010 · musica viva, Herkulessaal Munich Neues Werk for ensemble Champ d'Action, cond. Vykintas Baltakas 24 October 2010 · Transit Festival Leuven/B victoria borisova-ollas Wunderbare Leiden for two pianos and orchestra, Düsseldorfer Symphoniker, cond. Andrey Boreyko, Ewa Kupiec, Vardan Mamikonian, pno 08 October 2010 · Tonhalle Düsseldorf/D Georg Friedrich Haas limited approximations Concerto for 6 micro-tonally tuned pianos and orchestra, SWR-SO Baden-Baden and Freiburg, cond. Sylvain Cambreling, Pi-hsien Chen, Christoph Grund, Florian Hoelscher, Akiko Okabe, Sven Thomas Kiebler, Julia Vogelsänger, pno 17 October 2010 · Donaueschinger Musiktage, Donaueschingen/D Arthur F. Becker (od. Buhr?) for two vocal quartets, bass solo, clarinet, percussion and cello, KlangForum Heidelberg 21 October 2010 · Heidelberg/D “... damit ... die Geister der Menschen erhellt und ihr Verstand erleuchtet werden ...” for ensemble Ensemble Phoenix Basel, cond. Jürg Henneberger 26 Nov 2010 · Musik zum 550 Jahr-Jubiläum der Universität Basel/CH ... wie stille brannte das Licht for soprano and piano Sarah Wegener, s, Cornelis Witthoefft, pno 27 November 2010 · Philharmonie Luxembourg cristóbal Halffter Ritual for orchestra Tonkünstler Orchester, cond. Cristóbal Halffter 05 September 2010 · Musik-Festival Grafenegg/A frank martin Ballade No. 2 for flute, string orchestra, piano, timpani and percussion RSO RAI Turin, cond. Marco Angius, Mario Caroli, fl 19 November 2010 · Torino 42

world premières


Arvo Pärt In spe for wind quintet and string orchestra BBC National Orchestra of Wales, cond. Tõnu Kaljuste 09 Sep 2010 · Cardiff/Wales Silhouette Hommage à Gustave Eiffel for string orchestra and percussion Orchestre de Paris, cond. Paavo Järvi 04 Nov 2010 · Salle Pleyel Paris

Wolfgang Rihm Lichtes Spiel A summer piece for violin and small orchestra New York Philharmonic, cond. Michael Francis, Anne-Sophie Mutter, vln 18 November 2010 · Avery Fisher Hall New York Johannes Maria Staud On Comparative Meteorology for orchestra (revised version) Orchestre Philharmonique de Radio France, cond. Pascal Rophé 24 September 2010 · Festival Musica Strasbourg Über trügerische Stadtpläne und die Versuchungen der Winternächte (Dichotomie II) for string quartet and orchestra RSO Vienna, cond. Emilio Pomárico, Arditti Quartett 05 November 2010 · Wien Modern, Musikverein Großer Saal, Vienna Contrebande (On Comparative Meteorology II) for orchestra Ensemble Modern Orchester, cond. Pierre Boulez 06 November 2010 · Salle Pleyel Paris Mauricio Sotelo Muros de dolor ... VI: Soleá for cello solo 24 September 2010 · Tokyo Cripta Colonia Guell – música para la ESMUC for two cantaores, choir, ensemble and electronics 25 October 2010 · Barcelona Próxima Centauri ... I for ensemble (flute, saxophone, piano, percussion) and electronics 04 Nov 2010 · Teatro Municipal Guarda/P 43

world premières


harrison birtwistle Silbury Air for chamber ensemble study score UE 34313 Mike cornick Six Characteristic Pieces for piano UE 21536 New Karl scheit Guitar Edition Mauro Giuliani Sonata in C-major op. 15 for guitar Ed.: Van Gonnissen, Müller-Pering, Monno UE 34482 Aleksey Igudesman Sonata No. 3 for violin and piano UE 34381 Frank martin Au clair de la lune for piano four hands UE 34747 Wolfgang Amadeus Mozart Mozart for the curious – Urtext and facsimile Complete set Piano Sonata in A-minor / Rondo in D-major / Rondo A-minor Ed.: Ulrich Leisinger / Heinz Scholz UT 50314 arvo pärt Summa for saxophone quartet (SATBar/AATBar) UE 34845 kurt weill Songs for clarinet and piano or CD Ed.: Martin Reiter UE 34326

44

new releases


JAmes Rae

Clarinet debut for 1–2 clarinets with CD or piano pupil’s book UE 21526 piano accompaniments UE 21527 Wider opportunities with the new debut series All of these pieces for young clarinettists in their earliest stages of learning can be performed as a solo or in unison with others. Some have an optional second part and may also serve as ensemble material. Whilst written specifically for the clarinet and addressing the challenges beginner clarinettists would encounter, a special section is included of four pieces which are “key friendly” for beginners on most instruments and are therefore ideal pieces for mixed instrumental groups. These same four pieces will appear in subsequent books for other instruments in the Debut series. • Instrumental parts with fun cartoons for inspiration • A CD providing demonstration performances for listening as well as “minus-one” piano accompaniments for playing along at home • Cartoons can be downloaded for free for colouring-in

45

new releases


alban berg Lulu Orchestra of the Royal Opera House, cond. Antonio Pappano, Agneta Eichenholz, s, Michael Volle, Bar, Klaus Florian Vogt, t, Jennifer Larmore, ms · Opus Arte DVD OA1034D alban berg Lulu Orchestra del Teatro Massimo, cond. Stefan Anton Reck, Doris Soffel, ms Monica Minarelli, ms, Adalbert Waller, bar, Theo Adam, bass-bar Oehms Classic CD OC949 alban berg Lulu-Suite Essener Philharmoniker, cond. Stefan Soltesz, Julia Bauer, S Cybele SACD 860801 Alban Berg 3 Orchesterstücke, 5 Orchesterlieder, Wein Weib und Gesang Orchestre Philharm. de Strasbourg, cond. Marc Albrecht, Christiane Iven, s Pentatone Classics CD PTC5186363 luciano berio Linea Gruppo Linea Ensemble · CD 8017297007140 www.map.it alfred casella Konzert für Klavier, Pauken, Schlagzeug und Streicher Orchestra Sinfonica di Roma, cond. Francesco La Vecchia, Desirée Scuccuglia, pno, Antonio Ceravolo, perc · Naxos CD 8572413 Josef Bohuslav Foerster Symphony No. 4 Osnabrücker Symphonieorchester, cond. Hermann Bäumer MDG CD 63214922 Joseph Haydn / Alexander Zemlinsky Die Jahreszeiten, Die Schöpfung Maki Namekawa und Dennis Russell Davies, pno Edition Klavier-Festival Ruhr Volume 24 CD 426008553190 leo� janá�ek Die Ausflüge des Herrn Brou�ek Prague National Theatre Orchestra and Chorus, cond. Vaclav Neumann Supraphon CD SU39852 ernst krenek Sonata No. 1 op. 2 David Frühwirth, pno · EDA/KC 4012476000329 Gustav Mahler 150th Anniversary Box EMI Classics 5099960898524 bohuslav martin� Die griechische Passion Prague Radio Symphony Orchestra, cond. Libor Pesek Supraphon CD SU39842 joseph marx Lieder Angelika Kirchschlager, MS, Anhony Spiri, pno · CPO CD 9187031 Arvo Pärt Fratres, Cantus in Memory of Benjamin Britten, Taula rasa Reissue of the legendary Tabula rasa album from 1984 in a special edition with manuscript facsimiles and study scores ECM New Series 1275 / 476 3879 / UE35222 46

new on cd & dvd


vykintas baltakas (co)ro(na) musikFabrik, cond. Etienne Siebens edition musikFabrik WERGO68552

friedrich cerha Spiegel I–VII, Monumentum, Momente SWR-SO BadenBaden/Freiburg, RSO Wien, cond. Cerha, Davies, Cambreling KAIROS CD 0013002KAI

Wolfgang Rihm SchriftUm-Schrift GrauSchumacher Piano Duo, Franz Schindlbeck & Jan Schlichte, perc. NEOS CD 11032

franz schmidt Das Buch mit sieben Siegeln New Japan Philharmonic, cond. Christian Arming, FONTEC CD FOCD9458 (Mitsubishi UFJ Trust Prize for Musical Art)

arvo pärt Symphony No. 4, Fragmente aus „Kanon Pokajanen“ Los Angeles Symphony Orchestra, cond. Esa-Pekka Salonen, Estonian Philharmonic Chamber Choir, cond. Tõnu Kaljuste ECM New Series 2160 franz schmidt Symphony No. 3 Malmö Symphony Orchestra, cond. Vassily Sinaisky · Naxos CD 8572119 franz schmidt Symphony No. 4 Beethoven Orchester Bonn, cond. Stefan Blunier · MDG CD 93716316 franz schreker Kammersymphonie, Intermezzo, Vorspiel zu einem Drama „Die Gezeichneten“, Romantische Suite, Vorspiel zu einer großen Oper „Memnon“, Der ferne Klang (Akt 2) Camerata Academica Salzburg, Gürzenich Orchester Köln, New Philharmonia Orchestra, Royal Philharmonic Orchestra, cond. Dietrich FischerDieskau, Franz Welser-Möst, James Conlon, Fabio Luisi EMI Classics CD 5099962797320 Egon Wellsez Konzert für Klavier und Orchester RSO Berlin, cond. Roger Epple, Margarete Babinsky, pno Capriccio CD C5027 47

new on cd & dvd


UNIVERSAL EDITION Austria: Boesendorferstr. 12, A-1010 Vienna, Austria (Musikverein) tel +43-1-337 23 - 0, fax +43-1-337 23 - 400

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tel +1-212-461-6940, fax +1-212-810-4565

www.universaledition.com, promotion@universaledition.com Chief Editors: Angelika Dworak and Eric Marinitsch

Contributors: Eric Marinitsch, Wolfgang Schaufler, Jonathan Irons,

Angelika Dworak, Daniela Burgstaller and Marion Dürr Design: Egger & Lerch, Vienna/Austria

Photo credits: Eric Marinitsch (5), UE Archiv (10), Silvia Mieses, Marion Kalter (2), Teatro Real / Javier del Real, Wolfgang Schaufler, Charlotte

Till-Borchardt, Stockhausen-Stiftung für Musik, Internationales Musik-

institut Darmstadt, Wiener Volksoper / H. Gsell, Egon-Wellesz-Fonds, Teatro Real / La Fura dels Baus, Badisches Staatstheater Karlsruhe /

Jacqueline Krause-Burberg, Franz Schreker Foundation, Teatro Colón, Österreichische Nationalbibliothek Bildarchiv; CDs: WERGO, KAIROS, NEOS, FONTEC.

DVR: 0836702

UE Newsletter Autumn 2010 English  

Autumn 2010. The latest news on Universal Edition composers and their works.

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