05 New Study Score Series

Now available

07 David Sawer

Beauty’s source

11 Friedrich Cerha

Powerful percussion at the Gewandhaus

13 Arvo Pärt

Symphony No. 4 – world première

in Los Angeles

20 Harrison Birtwistle

Bells from the garage ...

newsletter01/09 • winter 2008/2009

David Sawer

Skin Deep in Leeds

2

contents 01/2009

NEWSUE Digitally Remastered — 5Newsletter Archive online — 5

COMPOSERSSawer — 7Haas — 9Cerha — 11Staud — 12Pärt — 13Schwartz — 14Borisova - Ollas — 14Rihm — 15Luke Bedford — 16Halffter — 17Eichberg — 17Boulez — 19Birtwistle — 20Kagel — 21Liebermann — 21Berio — 22Weill / Brecht — 23Stockhausen — 24Schnittke — 24Music in Israel — 25Cello Solo Works — 26Martin — 27Messiaen — 27Marx — 28Nick — 28Martinu — 29Braunfels — 29Szymanowski — 30Schulhoff — 30Kodály — 31Bartók — 31Zemlinsky / Beethoven — 32Korngold — 32

Contents

WP = World Première

3

Berg — 33Webern — 34Satie — 34Schönberg — 35Mahler — 36Janáček — 37Haydn — 37

ANNIVERSARIES — 38 - 39

WORLD PREMIÈRES — 40 - 41

NEW RELEASES — 42 - 43

NEW ON CD AND DVD — 44 - 45

WORKLISTPousseur — 46

ACKNOWLEDGEMENTS — 48

Dear Readers,

I don’t know if you have any spaceleft on your bookshelves. I do. Iwant works that have had a majorinfluence on my appreciation ofmusic to share my home, I want tosee them, communicate with themand thank them for the impactthey have had on my emotions andperspective. There is no doubt thatcollecting can be therapeutic if itmeans owning things that havemade us what we are. UE’s newstudy score series (see pages 4–5)aims to supply an important pieceof the jigsaw that makes up themusical tableau of life. We can relyon the works with which we defineourselves – they are with us and wewith them. Isn’t it wonderful to beable to reach out and touch youremotions?!

The Editorial Team

UNIVERSAL EDITION

UE Digitally

Remastered

Classic recordings of the great artists lose none of their magicover the years, which is why various record labels remaster oldrecordings with today’s technologyand re-release them according toour current quality standards. Thisis exactly what Universal Edition isdoing with its new study score series. Each work has been ‘revisited’,cleaned and printed in full qualityoffset. Care has been taken to include all additional information(prefaces, introduction etc.) whereapplicable in two or more langua-ges.The first collection of twenty studyscores is available now, and canalso be purchased as a completeset for 429 Euros. A list of the firstcollection can be seen on the oppo-site page. See also www.universaledition.com/studyscores for more details and allprices.

Newsletter

Archive online

We have just published digital copies of all newsletters datingback to 2004 (the launch of thecurrent format). You can nowbrowse the full content of everyissue in a comfortable online viewer made by issuu.com, allo-wing you to zoom and navigate without having to download a PDFfile. We will be adding each newissue as they are published. For afull overview, go towww.tinyurl.com/news-enHave a look also at the search function on www.issuu.com – trysearching for Arvo Pärt or Wolf-gang Rihm.

5

news

SAWER

Go Skin Deep

‘Where are the new, exci-ting operas emerging in

Britain from art compo-sers?’ asks Charlotte Higgins in her‘Culture’ blog on the Guardian’swebsite. A good question indeed,but perhaps one that will be ans-wered in the new year.David Sawer’s Skin Deep is set to openat Opera North’s Grand Theatre inLeeds on 16 January – a spectaclethat even the above commentatorwrites she is ‘really looking forwardto’! – where it will then receive fourfurther performances before hea-ding south to Salford Quays andSadler’s Wells, then returningnorth to Newcastle and finallyGlasgow. The story takes us on a journey ofphysical perfection, to a placewhere beauty is created: Dr Need-lemeier’s Alpine Clinic – Puttingright what nature got wrong. Wemeet his family, patients and eventhe odd Hollywood celebrity in atale that charts desire, spans conti-nents and, ultimately, asks thequestion: What is the real price ofperfection?Librettist, multiple-British ComedyAward winner Armando Iannucci(The Thick of It, Time Trumpet), andDavid Sawer have recently beeninterviewed for Opera Now maga-zine – to appear in the January

issue – with additional national coverage in the months leading upto the premiere. Richard Farnes conducts the orche-stra and chorus of Opera North,with soloists Amy Freston, JanisKelly, Heather Shipp, Geoffrey Dol-ton, Andrew Tortise and MarkStone. Later in the year, the produc-tion will receive European perfor-mances from its other commissio-ning partners: Bregenzer Festspiele,Det Kongelige Teater, Copenhagenand Komische Oper Berlin.Sate your appetite for Sawer’s wickedly satirical Skin Deep atOpera North’s new mini-site:www.goskindeep.com

WP

David Sawer

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sawer

9

haas

HAAS

Time Torn Apart

Georg Friedrich Haas’ latestpiece, Les Temps Tiraillés

(Time Torn Apart), wascommissioned by IRCAM and theCentre Pompidou and will premièrein Paris on 21 Jan, with choreo-graphy by Myriam Gourfink. Haas says of his composition: ‘Theelectronics are contrasted withthree instruments: a bassoon (Pa-scal Gallois) and two violas (Gene-viève Strosser, Garth Knox). In thefirst part of the piece, the instru-ments become islands in the stream of electronic sound. Parttwo is extremely quiet, on the veryedge of audibility and with themusicians moving around theroom, whilst part three multipliesthe instrumental parts to create adense, almost orchestral sound.’21–24 Jan, Centre Pompidou, Paris.Information: www.ircam.fr

in vain for 24 instruments (2000)will receive its US première on 6Feb with the Argento Ensemble atNew York’s Columbia University(Washington, 9 Feb). Two sectionsof this suggestive, floating piece,with its increasingly entangledlines, fermata and atmosphericmutations, are performed in totaldarkness. Opus 68, Alexander Skrjabin’s Kla-viersonate Nr. 9, which Haas arrangedfor large orchestra in 2003, will beperformed from 19–21 Dec by theJenaer Philharmonie under Nicho-las Milton in an evening of lightand art. The composition will takeon a completely new aesthetic cha-racter with a spectacular light andspace installation by Stuttgart artist rosalie. The delicate sound structures andunsettling images of Melancholia,an opera in three parts with a libretto by Jon Fosse, will be perfor-med on 12 and 14 Feb in Bergen inStanislas Nordey’s successful pro-duction.

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Georg Friedrich Haas

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cerha

CERHA

Eruptive

drumming

Friedrich Cerha co-foundedthe Ensemble die reihe

and led the group for along time as conductor and curatorof the group's collective artisticgifts. To mark the 50th birthday ofthe ensemble, he has composedSerenade, commissioned by theFestspielhaus St Pölten, which willpremière on 12 Feb with the En-semble die reihe under HK Gruber.In the finale, allusions to a work ofwhich Cerha is particularly fond canbe heard: Schoenberg's Serenadeop 24.

Cerha wrote his new Konzert fürSchlagzeug und Orchester for theexceptional young percussionistMartin Grubinger, one of the finestperformers of his generation. ‘The

solo part has its own instrumenta-tion in each of the three overlap-ping movements, causing the per-former to change position eachtime, before finally returning to thefirst. Eruptive blocks of sound, dominated by drums, shape theopening. In the slow and lyrical second movement, sporadic pianis-simo statements from the solodrum shine out of a tapestry ofsound woven out of instrumentalechoes. The racing tempo of thefinal movement is characterised bylight, high sounds, transitioning toan interplay between solo and or-chestral percussion, before theeruptive drumming of the openingends the piece’ (Cerha). The première takes place in Leipzigon 27 Feb where HK Gruber willlead soloist Martin Grubingeralongside the Gewandshaus-orchester.

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Martin Grubinger

STAUD

Precise outbursts

Johannes Maria Staud’smusic stands out ‘due to

its intensity, both on asmall and large scale. Its impact isnever brutal, but always subtlystructured. Here one feels the handof the composer, whose outburstsare controlled, in contrast to thespontaneous explosions of the im-proviser – but which, sure enough,hit their mark even more preciselyas a result.’ (Gunther Schneider)

His Segue, Musik für Cello und Orchester was commissioned byPeter Ruzicka, at the Salzburg Festi-val and premièred in Salzburg in2006 under Daniel Barenboim withHeinrich Schiff and the ViennaPhilharmonic. ‘Segue indicates thatthe music continues on the nextpage. The phrase is a poetic imagefor my intention of composing wi-thout having to have an anachroni-stic formula in front of me ... but itis also a reference to the fact thatthere will always be new and un-usual things in art’ (Staud). Recently, he has produced a newversion of the work which will bechristened by Lothar Zagrosek inBerlin, when he conducts the Konzerthausorchester with Jean-Guihen Queyras as soloist on 20and 21 Feb.

The Wiener Klaviertrio presentsStaud’s four miniatures Für BálintAndrás Varga on 16 Dec in the Wiener Konzerthaus, and will thentour the work to Taunton/GB (pre-mière 9 Jan) and Wiesbaden (pre-mière 13 Jan).The German première of Lagrein,for violin, clarinet, violoncello andpiano, takes place at the MunichGasteig on 10 Dec, with StefanSchneider (clar), Daniel Giglberger(vln), Rupert Buchner (vlc) and JanPhilip Schulze (pno).

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Johannes Maria Staud

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staud

13

pärt

PÄRT

Two World

Premières

Arvo Pärt will be seeingoff 2008 with a world pre-

mière and welcoming in2009 on the same note. Alleluia-Tropus for choir and eight celloswas inspired by the festival Le Vocidell'Anima in Bari/I where the re-mains of St. Nicholas of Myra arepreserved. It will be heard for thefirst time at a portrait concert inBari on 20 Dec. For Alleluia-Tropus,Pärt took a text from the Christianliturgy that is dedicated to St. Nicholas. The concert is a new collaboration with Tallinn’s VoxClamantis choir and the cello octetConjunto Ibérico, which premièredO-Antiphonen for eight cellos inAmsterdam this October and ispresenting the Italian première of

WP

the work in Bari. L’Abbé Agathonwill also be heard for the first timein Italy at the same concert withArianna Savall as soloist.www.princigalliproduzioni.itCommissioned by the Los AngelesPhilharmonic Orchestra (co-com-missioner: Canberra InternationalMusic Festival), Pärt’s SymphonyNo. 4 ‘Los Angeles’ is now finished.This large-scale work is arrangedfor large string orchestra, harp, tim-pani and percussion, and will receiveits world première on 10 and 11 Janat the Walt Disney Hall with theLos Angeles Philharmonic Orche-stra under Esa-Pekka Salonen.www.laphil.comArvo Pärt and Tõnu Kaljuste havebeen invited by the association‘Musik der Jugend’ to take part inthe choir conductors’ forum in Limburg/D from 23–25 Jan, to fami-liarise participants from all overGermany with Pärt’s work for choir. www.amj-musik.de

Arvo Pärt and Momo Kodama 2004

14

schwartz / borisova-ollas

SCHWARTZ

ensemble[:E:]uropa

Following Jay Schwartz’latest world première on

29 Nov (Music for Voicesand Orchestra), we are looking for-ward to the composer’s secondwork written for the Nyyd Ensemblefrom Talinn. The new work, a com-mission by WDR Radio, will receiveits first performance in Cologne on24 Jan as part of the WDR concertseries ‘ensemble[:E:]uropa’. OnSchwartz’ first work for Nyyd – Musicfor Chamber Ensemble (2006) –Estonian critic Märt-Matis Lill wrote:‘The work convincingly unites several important currents of Euro-pean music from recent decades. …Two opposing poles are treated inan extremely interesting way. Bothlayers remain clear and recognisablewhile confrontation for confronta-tion’s sake is never the object, but

WP

rather a much deeper search for acommon denominator betweentwo contrasting fundamental sub-stances.’ Information: www.univer-saledition.com/schwartz

BORISOVA-OLLAS

Swedish Awards

We are proud to announce thatVictoria Borisova-Ollas’ work, TheGround Beneath Her Feet (for or-chestra, soloists, narrator, band,and film), has won the SwedishMusic Publishers’ Award 2008 forclassical music in the categorylarge works/opera. The prize wasannounced at a ceremony in Stock-holm on 7 November. This May, Victoria Borisova-Ollaswas also appointed a member ofthe Swedish Royal Academy ofMusic. The Academy praised her leading position as a young com-poser in Sweden today.

Jay Schwartz

15

rihm

RIHM

Nocturne

by Rihm

The Philharmonie Essen isusing new concepts to

present new music this season with 17 opportunities to getto know Wolfgang Rihm and hismusic. Rihm wrote his String Quar-tet No. 11 as composer in residencefor the Takács Quartet and the Phil-harmonie Essen. The world premièrewill take place in Essen on 18 Jan,with the Takács Quartet then taking the work for its UK premièreat the Southbank Centre on 20 Feb.www.philharmonie-essen.de

‘When Daniel Barenboim asked meto create a piece for his Mozart pro-gramme, I absolutely wanted toextend the idea of employing Daniel Barenboim as soloist to encompass the wonderful pianissimosound he produces on the piano. I had listened to him several timesalready and was always captivatedby these uniquely played pianissimi.Therefore I wrote a nocturne inwhich I filled this piano experiencewith thoughts about the possibleor impossible invention of today’sartistic beauty.’ Such are Rihm’swords on the creation of Sottovoce, Notturno für Klavier und kleines Orchester (1999). The piececan be heard in Austria for the firsttime on 15 Dec in Vienna with theRSO Vienna under Bertrand de Billywith Marino Formenti as soloist.www.musikverein.at

Séraphin-Sphäre für Ensemble(1993–1996/2006) receives twoterritorial premières: the EnsembleFontana Mix will take it to Bologna/Italy on 14 Dec, while the CollegiumNovum Zurich is to perform it on 23Jan in Zurich’s Tonhalle.

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Wolfgang Rihm

luke bedford

16

LUKE BEDFORD

into ... Europe

Back in the summer we told youabout the exciting new music pro-ject into …, headed by EnsembleModern and the Siemens Arts Pro-gram. Luke Bedford and VykintasBaltakas travelled to Johannesburgand Dubai respectively; each beingcommissioned to create a newwork for Ensemble Modern basedon their experiences. Bedford iswell into the compositional pro-cess for the 20-minute work, whichwill premiere next March. Asked ofhis inspiration for the work and theproject in general, Bedford saidthat he was ‘hoping to capturesome of the energy of Johannes-burg, and also its extremes … thepiece will range from very delicatemusic to extreme fortissimo withtwo howling Tam-Tams!’Before that excitement, though, we

see something of a European trendfollowing July’s rapturously recei-ved premiere of On Time in Berlin.January sees Oliver Knussen con-ducting the Asko|Schönberg en-semble in the Dutch première (14Jan: Vredenburg, Utrecht) and second performance (15 Jan: Muziek-gebouw aan 't IJ, Amsterdam) ofBedford’s Royal Philharmonic Society Award-winning composi-tion, Or voit tout en aventure.Not wanting to be left out, theVienna Musikverein hosts its ownBedford première on 20 Feb. HughWolff will conduct the RSO Viennain the five-minute orchestral short,Outblaze the Sky, with Martin Gru-binger taking the percussion solo.The work was recently recorded inthe presence of Pierre Boulez as theculmination of the current LSO/UBS Soundscapes scheme.Finally, we’re excited to learn thatWreathe has been nominated for aBritish Composer Award – we hopeto report a success next issue!

Luke Bedford

17

halffter / eichberg

HALFFTER

Magical

attraction

Cristóbal Halffter’s one-act operaLazaro, premièred in May 2008 torapturous applause at the OperKiel, sees its Spanish première on28 Feb in Valencia, conducted bythe composer himself. In this piece,Halffter, a humanist with the wis-dom of maturity, poses the eternalhuman question of the border bet-ween belief and knowledge, clo-thed in music of eminent shades ofcolour which develops an almostmagical attraction in its richness ofnuance. The Greek concert premièreis planned for March 2009 inAthens.Halffter conducts his 2000 stage workDon Quijote in a concert perfor-mance on 14 and 16 Jan in Madrid.Halffter has been invited to thePhilippines on 5 Dec with his Preludio

para Madrid '92 for mixed choirand orchestra, where he will conductthe national première with thePhilippine Philharmonic Orchestra.

EICHBERG

Ritual for

the violin

Soren Nils Eichberg's violin concer-to Qilaatersorneq had its Chinesepremière in Dec 2007, followed bythe South Korean première inMacau with Dennis Kim and theSouth Korean Philharmonic Orche-stra. Based on a shamanic ritualfrom Greenland, the soloist risesfrom the elegy of the opening intoa state of intoxicating ecstasy,which eventually pulls the orche-stra along with it and culminatesin a collective exaltation. We lookforward to the next performancein Denmark, May 2009.

Cristóbal Halffter Lázaro Theater Kiel 2008

BOULEZ

Boulez global

This January, the London Sinfoniettatakes Pierre Boulez’ Dérive 1 to theUSA for the International ChamberOrchestra Festival in Saint PaulMinnesota; Diego Masson con-ducts. The composer himself con-ducts Dérive 2 with the EnsembleIntercontemporain at the QueenElizabeth Hall in London on 11 Decand again two days later in Greno-ble. Daniel Harding takes the MahlerChamber Orchestra to Austria andSpain for performances of Mémori-ale (… explosante-fixe … Originel)in February. Chiara Tonelli is theflute soloist in Salzburg, Madrid,Valladolid and Zaragoza. ZubinMehta is conducting three perfor-mances of Notations I-IV in Israelthis coming February, with the Israel Philharmonic Orchestra

(28 Jan and 7 Feb in Tel Aviv, 1 Feb inHaifa). Boulez’ une page d’éphéméride isan extract from an unfinished cycleof works for piano that the compo-ser started in 1999. The work wasfirst published in the collectionPiano Project (UE33662), whichalso contains original composi-tions by Cristóbal Halffter, ArvoPärt, György Kurtág and others. Hidéki Nagano gives the Austrianpremière of the work at the Mozartwoche 2009 in Salzburg (31 Jan) in a Boulez programme alsoincluding Dialogue de l'ombre double for clarinet and tape, Sonata No. 1 for piano, Dérive 2 for11 instruments and Anthèmes 2 forvioline and live electronics. MitsukoUchida performs the 12 Notationsfor piano on 30 Jan, also at theMozartwoche.The new study score of Le Marteausans maître is now available (seepage 5).

Pierre Boulez

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boulez

birtwistle

20

BIRTWISTLE

Bells from

the garage

Harrison Birtwistle’s Chronometerfor two asynchronous four-tracktapes was written in 1971/72. It isthe only major electronic piece inwhich he integrated recordings ofthe sounds of different bells (BigBen, the Science Museum). The ori-ginal tapes, long thought to belost, were recently discovered in agarage and have now been fully restored and digitally remastered.The result was presented by theBritish Music Information Centre inLondon on 19 Nov as a compilationDVD offering 40 years of ‘surroundelectro-acoustic music from theUK’ with all the composers present.Birtwistle’s Cortege will be perfor-med by the London Sinfonietta during the International Chamber

Orchestra Festival in SaintPaul/USA (15/18 Jan). Resembling adance, this piece is indulgent andmodern in character: 14 musiciansalternate between solo and accomp-anying passages. Birtwistle’s Tombeau in memoriamIgor Stravinsky will also be heardwith the Ensemble Resonanz inQuickborn (13 Dec) and Hamburg(14 Dec). In Vienna, Ensemble Kontrapunktewill perform Songs by Myself at theMusikverein on 26 Jan.Birtwistle’s dramatic pastoralDown by the Greenwood Side,which received its world premièreat the Brighton Festival in 1969,will share a programme at the Wil-helma Theater in Stuttgart withErnst Krenek’s Der Diktator. Birt-wistle’s work is based on a folkpantomime, the Mummers’ Play,which once took place at Christ-mas and is now performed to markthe beginning of spring. The pre-mière is on 6 Feb.

Peter Zinovieff (Abbey Road Studios) and Harrison Birtwistle

2121

kagel / liebermann

KAGEL

Mauricio Kagel

1931–2008

The German-Argentinean compo-ser Mauricio Kagel died in Colognethis September.Universal Edition publishes over 50of his compositions, includinggroundbreaking works for stagesuch as Staatstheater and Ludwigvan, his extraordinary homage toBeethoven.Born in Buenos Aires in 1931, Kagelis now a contemporary music icon.His name is linked to instrumentaltheatre in particular, upon whichhe exerted a profound influence.He created films, radio plays andessays, as well as works for stage,orchestra and chamber music. Originality, imagination and, aboveall, humour are the hallmarks of hisoeuvre. With his great ingenuity,Kagel used a range of different

means of expression that oftenhad an ironic and provocative effect. Universal Edition mourns one ofthe most original and productivecomposers of our time.

LIEBERMANN

Stage rage

‘Rolf Liebermanns Furioso for orchestra is completely true to itsname, with raging, stamping androaring timpani forming an inces-sant organ point; screaming ascend-ing string figures; screeching brassaccents; all designed to terroriseus. … It is an absolutely understand-dable contemporary outburst ofrage – an evocative accusationwhich has found a convincing, im-pressive musical form.’ (Karl Hein-rich David on the 1949 Zurich per-formance). Vassili Sinaiski conductsthe Rundfunk-Sinfonie-orchesterBerlin on the 13 Dec.

Mauricio Kagel Ludwig van

BERIO

Transcribing

a genre

Luciano Berio wrote Concerto fortwo pianos and orchestra in1972/73. He used the piece to develop innumerable different relationships between soloists andorchestra. The two pianos changetheir roles constantly, even be-coming a simple accompanimentto other soloists in the orchestra.For Berio, Concerto – he used theterm ‘concerto’ only as a metaphorfor a genre that he considered obsolete in the conventional sense– was almost a transcription of the‘concerto’ genre itself: a journeythrough a huge variety of roles, relationships, functions and pro-cesses which each piano experien-ces, but always in a different way.The sisters Katia and Marielle La-bèque, with whom Luciano Beriooften worked, will perform Concer-to on tour with the SWR Sinfonie-orchester Baden-Baden/Freiburgunder Michael Gielen, starting inFreiburg on 24 Jan, before headingto Las Palmas, Santa Cruz de Tene-rife, Valencia and San Sebastian.

Mode Records’ recording of Berio’s‘Complete Sequenzas, AlternateSequenzas and Solo Works’ wasvoted the best contemporarymusic release by Italian music

magazine Amadeus in 2008 (Pre-mio del Disco Amadeus 2008), thefourth major accolade for this CDalbum. Further information:www.moderecords.com

Luciano Berio

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berio

23

weill

WEILL/BRECHT

Der Jasager

The school opera Der Jasager goesback to the Japanese fable Tanikô,a play from the centuries-old Nôhtheatre. A shortened English ver-sion of the Noh play was translatedinto German by Elisabeth Haupt-mann and made its way to KurtWeill and Bertholt Brecht. Weillcomposed Der Jasager in the firsthalf of 1930, pausing only for theturbulent première of Aufstieg undFall der Stadt Mahagonny on 9March 1930. The term ‘schoolopera’ gave Weill a number of possibilities for combining the con-cepts of ‘education’ and ‘opera’: theopera teaches the composer – or awhole new generation of compo-sers – to approach the operaticgenre in a new way. But it is also aquestion of re-training the processof operatic performance, with theend goal of staging the work so

naturally and simply that childrenbecome the ideal performers. Andfinally, Weill also considered ‘schooloperas’ as meant for use in schools:‘it is thus essential that a piece forschools should give children theopportunity to learn something,beyond the joy of making music ‘(Weill). Der Jasager will be performed bythe Opera National du Rhin, as partof a special series for young people,in Strasbourg on 24 and 25 Jan, inColmar on 5 Feb and in Mulhouseon 20 Feb, together with the Maha-gonny Songspiel.More information see: www.operanationaldurhin.fr

Kurt Weill

24

stockhausen /schnittke

STOCKHAUSEN

New musical atlas

Following the performance of Karl-heinz Stockhausen's Gruppen atthe Berliner Musikfest in Berlin'sTempelhof airport, Volker Hage-dorn wrote in Die Zeit that we nowknow ‘why the musical atlas had tobe redrawn after Gruppen ... nowwe can discover avant-garde musicas generations before us discove-red the baroque.’Hopefully the audience can expe-rience Kontra-Punkte similarly, inits interpretation by the Los AngelesPhilharmonic on 9 Dec in LA. Thispiece is also scheduled for perfor-mance on 17 Jan in London, perfor-med by the Guildhall New MusicEnsemble. In the same concert theBBC Singers will also present Cho-ral and the rarely sung Chöre fürDoris, based on poems by Paul Ver-laine. Nicolas Hodges also plays aselection from the Klavierstücke.

Kreuzspiel is performed by Colle-gium Novum in Zurich on 25 Feb.

SCHNITTKE

Ingenious

techniques

Alfred Schnittke’s orchestral piece(K)ein Sommernachtstraum is to beperformed in Leipzig (15 and 16 Nov)by the Gewandhaus Orchestra. Instead of following Felix Mendels-sohn or any of the other Shake-speare composers, Schnittke inge-niously makes use of familiarforms of composition, laying themon top of each other and then rearranging them.His Concerto for oboe, harp andstrings will be presented in Pragueon 15 Dec. The innovative oboeplaying techniques used through-out make it particularly captiva-ting.

Karlheinz Stockhausen

25

israel

ISRAEL

Musical Israel

Many people are surprised to learnthat Israel's music scene is so active. The many ensembles andfestivals stand up proudly to com-parison with their colleagues inthe traditional strongholds of western music, in terms of bothquality and dedication. Firstamong these ensembles is the Israel Philharmonic Orchestraunder Zubin Mehta. The orchestracelebrated its 70th anniversary in2007 and is equally at home in therepertoire of the 20th or 21st

century. The orchestra performs Pierre Boulez’ Notations I–IV underMehta in Tel Aviv on 28 Jan andagain the following week on 7 Feb,heading to Haifa in between on 1Feb. Leoš Janáčeks Taras Bulba isperformed from 6–15 Jan in Tel

Aviv, on 8 Jan in Jerusalem and on11 and 12 Jan in Haifa.

The Israeli musical landscape isalso shaped by the presence of theIsrael Symphony Orchestra – per-forming Janáček's Das schlaueFüchslein, directed by David Pount-ney and conducted by JonathanWebb, Israeli première 25 Feb–6March, the Israel Sinfonietta – Zoltán Kodály’s Tänze aus Galanta,21 and 23 Feb – and the IsraelChamber Orchestra – RichardStrauss’ Serenade, 16 Jan.

Israel Philharmonic 70th Anniversary Concert 2007

solo cello

26

wrote the piece in 2002 for Rohande Saram, who has since played theSequenza in innumerable interna-tional concerts to great acclaim.

His friend Béla Bartók raved aboutZoltán Kodály’s Sonate für Cello op.8, calling it ‘no imitation of thepolyphonous Bach style’, and thusneither old-fashioned nor German,but modern and Hungarian.

Cristóbal Halffter works a Spanishfolk-song into his SOLO – Klageliedeines verwundeten Vogels, a pieceoften played by Pablo Casals whichbecame a kind of hymn for the resistance against Franco.

Søren Nils Eichberg, born 1973, created a new benchmark in celloliterature for the ARD competitionin 2005 with Variationen uber einThema von Niccolo Paganini.

Luigi Dallapiccola completed his Ciaccona, Intermezzo e Adagio in1945, a month before the liberationof Florence. The piece reflects thecomposer's idiosyncratic dramatur-gy, consisting of abstraction andscorn. This gripping example ofmotivic twelve-tone music is per-formed on 27 Jan in London's Wig-more Hall.

UNIVERSAL EDITION

The magic of

the solo cello

The cello is without a doubt one ofthe most fascinating solo instru-ments, often standing in the spot-light at Universal Edition too. Naturally, our Wiener Urtext seriesincludes an exemplary scholarlyedition of Johann Sebastian Bach's6 Suiten für Violoncello (UT50133).

Another work tailored to the musi-cal and technical gifts of a cellist isLuciano Berio's Sequenza XIV. Berio

27

martin / messiaen

MARTIN

French wine

The music of Frank Martin is so diverse that it is difficult to catego-rise. It’s like conducting four com-posers at once, as a conductor recently remarked. Following thejubilant success of the Amsterdamperformance of Der Sturm (ThierryFischer and the Nederlands RPO)we now look forward to new per-formances of Le Vin Herbé. TheWilly Decker production from theRuhrTriennale 2007 (the FAZ wrote‘this work belongs on every stage’)travels to the Villeurbanne/F,where Friedemann Layer conductsthe Lyon Opera Orchestra. The firstof four performances is on 24 Jan.

The Vienna Symphoniker presenttwo performances of In terra paxunder the baton of Fabio Luisi on 11and 12 Dec at the Musikverein inVienna. In Munich, Thomas Hengelbrock conducts Polyptyque

for violin and two small string orchestras with the Bavarian RSO(21–23 Jan).

MESSIAEN

100th birthday

To mark what would have been his100th birthday on 12 Dec, a numberof current programmes are dedica-ted to Oliver Messiaen. One of hismost performed pieces is withouta doubt Oiseaux exotiques forpiano and chamber orchestra from1955/6, which is heard in Paris,Montreal, New York, Seoul, Barce-lona, Karlsruhe and Cardiff in thecoming months. The work is basedon birdsong collected and annota-ted by Messiaen on his travelsaround the world; incredibly, hecould distinguish between approx-imately 700 types.

Fra

nk

Ma

rtin

Le

vin

herb

éR

uh

rtri

enn

ale

20

07

do it!’. Over 30 stage performancesand radio broadcasts followed. Ernst Theis conducted the work inDresden this summer togetherwith Kurt Weill’s Kleine Dreigro-schenmusik as part of a recordingproject by MDR radio in Leipzig andthe Staatsoperette Dresden. Theseries of productions also includesFranz Schreker’s Kleine Suite andKurt Weill’s Berliner Requiemalongside works by Erwin Schul-hoff, Ernst Toch, Pavel Haas andothers. The series is being con-tinued. For more information, seewww.tinyurl.com/uenick

28

marx / nick

MARX

Far ahead

of his time

The most significant orchestralwork by Joseph Marx, his large-scale Herbstsymphonie, will receiveits US première, on 7 Dec in NewYork, with Leon Botstein conduct-ing the American Symphony Orchestra. In Riccardo Chailly’swords, Marx was ‘ahead of his timewith this work’. Zubin Mehta willtake the Vienna Philharmonic ontour in Feb/March 09 to Vienna,New York and Los Angeles with theOrchestral Songs. A new Chandosrelease of the orchestral songs andchoral works will also be releasedin 2009: Marx is experiencing a renaissance that is long overdue.

NICK

Radio music

In 1929, Eric Kästner and EdmundNick’s radio play Leben in dieserZeit (Life in these times) was firstbroadcast – a collage of texts andmusic dealing with the modernmetropolis and the human masseswithin them. Kästner originallyasked Kurt Weill to set the text tomusic, but he turned down theoffer, suggesting instead ‘Nick, you

Leon Botstein

29

martinu / braunfels

MARTINU

Italian frescoes

‘The world is a mystery … a greatmystery … One cannot distinguishGod from the demons … They oftenlook so similar.’ (Giannakos in thenovel The Last Temptation of Christby Nikos Kasantzakis). As previous-ly reported, the ‘Zurich Version’ ofBohuslav Martinů’s opera TheGreek Passion is now being per-formed at the Zurich Opera Housein a new production by NicolasBrieger The final performance is on3 Dec.

Martinů travelled to Italy in 1954,where he first saw the eight frescos by Piero della Francesca inthe San Francesco church in Arezzo. The frescoes became theinspiration for his first work for fullorchestra since the Symphony No. 6:Frescos of Piero della Francesca.

Mark Elder conducts the work withthe London Philharmonic Or-chestra on 24 Jan at the Royal Festi-val Hall. Listen to a recording by theLPO on this website: ww.tinyurl.com/ue0109bm

BRAUNFELS

Phantasmagoric

performers

As part of its series Great Perfor-mers, with lectures, discussionsand pre-concert recitals, Leon Bot-stein is giving a talk entitledAgainst the Avant-Garde: Romanti-cisms of the 1920s at the LincolnCenter New York on the 7 Dec. Inthe following concert, Botsteinconducts Walter Braunfels’ DonJuan ‘a classical-romantic phantas-magoria’ with the American Symphony Orchestra, in a concerttogether with Joseph Marx’Herbstsymphonie (Autumn Sym-phony) (see page 28). See www.tinyurl.com/uebraunfelsfor a full list of works.

Walter Braunfels

30

szymanowski /schulhoff

and 9 Preludes can be heard, inter-preted by Christia Hudziy, on 2 Decat the Musee D'Orsay in Paris.

On 3 and 5 Dec Philippe Jordan con-ducts the Tonhalle-Orchester andViviane Hagner in the Violin Con-certo No. 1 in Zurich. Mariss Jansonsinterprets the Symphony No. 3: DasLied von der Nacht with the Sym-phony Orchestra of the BavarianRadio in Munich (18 and 19 Dec)and Cologne (20 Dec).

SCHULHOFF

Personal

signature

Erwin Schulhoff composed Concer-tino for flute, viola and contrabassin Prague, during a few days in1925. It premièred in Donauesch-ingen in 1926, and is performed inthe Tonhalle Zurich on 15 Jan. Infour short movements, each with adistinctive structure, Schulhoff explores the specific sound charac-teristics of each of the featured instruments. The result is a simula-tion of Czech folk music with an expressiveness that is all Schulhoff'sown.

SZYMANOWSKI

Orchestral piano

Karol Szymanowski, himself a virtuoso pianist, composed Masques in 1915/6: three pieces forpiano with an impressionistic signature, in which the piano takeson an orchestral character. He dedicated the third of these piecesto Arthur Rubenstein, whom hehad met in Warsaw. Szymanowskihad a lot to thank Rubenstein andother perfomers for, as they provi-ded exposure to an audience eagerto see what Europe could producein terms of new music. Masques

Arthur Rubinstein

31

kodály / bartók

KODÁLY

New study score

Music by Zoltán Kodály joins thatof Cristóbal Halffter and BélaBartók at a concert by the JovenOrquesta Nacional de España thisJanuary. Miguel Romea conductsthe Dances from Galanta at San Sebastian and Zaragoza (16/17 Jan).Amongst the performances of thework in the coming months is oneby the Israel Sinfonietta in BeerSheva/Israel (21/23 Feb), conductedby Imre Kollár, as part of their ‘Clas-si-Kal’ series. A new study score of the Dancesfrom Galanta (UE34121) is now avai-lable as part of our new series. Seepage 5 for more information.

BARTÓK

Unstoppable

drive

After the first performance of BélaBartók’s Music for String Instru-ments, Percussion and Celesta in1937, the Nationalzeitung Baselwrote: ‘Following the turbulent allegro, which effuses with an unstoppable drive and surprisingdiatonic clarity, the kind of applausenormally reserved for stars eruptedfrom the audience. That it should

be for a composer – a living one,and a moderniser at that – had something moving about it.’ A newstudy score is now available (seepage 5). Coming performances in-clude the Concertgebouworkestunder Iván Fischer in Amsterdam(17–21 Dec) and the ballet produc-tion ‘Solitaire’ by Stephan Thoss inWiesbaden (14 Feb).

Duke Bluebeard’s Castle joins Arnold Schönberg’s Erwartung atthe Staatstheater Stuttgart on 24Jan together with Heiner Müller’sQuartett. In Luxembourg, Pierre-Laurent Aimard performs Bartók’sIm Freien on 10 Jan.

Zoltán Kodály

(Xiang Zhang), 17/18 Dec in Aachen(Peter Ruzicka) and 30 Jan in Liège(Pascal Rophé).

KORNGOLD

Early career

The young Erich Wolfgang Korn-gold began his career with thepiano version of the ballet DerSchneemann. Orchestrated by histeacher Alexander Zemlinsky, thepantomime had its world premièrein 1910. The success of this earlypiece was due to the original melody and extraordinary themein particular. Hermann Bäumer isto perform the piece on 21 Dec withthe Deutsches Sinfonie-Orchesterin Berlin. Excerpts will be presentedin Norfolk/USA, Newport News/USA (18 and 19 Dec) and in Saar-brücken/D (21 Dec).

ZEMLINSKY / BEETHOVEN

Fidelio à la

Zemlinsky

Universal Edition assigned Alexan-der Zemlinsky the task of editingmajor classical works for ‘universaluse’ for piano in 1902–04. This ishow his versions of Mozart’s Zauberflöte and Beethoven’s Fidelio for piano duet came about.Both have been released by Cavi-Music in recordings by Dennis Russell Davies and Maki Namekawa.The Landestheater Linz has beenstaging a choreographed Fidelio inthis version for piano duet since 18Oct (until 17 Dec). The choreogra-phy is by Jochen Ulrich. Die Seejungfrau, a fantasia for or-chestra, is both Zemlinsky’s mostplayed and only programmatic or-chestral work: 1 Dec in Hamburg(James Conlon), 3/4 Dec in Basel

Zemlinsky / Beethoven Fidelio Landestheater Linz 2008

32

zemlinsky / korngold

33

berg

BERG

Versions of Berg

Andreas Kriegenburg’s new pro-duction of Alban Berg’s Wozzeckopened at the State Opera in Munich on the 10 Nov, and con-tinues with three further perfor-mances this January. Michael Vollesings the lead role with MichaelaSchuster as Marie, with Kent Nag-ano conducting. Olaf Schmidt’s new Wozzeck pro-duction opens in Regensburg usingthe reduced version by Erwin Stein.Raoul Grüneis conducts. The Steinversion is one of three reductionsavailable today. The reduction byEberhard Kloke (for small orche-stra) is smaller than the Stein, andJohn Rea’s version is for 21 instru-ments (last performed in Lille in2007 with the Ictus Ensemble). Forfull instrumentation details, seewww.tinyurl.com/uewozzeck

A new version of the Seven EarlySongs, arranged for medium voiceby Heinz Stolba, is now availablefor performance. This new materialopens the work up to a range ofsingers who have not yet had thepossibility to perform the work.

Berg’s Lyric Suite, Violin Concertoand Five Orchestral Songs (Alten-berg Lieder) have now been released in our newly edited studyscore series. See page 5 for furtherdetails.

A new production of Lulu by theCatalonian producer Calixto Bieitoopens at the Theater Basel on 15Feb, with Gabriel Feltz giving hisdebut performance in Basel. Basedon the three act version of thework completed by FriedrichCerha, Bieito presents his personalstage interpretation of the finaleof the work.

Alban Berg Wozzeck Bavarian State Opera 2008

WEBERN

Strictly

constructive

‘By “art”, I understand the ability toexpress a thought in the clearest,simplest, most comprehensibleway …’ wrote Anton Webern in1928. Webern perfected this abilityin his composing, developing ahighly sophisticated (selective),strictly constructive form of twelve-tone music.Webern's 125th birthday wouldhave been on 3 Dec, and the Ensemble Contrechamps dedicatethemselves to a detailed portrait ofthe composer – the ‘Journees Webern’ – in Geneva.Donald Runnicles conducts theDeutsche Sinfonieorchester in 6Stücke op. 6 on 18 Jan and, onemonth later, on 22 Feb, Ingo Metz-macher conducts them in a perfor-mance of the Passacaglia op. 1 inBerlin. The Ensemble Phoenix Basel inter-prets Symphonie op. 21 in Basel andBern (1 and 4 Dec); the Britten Sinfonia give three concerts with 5 Sätze op. 5 in Great Britain (5 and9 Feb); and soloists of the Ensem-ble Intercontemporain can beheard in Paris in a performance of6 Bagatellen op. 9 on 25 Feb.

SATIE

Picasso's living

pictures

The ballet music Mercure, Posesplastiques – an ironic depiction ofthe adventures of Mercury – wasone of the last works of Erik Satie.It arose through collaboration withPablo Picasso, who designed theset, costumes and curtain for thepremière in 1924 in the Theatre Cigale in Montmartre, Paris. AnnaVita has choreographed the play,full of wit, spirit and charm, for theDeutsche Oper am Rhein (Ander-sens Welt, ten performances in Octand Nov in Duisburg and Dussel-dorf).

34

webern / satie

Erik Satie MercureLe Théâtre Saint Malô 2007

SCHÖNBERG

Performance

alternatives

Arnold Schönberg’s monodramaErwartung is available in 3 versionstoday, offering smaller instrumen-tal alternatives to the original’squadruple woodwind and full brass.The version by Paul Méfano andMichel Découstfrom 2001 has less thanhalf the wind and single strings,and the Faradsch Karaew versionfrom 2004 uses just 20 players. The original version of Erwartungcomes to the stage in Stuttgart onthe 24 Jan. Together with Béla Bartók’s Duke Bluebeard’s Castle itflanks a performance of HeinerMüller’s Quartett. Marco Piolletconducts a new production by Thomas Bischoff.Bluebeard and Erwartung come toSeattle in February with the Robert

Lepage production from the Cana-dian Opera Company. Susan Pier-sen is the soloist in Erwartung, and Malgorzata Walewska makes herdebut in Seattle as Judith, John Relyea sings Bluebeard. The reducedversion by Méfano and Découstwill be performed in Kotka andKouvola/FIN on 3 and 4 Dec by theKymi Sinfonietta, with Yasuo Shi-nozaki conducting.The Ballett Schindowski presents aSchönberg evening at the Musik-theater im Revier in Gelsenkirchenin February. Bernd Schindowski’schoreography tells of human encounters, giving space to theemotional tension contained inSchönberg’s Verklärte Nacht andErwartung (version by Karaew).Bernhard Stengel conducts, AnkeSieloff is the soloist (première 7Feb). A new study score of Arnold Schön-berg’s Pelleas und Melisande is partof the new collection released thisautumn. See page 5 for details.

Arnold Schönberg Erwartung State Opera Berlin 2006

35

schönberg

mahler

36

MAHLER

Mahler’s fourth

for ensemble

Gustav Mahler himself referred tohis Symphony No. 4 as a ‘sympho-nic humoresque’, which has acheerful yet ambiguous character.‘The fourth dreamily returns to achildhood which, whilst mournedfor, is no longer to be trusted’ (Jens-Malte Fischer). With Mahler’s anni-versaries coming up in 2010 and2011, a reduced version of the Symphony No. 4 has just been com-pleted. Requiring fewer musiciansthan any of Mahler’s other sym-phonies and with a chamber musicstructure, it is particularly well suited to be performed in a re-duced version. In 1920/21, Schön-berg’s pupil Erwin Stein created asimilar version, but for financial reasons left out the all-important

French horn and the bassoon. Klaus Simon has now completelyre-edited the score of the Sympho-ny No. 4. His version leaves Mahler’s music untouched, thus reproducing the character andsound colours of the symphony asfaithfully as possible while follow-ing the concert customs of Arnold Schönberg’s Society for Private Musical Performances.Schönberg is the most importantcreator of reduced versions of or-chestral works in the history ofmusic. In its new reduced version,the Symphony No. 4 can be per-formed by 14 musicians with a solosoprano: wind quintet, percussion(2), harmonium, piano and stringquintet.

Gustav Mahler Toblach/I

janáček / haydn

37

mièred in 1770 to great acclaim atEszterháza Castle in Hungary. Un-fortunately, the dramma giocosobased on a libretto by Carlo Goldonifell into oblivion after parts of themanuscript were destroyed in a firein 1779. It was only in 1965 that thework could be revived, with addi-tions by H. C. Robbins Landon andKarl Heinz Füssl. The Wiener Kam-meroper will be presenting the reconstructed version of this raregem in 2009, Haydn’s anniversaryyear, with a première on 21 Feb.

JANÁČEK

Operatic success

Leoš Janáček’s successful operas,foremost among them The Cun-ning Little Vixen, are already partof the repertoire the world over. Apremière, then, is a rarity – like theforthcoming Israeli première, in anew staging by David Pountney (Israel Opera, Tel Aviv, 25 Feb–6 Mar).In Germany, the Deutsche National-theater Weimar (dir. Calixto Bieito,première 15 Nov) and the OperLeipzig (dir. Dietrich Hilsdorf, pre-mière 29 Nov) will cast new lighton Jenůfa. Angela Denoke takesthe lead role in Die Sache Makropu-los eight times at La Scala, Milan,from the 16 Jan, whilst Robert Car-sen's staging of Katja Kabanowasees 10 performances at the TeatroReal in Madrid (from the 2 Dec).The rhapsody Taras Bulba is set toreceive eight performances in Israel in January, performed by theIsrael Philharmonic Orchestraunder Tomáš Netopil.

HAYDN

Comeback for the

fisherwomen

Joseph Haydn’s opera semiseria Lepescatrici (The fisherwomen) pre-

Joseph Haydn Le pescatriciWiener Kammeroper 2009

2009

50th Anniv. of Death George Antheil † 12 February 195975th Birthday Sir Harrison Birtwistle * 15 July 193475th Anniv. of Death Frederick Delius † 10 June 1934

80th Birthday Edison W. Denisow * 06 April 1929150th Anniversary Joseph Bohuslav Foerster * 30 Dec 185990th Anniversary Roman Haubenstock-Ramati * 27 Feb 191950th Anniv. of Death Josef Matthias Hauer † 22 September 1959

200th Anniv. of Death Joseph Haydn † 31 May 180950th Anniv. of Death Bohuslav Martinu † 28 August 195950th Anniv. of Death Ennio Porrino † 25 September 195980th Birthday Henri Pousseur * 23 June 192975th Birthday Bernard Rands * 02 March 1934

100th Anniversary Karl Scheit * 21 April 190975th Anniversary Alfred Schnittke * 24 November 193475th Anniv. of Death Franz Schreker † 21 March 1934

100th Anniversary Alfred Uhl * 05 June 190990th Anniversary Roman Vlad * 29 December 191950th Anniv. of Death Eric Zeisl † 18 February 1959

201050th Anniv. of Death Hugo Alfvén † 08 May 196075th Anniv. of Death Alban Berg * 24 December 1935

80th Birthday Paul-Heinz Dittrich * 04 December 193080th Birthday Cristóbal Halffter * 24 March 1930

100th Anniversary Rolf Liebermann * 14 September 1910150th Anniversary Gustav Mahler * 07 July 1860

75th Birthday Arvo Pärt * 11 September 1935100th Anniversary Ennio Porrino * 20 January 191080th Anniversary Toru Takemitsu * 08 October 1930125th Anniv. of Death Egon Wellesz * 21 October 1885

38

anniversaries

2011

75th Birthday Gilbert Amy * 29 August 193675th Birthday Sir Richard Rodney Bennett * 29 March 1936

100th Anniversary Paul Burkhard * 21 December 191175th Birthday Cornelius Cardew * 07 May 1936

80th Birthday Mauricio Kagel * 24 December 193175th Birthday Ladislav Kupkovic * 17 March 1936

200th Anniversary Franz Liszt * 22 October 1811100th Anniv. of Death Gustav Mahler † 18 May 1911

75th Birthday Steve Reich * 03 October 193675th Anniv. of Death Ottorino Respighi † 18 April 193650th Birthday David Sawer * 14 September 196150th Birthday Daniel Schnyder * 12 March 1961125th Birthday Othmar Schoeck * 01 September 188650th Birthday Mauricio Sotelo * 02 October 196125th Anniv. of Death Alexandre Tansman † 15 November 198675th Birthday Hans Zender * 22 November 1936

2012

125th Anniversary Kurt Atterberg * 12 December 188775th Birthday David Bedford * 04 August 193750th Anniv. of Death Hanns Eisler † 06 September 196225th Anniv. of Death Morton Feldman † 03 September 198750th Birthday Silvia Fómina * 196275th Birthday Peter Kolman * 29 May 1937

80th Birthday Richard Meale * 24 August 193250th Anniv. of Death Caspar Neher † 30 June 196275th Birthday Gösta Neuwirth * 06 January 193775th Birthday Bo Nilsson * 01 May 1937

60th Birthday Wolfgang Rihm * 13 March 195280th Birthday Rodion K. Schtschedrin * 16 December 1932

39

anniversaries

FRIEDRICH CERHA Serenade for ensembleEnsemble die reihe, c. HK Gruber12 February 2009 · Festspielhaus St. Pölten/A

Concerto for percussion and orchestraGewandhausorchester, c. HK GruberMartin Grubinger, perc26 February 2009 · Gewandhaus Leipzig/D

GEORG FRIEDRICH HAAS... in progress for chamber ensemblestudents of the Vienna Conservatoire19 December 2008 · Konservatorium Wien Privatuniversität/A

ARVO PÄRT Alleluia-Tropus for vocal ensemble (or chamber choir SATB) and 8 cellos (ad lib.)Cello Octet Conjunto Iberico, Vox Clamantis20 December 2008 · Bari/I

Symphony No. 4 ‘Los Angeles’for string orchestra, harp, timpani and percussionLos Angeles Philharmonic, c. Esa-Pekka Salonen10 January 2009 · Walt Disney Hall Los Angeles/USA

WOLFGANG RIHMString Quartet No. 11Takacs Quartet18 January 2009 · Philharmonie Essen/D

DAVID SAWER Skin Deep Operetta in 3 actsLibretto Armando Iannucci Orchestra and Chorus of Opera North, c. Richard FarnesGeoffrey Dolton – Doktor Needlemeier, Janis Kelly – Lania, Heather Shipp – Donna, Amy Freston – Elsa, Andrew Tortise – Robert, Mark Stone – Luke Pollockdir. Richard Jones, set. Stewart Laing16 January 2009 · Grand Theatre Leeds/GBwww.goskindeep.com

40

world premières

GEORG FRIEDRICH HAAS Les Temps tiraillés for 3 instruments and electronicsPascal Gallois, bsn, GenevièveStrosser, Garth Knox, vlaMyriam Gourfink, choreo-graphy24 January 2009 · Centre Georges Pompidou Paris/F

JAY SCHWARTZ Music for Chamber Ensemble Nyyd Ensemble24 January 2009 · Funkhaus Walraffplatz Köln/D

JOHANNES MARIA STAUD Segue Music for cello and orchestra (world première of the revised version)Konzerthausorchester Berlin, c. Lothar ZagrosekJean-Guihen Queyras, vlc20 February 2009 · Konzerthaus Berlin/D

41

world premières

Classic Solos for Flute 2for flute solo incl. CDed. by Mary Karen ClardyUE 70322

LUKE BEDFORDCatafalque for pianoUE 21439

LEOŠ JANÁČEK

Mährische Volkstänze for orchestraedition for violin and piano by Leoš FaltusUE 33728

WOLFGANG AMADEUS MOZARTWiener Sonatinen for flute and pianoed. by Peter Ludwig and Ulrich Müller-DopplerUE 33702

CARL REINECKE Undine Sonate for flute and pianoed. by Irmlind Capelleinterpretation notes by Susanne Schragefingering (piano) by Peter Roggenkamp UT 50242

GEOFFRY RUSSELL-SMITH Easy Blue Recorder Duets for 2 soprano recorders UE 21452

ROBERT SCHUMANNWorks for four-handed piano Vol. 2ed. by Joachim Draheimfingering and interpretation notes by Ljiljana Borota and Christian Knebel Urtext after the New Schumann Complete Edition UT 50079

MAURICIO SOTELOGreen Aurora dancing over the night side of the earthfor pianoUE 33418

42

new releases

NICOLAI PODGORNOV

Romantic

Piano Album

incl. La Valse d’Amélie & Can You Feel the Love Tonightfor pianoUE 33937

Podgornov’s magic piano continues

Arrangements of both Elton John’sCan you Feel the Love Tonight?,from The Lion King and Yann Tier-son’s Amélie’s Waltz from the filmAmélie feature amongst this collec-tion of new piano solos from Nico-lai Podgornov.

Following the success of his firstalbum, he has created an assort-ment of musical surprises formiddle-grade pianists.The pieces range from dreamy toenergetic but all provide stimulat-ing and expressive moments at thepiano. Nicolai Podgornov writes: ‘I hopethat every romantic – no matterwhat age – discovers something ofinterest in this album and findspleasure in playing these pieces.’

43

new releases

LUCIANO BERIO Chemins I, Chemins IIb, Concerto, FormazioniAnna Verkholantseva, hrp, GrauSchumacher Piano DuoRSO Wien, c. Martyn Brabbins, Bertrand de Billy, Stefan Asburycol legno CD WWE 20281

MORTON FELDMAN Coptic Light SWR Symphony Orchestra Baden-Baden and Freiburg, c. MichaelGielen Hänssler Classic CD 93.061

MORTON FELDMAN triadic memoriesSteffen Schleiermacher, pno MDG CD 613 1521-2

LEOŠ JANÁČEK Das schlaue Füchslein Orchestra of the Komische Oper Berlin, c. Václav Neumann (1956)Edition Walter Felsenstein Edition, Arthaus Music DVD 101 305

MAURICIO KAGEL AcusticaTAM-Theater Krefeld, c. Mauricio Kagel Zig Zag Territoires CD ZZT080403

ALMA MAHLER LiederMaria R. Wesseling, voc, Nathalie Dang, pno Claves CD 50-2904

GUSTAV MAHLER Symphonies No. 2, 3 and 4Tonhalle Orchester Zürich, c. David Zinman, Juliane Banse, Anna Larsson, Schweizer Kammerchor Sony RCA Red Seal

GUSTAV MAHLER Das klagende LiedSan Francisco Symphony and Chorus, c. Michael Tilson Thomas, Marina Shaguch, S, Michelle De Young, MS, Thomas Moser, T, Sergei Leiferkus, Bar SFS CD 821936-0017-2-5

GUSTAV MAHLER Das Lied von der Erde San Francisco Symphony and Chorus, c. Michael Tilson ThomasStuart Skelton, T, Thomas Hampson, Bar SFS CD 821936-0019-2-9

GUSTAV MAHLER Klavierquartett; ARNOLD SCHÖNBERG Verklärte Nacht (arr. for piano trio)

Wiener Klaviertrio, Johannes Fiedler, vla MDG CD 342 1354-2 JOSEPH MARX Klavierstücke

Tonya Lemoh, pno Chandos Records CHAN CD 10479JOSEPH MARX Eine Frühlingsmusik, Feste im Herbst, Idylle

RSO Vienna, c. Johannes Wildner cpo CD 777 320-2ARVO PÄRT Kanon Pokajanen (selection)

Orthodox Singers, c. Valery Petrov Troubadisc TRO-CD 01432-1ARVO PÄRT Memento;WOLFGANG RIHM Vigilia

Singer Pur Oehms Classics CD OC 812ARVO PÄRT Spiegel im Spiegel

Dan Styffe, cb, Gonzalo Moreno, pno Simax Classics PSC CD 1288

44

new on cd + dvd

FRANZ SCHREKER Intermezzo, Scherzo;ERNST KRENEK Symphony No. 1

Dietrich Henschel, bar, Luzerner Sinfonieorchester, c. John Axelrod Nimbus Records CD NI 5808

JOSEF SUK Ouvertüre zu Ein WintermärchenOrchestra of the Komische Oper Berlin, c. Kirill Petrenko cpo CD 777 364-2

KURT WEILL Berliner RequiemJan Remmers, Christian Immler, Berliner Rundfunkchor, Lucerne Symphony Orchestra, c. John Axelrod Nimbus Records CD NI 5807

ALEXANDER ZEMLINSKY / LUDWIG VAN BEETHOVEN Fidelio (for four-handed piano)Maki Namekawa, Dennis Russell Davies, Waltraud Meier, Kurt Moll CAvi 2 CDs 8553085

HALFFTER Cadencia, Ecosde un antiguo órgano, For-mantes, u. a. Alberto Rodaso,Juan CarlosGarvayo, pnVerso CD VRS 2063

MARXHerbstchor anPan, Ein Neu-jahrshymnus,Berghymne, u.a.BBC SymphonyOrchestra andChorus, c. JiriBelohlavekCHAN CD 10505

SOTELOChalan, Wall oflight black, NightJ.M. Cañizares,Marcus Weiss,musikFabrik, c.Stefan Asbury,Brad LubmanKAIROS CD0012832KAI

STAUD Towards aBrighter HueKarina Buschinger, vlnClassic clipsCLCL CD 105

45

new on cd + dvd

HENRI POUSSEUR (born 1929)

Worklist

Apostrophe et six réflexions 1964–1966for piano 18’

Apostrophe • Sur le tempo • Sur le phrasé • Sur le dynamique • Sur le toucher • Sur les sonorités • Sur les octavesCaractères 1961for piano 9’

Écho I de Votre Faust 1965for cello 3’

first movement from Échos de Votre Faust Échos de Votre Faust 1969for mezzo soprano, flute, cello and piano 26’

texts by Michel Butor, Johann Wolfgang von Goethe, Gérard de Nerval,

Luis de Góngora, Christopher Marlowe, Francesco Petrarca

La ligne des toits (cello solo) • Couleur de l'air A (trio, without flute) •

Insinuations (quartet) • Grande loterie du labyrinthe des fantômes (quartet) •

Les herbes des yeux (flute and piano) • Couleur de l'air B (trio, without piano) •

Le tremble et le rossignol (trio, without voice)

Électre 1960action musicale, tape with spoken (French) text, instrumental

and electronic parts 50’

text editor: Pierre Rhallys (after Sophokles);

roles: Electre, Clytemnestre, Oreste, Egisthe, le Messager, choir,

commentator (ballet)

Madrigal I 1958for clarinet 4’

Madrigal II 1961for 4 old instruments 3’

Madrigal III 1962for clarinet and 5 instruments 12’

Miroir de Votre Faust (Caractères II) 1964–1965for piano and soprano ad. lib. 29’

Le tarot d'Henri (piano solo, 15') • La chevauchée fantastique(text by Goethe, piano solo and soprano ad libitum, 4') •

Souvenirs d' une marionette (piano solo, 10')

Ode 1960–1961for string quartet 17’

46

pousseur worklist

henri pousseur

47

Parade de Votre Faust 1975for orchestra, arranged by Jean-Louis Robert 20’

Symphonies à quinze solistes 1954for chamber orchestra 13’

Trait 1962for 15 string players 10’

U oder E-Musik 1990/1991for string quartet 2’

7 versets des psaumes de la pénitence 1950for mixed choir a cappella (SATB) or vocal quartet 3’40’’

3 visages de Liège 1961electronic music 20’

L'Air et l'eau • Voix de la ville • ForgesVotre Faust 1961/1968variable play in the manner of an opera (new version 1981) var. 150–180’

libretto by Henri Pousseur and Michel Butor

roles:

singers: Der Bassist / Die Altistin / Die Sopranistin / Der Tenor

actors: Der Theaterdirektor / Henri / Maggy / Die Sängerin /

Die Schauspielerin

Arrangements:Anton Webern (1883–1945) Passacaglia op. 1 (1908) 1987for small ensemble 11’

arranged by Henri Pousseur

More information available at:www.universaledition.com/pousseur

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Chief Editors: Angelika Dworak and Eric Marinitsch

Contributors: Eric Marinitsch, Jonathan Irons, Angelika Dworak,

Elisabeth Bezdicek, Daniela Burgstaller, Kieran Morris and

Marion Dürr

Design: Egger & Lerch, Vienna/Austria

Photo credits: Eric Marinitsch (6), UE-Archive (5), Marcello Antico,

www.lifepr.de, Marion Kalter, Hagen Rehborn, IMD Darmstadt,

Struck-Foto, Holland Festival / Lieven Bertels, Stone / courtesy of

the Kurt Weill Foundation for Music New York, Picture-Alliance,

Neal Hecker, www.amatis.us, Ruhrtriennale / T. Schwede, Steve

Pyke, Arthur Rubinstein International Music Society, Landesthe-

ater Linz / Paul Leclaire Köln, Bayerische STOP / Wildfried Hösl,

Théâtre St. Malo, Staatsoper Berlin, International Gustav Mahler

Society Vienna, Wiener Kammeroper / Holger Beck, sbcarlile, Patrice

Vioisin; CDs: Verso, Chandos, KAIROS, Classic Clips.

DVR: 0836702

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