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NEWSWebsite re-launch — 4UE search functions, B2B — 4

COMPOSERSBoulez — 5Halffter — 8Rihm — 9Pärt — 12Haas — 13Baltakas — 15Panufnik — 15 Berio — 16Stockhausen — 17Kurtág — 19Kagel — 19Sotelo / Furrer — 20Finnissy — 20Bennett — 21Sawer — 22Wilson — 22Schnyder — 23Lentz — 23Ruzicka — 24Pousseur — 24Feldman — 25Brown — 25Schönberg — 26Weill — 28Brand — 28Szymanowski — 29Braunfels — 29Martin — 30Schmidt — 30

Contents

contents 02/2005

3

Milhaud — 31Schreker — 31Rathaus — 32Grosz — 32Mahler / Barshai — 33Krenek — 34Bartók — 34

REDISCOVERIESCasella — 35Reznicek — 35Paul von Klenau — 36Tansman — 37Martinu — 37

ANNIVERSARIES — 38 - 39

WORLD PREMIÈRES — 40

NEW RELEASES — 41 -42

NEW ON CD — 43 - 44

WORKLISTBoulez — 45 - 46

CREDITS — 48

Dear reader,

To celebrate is to discover!Despite all the usual criticism,special birthdays and celebrationsof composers are a proven sourceof creative programming ideas. Is itnot artistically daring to place themusic of a single composer, ofwhose qualities one is confident, atthe centre of a season, a series or afestival? It’s a gamble that can payoff: composers long identified asgiants often surprise listeners withpreviously unknown gems,imbuing an event with a percepti-ble identity. And the jubilee of anunsung giant can provide the exciting chance to present an exclusive revelation.

The editors

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news

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WWW.UNIVERSALEDITION.COM

Search function

Over the last few weeks, our websi-te www.universaledition.com hasbeen expanded and enriched bythe addition of two very importantnew tools: first of all, clicking onthe search button in the upperright-hand corner of the homepage avails you of our entire data-base, making a comprehensive se-arch of the website now possible.And with the new search naviga-tion bar, you can find not onlysheet music, materials for purcha-se and hire, and new releases, butalso downloads, sound clips, bio-graphies, photos and performancedates!

B2B - Business

to Business

In announcing our second newtool, we are pleased to be the firstpublisher to offer concert organi-sers, stage directors, artistic direc-tors and others information speci-ally compiled for those in the

music management field.More and more, our B2B area willmake it possible for you to accessUE works grouped according tospecific themes and genres, suchas: the visual arts, pieces for celloensemble, Faust, Japan, children,Mozart, contemporary composers,music in space, night and death - toname just a few. Generous atten-tion is also paid to settings of lite-rary works: pieces based on thewritings of Antonin Artaud, BertoltBrecht, Heinrich Heine and RainerMaria Rilke can be found via theirown individual search buttons. Weare constantly working on the ex-pansion of these thematic areas.Furthermore, the B2B PremièreCheck can tell you right awaywhether a given work has alreadybeen premièred in your country,and the Anniversaries area offers alisting of all the important birth-days and death-dates of our com-posers and related literary figures.A further click on the UE Music forFilm button shows you which well-known films include music by UEcomposers.

boulez

5

BOULEZ

Worldwide...

All over the world, concert organi-sers, orchestras, ensembles, soloistsand conductors are giving perfor-mances to celebrate the 80thbirthday of Pierre Boulez.In 2005, works from his entire oeuvre will be presented over 130times in around 80 concerts (as ofFebruary 2005). Exact dates and de-tails can be found on our website,at www.universaledition.com /Composers / Performance Databa-se (information subject to change).As usual, Boulez and his EnsembleIntercontemporain are at the cen-tre of the action! Boulez himselfmounts the rostrum 60 times, per-forming with EIC in Paris, Munich,Cologne, Orléans, Amsterdam andBerlin.

Conductors and soloists of Boulezin 2005 include:Daniel Barenboim, George Benja-min, Reinbert de Leeuw, Zsolt Nagy,Sir Simon Rattle, David Robertson,Hugh Wolff; Pierre-Laurent Aimard,Hae-Sun Kang, Hidéki Nagano,Tamara Stefanovich

Orchestras and ensembles of Bou-lez in 2005 include:Berliner Philharmoniker, ChicagoSymphony Orchestra, Cleveland Orchestra, London Symphony Orchestra, Orchestra Sinfonica

Nazionale della RAI Torino,Orchestre National de Lille, RSOFinnland, Staatskapelle Berlin,Wiener Philharmoniker; Accentus,Ensemble Intercontemporain,Ensemble Linea, Ensemble Sospe-so, London Sinfonietta, SchönbergEnsemble.

Bon Anniversaire!

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boulez

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BOULEZ

On his

80th birthday

I think back to when I assumed re-sponsibility for new music at theSüddeutsche Rundfunk: one of myfirst official acts was to invite Boulez to Stuttgart. Almost beforethe invitation had been made public, the first nasty reactionscame back from the orchestra, andwhen these had no effect, from Mr.Celibidache himself, who was FirstGuest Conductor at the time. Theessence of Celibidache’s objectionwas that he would never be able tomake lasting improvements to theorchestra if one brought in peoplelike Boulez, who would simply teardown everything that had been sopainstakingly built up.Celibidache possessed enough foresight to be acutely aware ofthe danger emanating from the al-ternative perspective representedby Boulez. After all, Boulez meantnothing less than the end of thepodium divas – conductors who, asAdorno put it, played up their ownrole at the expense of those whowere actually playing. Of course,Boulez was somewhat ahead ofthe game compared to the averageconductor: the fact that he hadperfect pitch meant that it wasperhaps pre-destined that hewould perform contemporary

music. But that alone would nothave made him fundamentally different from the old-style primadonnas. Rather, it was his conduc-ting technique and his musical in-telligence that set him apart so definitively as a musician. This in-comparable musical profile wasthe manifestation of a certain fun-damental attitude: that interpreta-tion should be cleansed of subjec-tive views, in order that the musicmight speak for itself.

This also describes the motivationbehind his work as a composer.Boulez intended to cleanse compo-sition of the haphazard nature of asubjectivity grown frail, to allowmusic to articulate more than justthe private preferences and dislikesof the composer. Other composersbesides Boulez also took part insuch objectification, althoughmost eventually abandoned theconcept. By way of improvisationand open forms, via quotationsand paraphrasing, the old subjecti-ve practices were soon reinstated.

Boulez kept to his process, even atthe cost of becoming a somewhatisolated figure. When he began hisgreat conducting career with theBBC Symphony Orchestra and theNew York Philharmonic, he was ac-cused merely of trying to compen-sate for his reduced productivity.

7

boulez

But time was on his side. Not longafter the declaration of the post-modern era, the era of “anythinggoes”, it was realised that in doingso, art had robbed itself of a pro-ductive form of resistance, whichexplains the weaknesses exhibitedby so many works from this period.All at once, following the composi-tion of the grandiose Notations,Boulez’s music had regained itscurrency. After all, Boulez preservedsomething that had been lost inthe post-modern masquerade:the productive conflict betweenfreedom and that which limitsfreedom.Today, as Boulez completes hiseighth decade, he can look back onan oeuvre in which one finds pro-gress and tradition, freedom andrestriction communicated in an in-comparable manner. It cannot becopied, but composers will be gui-ded by his work as long as all thatwhich can be called music worthyof mankind continues to resist to-day’s insidious musical illiteracy.

Clytus Gottwald

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halffter

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this highest form of communica-tion that reaches our deepest awa-reness. How else can one explainthe silence lasting several minutesof a ‘traditional’ audience after thepremière of Don Quijote, or the 40enraptured violinists of the Ger-man Youth Orchestra during thefirst movement of Elegías?Halffter touches us, fascinates us!The fascination comes from “play-ing” in both senses of the word. Inplaying, one alters reality. A violin isjust wood and metal, but suddenlyit becomes art, culture, beauty. Thecatalyst is an idea, a sound. I createa living cell and try to let it developin whatever direction it wants to.The ‘why’ is difficult to explain.When, in Wozzeck, it is said: ‘Youhave a child without the blessing ofthe church,’ Wozzeck replies: ‘Some-times that’s how Mother Natureworks!’, and sometimes it’s that waywith me. Nature comes along with afortissimo … it’s wholly intuitive. Buta composer must also work cons-ciously with his intuition.It is a good thing that, at 75, thiscomposer’s work is in full swing.

Cristóbal Halffter celebrates his75th birthday on 24 March 2005.Many happy returns!

HALFFTER

‘Sometimes that’s

how Mother

Nature works!’

Cristóbal Halffter – Spaniard,aesthete, ethicist, “player”. Fourcharacters combine in a singlemusic that, above all else, mediatesbetween composer, musician andlistener. I seek the highest form ofcommunication that the brain is ca-pable of perceiving! Halffter’s pro-clamation might seem arrogant inthe light of new music’s reputedinaccessibility, but it is precisely

rihm

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RIHM

... in the US

and in Europe

Springtime heralds a number ofnotable events for Wolfgang Rihm.First and foremost is the premièreof a work written for Lorin Maazeland the New York Philharmonic Or-chestra: Two Other Movements – aprovocative title that arouses cu-riosity. The “answer” can be heardat the open rehearsal on 8 Marchor at one of four performances (10,11, 13 and 15 March). Dritter Doppel-gesang for clarinet, viola and orche-stra was created for the MinnesotaOrchestra and the Orchestre Natio-nal de France. Osmo Vänskä premi-ères this piece on 14 April in Minne-apolis with clarinettist Burt Haraand violist Tom Turner. The Frenchpremière takes place in Paris on 16Feb 2006, Kurt Masur conductingthe Orchestra National de France.

On 18 April, George Benjamin con-ducts the US première of Gedräng-te Form as part of the MusicNowseries of the Chicago SO. This shortensemble piece was later sub-

sumed into the ‘melting pot’ of Jagden und Formen, an outstan-ding, 50-minute work for large ensemble that will see its US première on 25 May at Lincoln Center (EIC/Jonathan Nott).Hotel Römerbad in Badenweiler isonce again patron and location of aworld première: Rihm’s En plein airfor harp, flute, clarinet and stringquartet (13 March).Finally, the Holocaust Memorial inBerlin will be dedicated on 9 Maywith Memoria. Drei Requiem-Bruchstücke for alto solo (CorneliaKallisch), boy soprano, choir and or-chestra. Lothar Zagrosek conductsthe Young German Philharmonicand the Berlin Radio Choir.

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pärt

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PÄRT

Composer of the

Year 2005

In a formal ceremony at New York’sCarnegie Hall on 6 December, Mu-sical America conferred its awardsupon the year’s most outstandingmusicians. Musical America’s Com-poser of the Year was Arvo Pärt.This award is one of the most im-portant honours that a composercan receive.This year Arvo Pärt celebrates animportant birthday (his 70th), andnumerous concerts are planned tomark the occasion:Munich: Pinakothek der Moderne –portrait concert by the Munich COunder Christoph Poppen on 5March.Berlin: Passio with the ensembleUnitedBerlin under Stefan Schuckin the chamber music hall of the

Philharmonie on 23 March.Tallinn: On 8 April, with the com-poser present, Eri Klas conducts theEstonian National Symphony Or-chestra in works from several crea-tive periods: Pro et contra (1966),Credo (1968), Lamentate (2003)and – an Estonian première – DaPacem Domine for choir and orche-stra (2004). This concert will bebroadcast by Eesti TV.Te Deum on tour: Paavo Järvi andthe Deutsche Kammerphilharmo-nie, together with the EstonianPhilharmonic Chamber Choir, willmount four performances of the TeDeum (29/30 March in Bremen, 1April in Innsbruck, and 2 April atthe Heidelberg Spring Festival).Winnipeg: Winnipeg SO head con-ductor Andrey Boreyko, a passiona-te and successful promoter of Pär-t’s music for several years now, willgive the Canadian première of Pär-t’s Cecilian cantata Cecilia, vergineromana during a series of concertsrunning from 28 to 30 May.

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haas

HAAS

An eventful

springtime

Klangforum Wien will be perfor-ming Georg Friedrich Haas’s newwork Haiku (for baritone and 10 in-struments) on 24 April at the WittenFestival of New Chamber Music.Two days later, the work’s Austrianpremière will take place in Vienna.The soloist will be Georg Nigl.The night so short – oh!And in caterpillars’ hairsPearls of dew.(Buson Yosa, 1716 – 1784)‘Haiku’ is a traditional form of Japa-nese poetry, defined by the numberof syllables per line (5/7/5) and bythe requirement that the season ofthe year be defined by one – andonly one – statement (“the shortnight” = summer).Emotions are omitted, but nonethe-

less the poem offers a framework inwhich space for various (even cont-radictory) feelings is provided. In mysetting, Buson’s text [in the Germantranslation] is repeated severaltimes, varying musical means len-ding shades of colours to the samewords, whereby the underlying me-aning and the feelings expressed bythe text change accordingly.

(G.F. Haas)

The Violin Concerto, premièred in1998 at the Vienna Musikverein,will receive its Japanese premièreon 6 April in a performance givenby the New Japan Philharmonic Or-chestra and Ernst Kovacic, conduc-ted by Christian Arming at SuntoryHall in Tokyo.

The 2004 Andrzej DobrowolskiComposition Award, presented bythe Province of Styria, will be awar-ded on 25 April 2005 to Haas, acomposer who is forging a way intonew musical territory.

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baltakas / panufnik

BALTAKAS

A new song

The song cycle – sometimes withvoice, sometimes without voice –begun by Vykintas Baltakas in2000 with Song (Das Lied) for pianoand tape has recently expanded bythree further works: we reported on Ouroboros for cham-ber ensemble at the Klangspurenfestival in Schwaz, and on(co)ro(na), a further ensemblepiece performed at Hamburg’s dasneue werk.Thanks to a commissionfrom Harry Vogt for the Witten Festival of New Chamber Music,these are now joined by a newsong for soprano (Rita Balta, S) andinstruments, which will be premiè-red by Klangforum Wien under Jo-hannes Kalitzke on 24 April 2005.

PANUFNIK

Abraham

Abraham is the title of RoxannaPanufnik’s new violin concerto,which will first be heard on 25March at the Savannah Festival, US.Panufnik has long held a fascina-tion for the musics central to Islam,Judaism and Christianity, and thisvirtuosic new work intertwinesthem in a most striking manner.The dramatic story of Abrahambeing asked by God to sacrifice hisonly son and being reprieved at thelast moment seemed entirely ap-propriate to Panufnik, since Abra-ham is considered the father ofthese three faiths. Daniel Hope, theprize-winning young violinist andassociate artistic director of the2005 festival, will perform thework with conductor John Axelrodand the festival orchestra.Soon to receive its European premi-ère in Lucerne, it is expected thatthis ravishing and most originalwork will quickly become part ofthe repertoire.

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berio

BERIO

Ensembles honour

their master

The Neue Vocalsolisten Stuttgartwere lucky enough to work withthe composer on the version of A-Ronne for 5 actors. Since then, ithas become a staple part of theirrepertoire. Four performances areplanned between March and May2005: on 7 April (Donaueschingen),8 April (Ravensburg), 3 May (Gene-va) and 7 May (Saarbrücken).Geneva: Ensemble Contrechamps,led by Pascal Rophé, has scheduledan ‘Hommage à Luciano Berio’ on 3May. The programme will presentan impressive survey of Luciano Berio’s multi-faceted oeuvre:A-Ronne (1974), Circles (1960),Chemins II (1967), and Canticum Novissimi Testamenti (1989). Theevening’s soloists are all veteran

Berio performers: Luisa Castellani,one of Berio’s preferred voices, Ge-neviève Strosser, viola, SébastienCordier and François Volpé, percus-sion, Quatour Xasax and the NeueVocalsolisten Stuttgart.The Nieuw Ensemble Amsterdam,led by composer and conductorFabio Nieder, is planning two per-formances of their ‘Hommage à Luciano Berio’ concert: on 14 Aprilin Utrecht and 19 April in Maast-richt. The programme is to includeFolk Songs (with soloist Alda Caiello), O King and Glosse, as wellas Fabio Nieder’s own Omaggio inmemoriam Luciano Berio.Tallinn: Coro, for 40 voices and in-struments, in which Berio applied amultitude of musical techniquesfrom various cultures, numbersamong his most important works.Tõnu Kaljuste will conduct Coro inTallinn on 23 April, with the RATS-koor and the Estonian National Symphony Orchestra.

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stockhausen

STOCKHAUSEN

Retrospective

in Brussels

The Ars Musica Festival (artistic director, Tino Haenen) will be presenting several of Karlheinz Stockhausen’s major works fromthe ‘50s and ‘60s – compositionswhich paved the way for post-warmusical developments and servedas reference points for younger ge-nerations of composers.

On 4 March 2005, the ASKO Ensem-ble (c. Etienne Siebens) will per-form Kreuzspiel (1951) and Kontra-Punkte (1952/1953).According to the composer, thefirst work represents the idea of theintersection between chronologicaland spatial processes, portrayed inthree stages. Of the latter work, hewrote that it was created based onthe idea that, in a diverse soundworld filled with individual tonesand time-ratios, contradictionsshould be resolved until such a stateis achieved in which all that is audi-ble is uniform and unchanging.

MusikFabrik NRW and the Choeurde Chambre de Namur underJames Wood will interpret Mikro-phonie II (1965), which – accordingto Stockhausen – is an attempt at asynthesis between singing and elec-tronic music.The Dunedin Consort will singStimmung (1968) and in doing sowill go into the very centre ofsound, the centre of the harmonicspectrum, the centre of a vowel, thecentre itself (3 March).Benjamin Kobler plays Klavier-stücke VI-IX and XI on 5 March; onthe same day, Refrain (1959) will beperformed by Ensemble Recherche.Members of the EIC play Zeitmaße(1955/1956) on 20 March, and WimKonink performs Zyklus (1959) on18 March.

19

kurtág / kagel

KURTÁG

and Hungarian

poetry

The Dresden Music Festival is awai-ting a rarity by György Kurtág:Erinnerung an einen Winterabend,op. 8, four fragments after poemsby Pál Gulyás for soprano, violinand cimbalom (22 May).The 1969 trio displays elements typical of Kurtág’s later works fromthe '80s – such as in the fourthfragment, whose beginning antici-pates that of the Trussova Songs.Baritone Georg Nigl will sing theAustrian première of Drei Lieder,op. 11a (1986, after poems by JánosPilinszky), with pianist Ueli Wiget(Vienna, 17 May).Kurtág’s first ensemble work, VierCapriccios, op. 9 (1970/71, rev. 1997),for soprano and ensemble afterpoems by István Bálint (miniatureopera soliloquies, writes Paul Griffiths), will be performed twice:on 2 March in Vienna (Donna Ellen/ Vienna Chamber Philharmonic /Traunfellner) and two days later inBirmingham (Lixenberg / BCMG /Mälkki).

KAGEL

Early chamber

music

Mauricio Kagel’s earliest UE work,String Sextet (1953/57), will beheard on 18 May in Saarbrücken(Veridian Ensemble). His homageto Beethoven, Ludwig van (1969)for pno, cb and tape, as well as Un-guis incarnates est (1972) for pnoand cb take the stage on 2 April inParis. Two percussionists from theSchönberg Ensemble will performZwei-Mann-Orchester (1971/73) inMonte Carlo on 5 April, and Match(1964) for 2 cellos and percussionwill be heard on 14 May in Munich.

Mauricio Kagel

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sotelo/furrer finnissy

SOTELO / FURRER

Ohren auf Europa

2006

Beat Furrer decided the concept ofthis year’s Ohren auf Europa Festival (Open your ears to Europe)at the Tonhalle in Düsseldorf,where the notabu ensemble willperform his nuun, and where Mauricio Sotelo’s Appassionato forflute and ensemble will have itsGerman première on 2 May 2005.That evening will also feature:Morton Feldman’s For Frank O’Hara, Georg Friedrich Haas’sNach-Ruf … ent-gleitend and Haubenstock-Ramati’s Credentials.

Sotelo’s Wall of light red, inspiredby Irish painter Sean Scully and dedicated to Furrer, will be heardagain in Spain: Furrer will conductKlangforum Wien in Seville (3 May),Granada (4 May) and Valencia (8 May). The work was premièred inGraz on 6 December, Furrer’s 50thbirthday.Lastly, Sotelo’s Artemis will be per-formed by the Artemis Quartet on11 May in Burghausen and on 30May in Berlin.

FINNISSY

Turner and

Constable...

As part of the Royal PhilharmonicSociety / BBC Radio 3 “Encore” pro-ject, Sea and Sky will be performedon 1 April at a BBC SO invitationconcert (Maida Vale). This work ofMichael Finnissy’s was last perfor-med in the UK almost 20 years ago(BBC SO, 1986), and was commis-sioned and first performed by theLPO in 1980 (c. Elgar Howarth). It isa grandly conceived work of greatimpact inspired by the Englishcountryside and the painting ofTurner and Constable.

Beat Furrer

21

bennett

BENNETT

The Mines

of Sulphur

Part eerie ghost story, part murdermystery, Sir Richard Rodney Bennett’s opera The Mines of Sulphur made a triumphant ele-venth hour addition to Glimmer-glass Opera’s 2004 festival seasonin Cooperstown, New York. Nowthe rarely heard gem is heading toNew York City for performances atthe New York City Opera on 23, 25,27 October and 2, 5 November2005. George Manahan will con-duct the production which is direc-ted by David Schweizer.Commissioned by Sadler’s Wells in1965, Bennett’s opera with its richlycoloured score was widely acclai-med at the time of its première butfell into eclipse shortly after.

It was such a wonderful surprise towitness a new life for this work, saysthe composer, and in such a marvel-lous new production. I couldn’t behappier with the results.Glimmerglass music director Stewart Robertson rememberedthe opera from his student days inGlasgow and suggested it whenthe scheduled première at the festival of a commissioned workwas postponed.The gothic tale takes place in an18th-century English country house

where the wealthy landowner,Braxton, has been murdered by avagabond trio of outcasts. A travel-ling band of actors arrives unex-pectedly seeking shelter andenacts a play that reveals the treachery. But who are these ac-tors really and what else have theywrought upon the household? As Shakespeare wrote in Othello,Dangerous conceits are, in their na-tures, poisons…[and] burn like themines of sulphur. A riveting climaxensues.

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sawer / wilson

SAWER

Tiroirs in

Birmingham

On 4 March Susanna Mälkki willconduct Birmingham Contempora-ry Music Group in a performance ofDavid Sawer’s Tiroirs at the CBSOCentre. Written nine years ago in1996, this ensemble piece reworksits magic at every hearing: everytexture has buoyancy, every detailwit and originality, and there is nota note wasted. (The Guardian)Prompted by the work of surrealistRoussel, it is a ...marvellously adroitexercise in hinting without say-ing...done in bewitchingly iridescentcolours. (Daily Telegraph)

WILSON

Spanish première

The Amstel Saxophone Quartetwill give their fourth performance– the Irish première in fact – of IanWilson’s Atlantica at Aula Maxima(University of Galway, Ireland) on 2 March 2005.Then, on 5 April, Trio Arbos will pre-sent the Spanish première of Negronegro elegía at the Teatro Alham-bra in Granada.Composed in 2004, this work isWilson’s fourth piano trio andforms part of his Orphean Unter-welt series. It has already been per-formed in Vienna and Dublin.Directly inspired by Robert Mother-well's iconic series of paintings called Elegies to the Spanish Republic, Wilson’s aim was to seeka musical drama that would, likesome small echo of Motherwell's se-ries, express some of the horror andfrustration I have felt at manyworld events over the past fewyears. In doing this, the composerhas created an energetic and darkmusical vocabulary.Ian Wilson

23

schnyder / lentz

SCHNYDER

Violin Concerto

in Sweden

Daniel Schnyder composed his Concerto for Violin for Nora Chastain, who wanted a piece roo-ted in the classical tradition whilstalso reflecting contemporaryrhythms and sounds. It will be per-formed on 3 March by the Helsing-borgs Symfoniorkester, with NoraChastain as soloist and SebastianWeigle conducting. It has been pro-grammed frequently since 1997, atestament to Schnyder’s enduringstyle which draws on jazz andavant garde idioms in practicallyequal measure, producing a headybrew, tuneful, rhythmic, appealing.

LENTZ

in Australia

Composer and Luxembourg nativeGeorges Lentz has almost comple-ted his viola concerto Monh (pre-mière to take place in July 2005).Lentz’s works are performed regu-larly in his adopted home of Australia: the orchestral pieceNgangkar will soon be heard inPerth with the West Australian SOunder Christopher Franklin, whilstthe Australian String Quartet will

tour with Caeli enarrant 4 forstring quartet and two cymbals inMay. Naxos has recorded this piecealong with other chamber works(8.557019 CD).

Daniel Schnyder

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ruzicka / pousseur

RUZICKA

Homage to Mahler

UE has a single orchestral work byGerman composer Peter Ruzicka:the 1981 viola concerto entitled…den Impuls zum Weitersprechenerst empfinge. According to Ruzicka, it revolves around themusic of Gustav Mahler. “Parts ofthe composition refer to a momentin the first movement of the 9thSymphony ... There, Mahler dared toinclude some very forward-lookingformulations, staggeringly modern:strong musical impulses that looktowards the future. Repeatedly, themusic takes form as though it were‘receiving the impulse to speakmore only once it is already spea-king’ (Adorno).Ruzicka will conduct the piece to-gether with Gustav Mahler’s Symphony No. 9 on 29 May 2005 inKassel to open a Mahler festivalstaged by the Staatstheater andGMD Roberto Paternostro. The Orchestra of the Staatstheater willperform, with soloist Paul Wiederin.

POUSSEUR

in Leipzig

Towards the end of the ‘50s and atthe beginning of the ‘60s, HenriPousseur composed three worksentitled Madrigal: Madrigal I (1958)was for solo clarinet (4’); in 1961came Madrigal II for 4 period in-struments – flute, violin, viola dagamba and harpsichord (3’); andMadrigal III (1962, 12’) is for solo clarinet, violin, two percussionistsand piano, and will be heard inLeipzig performed by ensembleAvantgarde on 4 May 2005. Thepiece was dedicated to the memo-ry of Wolfgang Steineckes.

Peter Ruzicka

25

feldman / brown

FELDMAN

on two

continents

Martyn Brabbins will conductMorton Feldman’s Coptic Light on23 May at the CUB Malthouse inMelbourne. In Paris, Rothko Chapelwill feature on 9 March with LesJeunes Solistes and in Switzerland,Voices and Instruments I will beperformed by Ensemble PhoenixBasel on 15 April (Zürich) and 16April (Basel). Then, in Germany,Feldman’s String Quartet No. 1 willbe performed by the PellegriniQuartet (Konzerthaus, Berlin) on 7

May, whilst Three Clarinets, Celloand Piano will be heard on 28 Mayin a performance by Ensemble Mo-dern (Akademie der Künste, Berlin).That same day, this time in Prague(Smetana Hall), Violin and Orchestra will feature in the PragueFestival.Finally, admirers of Feldman will bedelighted to learn that a newly discovered arrangement of KurtWeill’s Alabama Song is now available.

Brown

in Germany

Event: Synergy II, the vibrant en-semble work by Earle Brown whichhas two conductors reactingspontaneously to each other’s musical decisions, will be per-formed by the Bochumer Sympho-niker on 19 and 20 May 2005 (Bo-chum, Germany), and then againon 22 May (Dortmund, Germany).

Brown said that all his work from1950 onwards was in the two areasof performance-mobility...and thespontaneous generation of this mo-bility through the activation of theperformance process itself in termsof a score-performer-conductor-re-sult process...Morton Feldman

27

schönberg

SCHÖNBERG

Schönberg

Festival Ruhr

The Schönberg Festival Ruhr hasbeen in progress at the Neue Phil-harmonie in Essen since 21 Novem-ber. Initiator and festival directorMichael Kaufmann aims to do ju-stice to the fascination surroundingthe historical witness, person andcomposer that is Arnold Schönbergwhilst also presenting the Ruhrarea as an outstanding cultural re-gion. The programmes includemusic by all those composerswhom Arnold Schönberg valuedand considered important to hisown work.March begins with a piano night infour parts, embedding the music ofSchönberg amongst works by com-posers ranging from Bach, Haydn

and Beethoven to Liszt, Busoni andRavel. On 14 April, Michael Gielenconducts the SWR SO of Baden-Baden/Freiburg in Erwartung (IngaNielsen), the Five Orchestral Pieces,op. 16 (Peters) and the Variationsfor Orchestra, op. 31. The final con-cert on 24 April will juxtapose thestring orchestra version of theString Quartet No. 2 (Juliana Banse)with the Lyric Symphony by Schön-berg’s mentor and brother-in-law,Alexander Zemlinsky (JulianeBanse, Olaf Bär, Bochumer SO,c. Steven Sloane). On 2 April, theAalto Ballett Theater will premièrea ballet programme of Schönberg’smusic (choreography by Ralf Dör-nen, Robert North: 10 further per-formances until 7 July). These per-formances will be accompanied bya weekend of lectures and readingson Schönberg’s art and music atthe Museum Folkwang (8-10 April).

Alban Berg and Arnold Schönberg

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28

weill / brand

WEILL

Three cheers

for Happy End

The Mahagonny boom continuesunabated: the last issue of the UENewsletter reported on Mahagon-ny performances in Nuremberg,Darmstadt, Pforzheim, Zurich,Rome, Reggio Emilia and Bari.Now, 75 years after the work’s Leipzig première, Dresden’s Sem-peroper has added Aufstieg undFall der Stadt Mahagonny to itsprogramme. The première of thisnew production by Harry Kupfer isscheduled for 6 May (8, 15, 20 and22 May and 2 July).A new production (by ErhardPauer) of the unjustly neglectedHappy End at Vienna’s Volkstheaterhas been making waves over thepast few weeks. The ‘half-Brecht’,as the press called this Brecht /

Hauptmann play, has met with au-diences’ unanimous approval. A re-discovery that was long overdue.(Jan/Feb 2005)

BRAND

Maschinist

Hopkins in

Augsburg

Following its 1929 première in Du-isburg, despite being the hit of theGreat Depression, Max Brand’sopera Maschinist Hopkins sufferedthe usual fate of so-called ‘degene-rate music’: initial success followedby obscurity. The post-war periodthankfully saw several revivals, andanother new production begins atTheater Augsburg on 5 March2005. Stage direction: Ulrich Peters,conductor: Thomas Kalb.

Kurt Weill, Happy End, Vienna Volkstheater

29

braunfels / szymanowski

BRAUNFELS

Die Vögel in

the US

One of the most successful redisco-veries of the past few years, WalterBraunfels’s lyrical, fantastic dramaDie Vögel (1912/1919), loosely basedon Aristophanes’ The Birds, willhave its US première on 27 May atthe Spoleto Festival in Charleston,SC (c. Julius Rudel, dir JonathanEaton). At the work’s première in1920, Braunfels said: whoever sear-ches for something like ‘drama’ inDie Vögel is looking in the wrongplace. Three worlds stand side byside: the human, the fantastic andthe divine. The work’s plot resultsfrom the friction between thesethree worlds. ... I demand only onething of my listeners: to give them-selves over completely to this breezyfantasy.

SZYMANOWSKI

A Dutch

première

Demeter for alto soloist, women’schoir and orchestra, setting wordsby the composer’s sister Zofia, wassketched by Karol Szymanowski in1917 and then orchestrated in 1924.The ca. 7-minute cantata is one ofSzymanowski’s most strikingworks: the lyrical lament of a mother in search of her daughter.For whatever reason, Demeter hasnever attracted much attention. On26 March 2005 however, the work’sDutch première takes place inUtrecht with Aurélia Legay, theGroot Omroepkoor and the Ne-therlands RSO under Kees Bakels.

Walter Braunfels, Die Vögel, Volksoper Vienna 1999

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30

martin / schmidt

MARTIN

‘Cornet’ on

stage in Geneva

Rainer Maria Rilke’s cycle of poemsDie Weise von Liebe und Tod desCornets Christoph Rilke has beenset to music by several composers:Viktor Ullmann, Paul von Klenau,Siegfried Matthus and Frank Martin, each of whom treatedthese 23 ballad-like poems in theirown unique fashion.Martin’s contribution is a piece foralto soloist and small orchestra,and is one of his most poetic, grip-ping creations, in which the 52year-old composer brought all hismastery to bear. Each of the poemsdescribes a scene of soldiers ridingto war, and the recorded dialoguesare all sung by the alto. Some ofthe poems are lyrical, while othersare marked by great dramatic ten-sion. Now, the Grand Théâtre deGenève is mounting an excitingstage production of this 55-minutework. Soloist: Monica Groop; con-ductor: Patrick Davin; stage direc-tion: Nicolas Brieger. Première:6 May 2005.

SCHMIDT

The Book of

Seven Seals

Franz Schmidt (1874-1939) compo-sed his opus summum, The Book ofSeven Seals, an oratorio from theRevelation of St. John for soloists,choir, organ and orchestra (dura-tion: ca. 110’), between 1935 and1937. He only ever commented onthis work from the standpoint of adeeply religious person and as anartist. Despite its monumental pro-portions, the work is quite fre-quently performed at home andabroad – three times in fact duringthe coming months: on 22 March inHildesheim, as well as on 15 and 16April in Stockholm.

Franz Schmidt

milhaud / schreker

31

SCHREKER

Unpublished

no more!

The 70th anniversary of the deathof Franz Schreker brings with it anew volume of the composer’scomplete Lieder (UE 32955).Included are a number of hithertounpublished compositions, as wellas others that were published du-ring Schreker’s lifetime but neverwidely distributed. The collectionprovides a thorough overview ofSchreker’s stylistic development.

The ongoing Schreker revival hasrevealed some of the lesser-knownfacets of Viennese Modernism:Schreker did not follow his goodfriend Arnold Schönberg into ato-nality or dodecaphony, choosingrather to forge a stylistically broad,supple and expressive musicallanguage that probed the complexinner workings of the human soul.The Lieder in this new edition,spanning some 25 years of Schreker’s career as a composer, arethe result of this very individualmusical journey.

MILHAUD

Minute Operas

In 1927, Darius Milhaud composedthree 10-minute operas: The Ab-duction of Europe, The Abandon-ment of Ariadne and The Deliveran-ce of Theseus (libretti by Henri Hop-penot). The first was inspired byHindemith, whose 1927 Baden-Baden Festival bore the motto‘operas – as short as possible’.The Abduction’s success movedEmil Hertzka to suggest that Mil-haud expand it into a trilogy. Thecurrent production opens on 17March 2005 at the Teatro de laMaestranza in Seville.

Darius Milhaud

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32

grosz / rathaus

RATHAUS

Der letzte

Pierrot

Polish composer Karol Rathaus(1895–1954) wrote the ca. 40-minu-te ballet Der letzte Pierrot in1925/26 for Max Terpis, who washimself co-author of the libretto.Following the virulent rejection ofhis two symphonies (the first ofwhich was published by UE), theSchreker student had withdrawnfrom musical life. This ballet wasan attempt to change his means ofexpression, and indeed Rathauswent through a considerable styli-stic transformation. In an essay onthe piece, Martin Schüssler writes:Rathaus’s music is of such illustrati-ve power that it is easy to follow theplot without seeing the scenery onthe stage – the characters can be re-cognised by musical motifs.Der letzte Pierrot will receive itsDutch première in a concert perfor-mance on 28 May in Amsterdam(RSO / Israel Yinon) as part of JanZekveld’s Zaterdagmatinee con-certs.

WILHELM GROSZ

Achtung,

Aufnahme!

This is music from the 1920s by a‘degenerate’ composer who diedsuddenly in 1939, on the thresholdof a promising career in the US.Wilhelm Grosz engaged in two col-laborations with the Bartók libret-tist Béla Balasz, one of which resul-ted in the tragic-comic burlesqueAchtung, Aufnahme!, which will beperformed on 26 March by WernerHubers and his Ebony Band as partof Jan Zekveld’s concert series inAmsterdam, in a semi-staged pro-duction with Capella Amsterdam.

Wilhelm Grosz

33

mahler / barshai

MAHLER / BARSHAI

Visions

transcribed

In a letter dating from August 1910,Gustav Mahler wrote of his workon the Symphony No. 10:The visions are so strong that I be-come afraid of myself.Since the release of the CD of theversion by Rudolf Barshai (BrilliantClassics 92205), discussions aboutthe forward-looking musical di-mensions of the Symphony No. 10have been ‘audibly’ expanded. Onealso senses the immensity of thework undertaken by Barshai in pre-paration for his reconstruction andorchestration. The first four move-ments of this version were firstheard in autumn 2000 in Ljublja-na. Since then, there have alreadybeen 21 performances of all five

movements (75’) worldwide, fromJapan to Europe to the US.Thanks to continuing high interest,the score will now be made availa-ble as a study score (UE31504), andwill be presented to the public atthe Frankfurt International MusicFair.

Rudolf Barshai

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34

krenek / bartók

KRENEK

Violin

Concerto No. 1

5 March 2005 sees Ernst Kovacic assoloist in the second ever UK per-formance (the first took place in1962 in Epsom) of Ernst Krenek’sViolin Concerto No. 1, op. 29.Peter Tregear will conduct theCambridge University Chamber Orchestra at West Road, Cambrid-ge. A typically adept combinationof neo-classical rhythmic drive,sweeping lyricism and virtuosity,the work is one of the great violinconcertos of the early 20th century.Meanwhile, the evergreen Jonnyspielt auf will run for 8 nights in Cologne, beginning on 4th March.

BARTÓK

in the

Forbidden City

An evening of Béla Bartók’s con-cert version of the MiraculousMandarin, op. 19 in Beijing’s Forbidden City on 28 January 2005(China Philharmonic Orchestra,c. Long Yu) kicked off a tour thatwill continue on to the US (Irvineon 28 February, Los Angeles on 3March, San Francisco on 6 March,

etc.), Canada and Europe (Italy,Great Britain, Germany, Belgium,Netherlands).Bartók created his concert versionin 1927, after the original Mandarin’s scandalous 1926 worldpremière in Cologne (the piece wasto remain absent from the stageuntil 1945). Since then, both ver-sions have been played countlesstimes all over the world, and havebecome indispensable parts of therepertoire.

Béla BartókDer Wunderbare MandarinBudapest 1958

rediscoveries

35

ALFREDO CASELLA

Serenata

op. 46

In the difficult competition for a secure place in the concert reper-toire, the late Alfredo Casella hasbeen amongst the winners. A signi-ficant number of his works conti-nues to appear on concert pro-grammes, including the Serenatafor small orchestra, which wascomposed in 1930. It is an arrange-ment of the synonymous chamberpiece for clarinet, bassoon, trum-pet, violin and cello.On 21 May, the Serenata will be per-formed by the Havant Chamber Or-chestra and Peter Craddock in Fare-ham, UK.

EMIL NIKOLAUS VON REZNICEK

Symphony in

D-Major, in

the old style

Conductor Asher Raboy will per-form this small-scale Symphony inD-Major, composed in 1918 by theAustrian composer Emil Nikolausvon Reznicek (1860–1945), with hisNapa Valley Symphony in Napa, US.The composer had the humour and

spirit needed to make pleasantsounds out of exciting ideas … abun-dant musicality, writes DietherSteppuhn, who calls the piece original, interesting, strong-minded,and entertaining in the best senseof the word…

Alfredo Casella

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rediscoveries

36

PAUL VON KLENAU

Little Ida’s

Flowers, Paolo

and Francesca

Danish composer and conductorPaul von Klenau (1883–1946), afriend of Berg and admirer ofSchönberg, spent his career in Ger-many and Austria. His homelandhowever has now also begun to re-discover him: two recent CDs of or-chestral works provide an initialimpression of his music, and hisworks are being re-introduced tocurrent audiences. The AmericanSO under Leon Botstein will per-form the overture to the fairy-taleballet Little Ida’s Flowers (writtenin 1916) on 11 March at New York’sAvery Fisher Hall. (The completeballet, after Hans Christian Ander-sen, was premièred in Copenhagenthat year.) Meanwhile Paolo andFrancesca (1913, for orchestra) tre-ats Dante’s descent into hell along-side the tragic love that also inspi-red Tchaikovsky in his work France-sca da Rimini. (1 March 2005, Bir-mingham University PhilharmonicOrchestra / Martin Leigh).

Paul von Klenau

rediscoveries

37

TANSMAN

Le Serment

The lyrical episode Le Serment byAlexandre Tansman based on Balzac’s story La Grande Bretêche(libretto: Dominique Vincent) waspremièred in Brussels in 1955, afterwhich it gradually drifted into ob-scurity. On 13 November, this one-hour opera was given a concertperformance in Paris that was bro-adcast live on radio – the broadcastresulted in a very satisfying recor-ding which gives rise to the hopethat Le Serment might soon beseen and heard on stage onceagain. (Marie Devellereau, Coun-tess; Jean-Sébastien Bou, Count;

Orchestre Philharmonique deRadio France / Alain Altinoglu). Theplot bears a certain resemblance toZemlinsky’s Florentine Tragedy: it isabout an extra-marital affair andthe deadly revenge of a jealoushusband. Tansman’s post-impres-sionist music seems like a romanticecho of bygone times. (WolfgangRingelband)

MARTINU

The Epic of

Gilgamesch

Czech composer Bohuslav Martinu(1890–1959) studied the Babyloni-an Epic of Gilgamesh (the oldestwritten monument to world cultu-re, dating from 9th century BC) foryears before he dared to begin hiswork in 1954. The result was a 55-minute oratorio in three parts,written for soprano, tenor, baritoneand bass soloists, mixed choir andsmall orchestra. Sylvain Cambre-ling will conduct the SWR Sinfonie-orchester Baden-Baden and theSWR Vocalensemble Stuttgart inKoblenz on 18 June 2005.

Bohuslav Martinu

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anniversaries

38

2005

100th Anniversary Theodor Berger * 18 May 190580th Anniversary Luciano Berio * 24 October 192580th Birthday Pierre Boulez * 26 March 192575th Birthday Cristóbal Halffter * 24 March 1930

60th Birthday Vic Hoyland * 11 December 194570th Birthday Arvo Pärt * 11 September 193580th Birthday Gunther Schuller * 22 November 1925

100th Anniversary Eric Zeisl * 18 May 1905

2006

70th Birthday Gilbert Amy * 29 August 1936125th Anniversary Béla Bartók * 25 March 188170th Birthday Richard Rodney Bennett * 29 March 193650th Anniv. of Death Bertolt Brecht † 14 August 195680th Anniversary Earle Brown * 26 December 192680th Birthday Francis Burt * 28 April 192680th Birthday Friedrich Cerha * 17 February 192610th Anniv. of Death Gottfried von Einem † 12 July 1996

60th Birthday Michael Finnissy * 17 March 194680th Birthday Morton Feldman * 11 January 192675th Birthday Mauricio Kagel * 24 December 193170th Birthday Ladislav Kupkovic * 17 March 193680th Birthday György Kurtág * 19 February 1926

250th Anniversary Wolfgang Amadeus Mozart * 27 Jan 175670th Birthday Steve Reich * 03 October 1936

100th Anniversary Dmitri Schostakowitsch * 25 Sep 1906125th Anniversary Karl Weigl * 06 February 188170th Birthday Hans Zender * 22 November 1936

anniversaries

39

2007

75th Anniv. of Death Eugen d'Albert † 03 March 193270th Birthday David Bedford * 04 August 193720th Anniv. of Death Morton Feldman † 03 September 198780th Birthday Michael Gielen * 20 July 1927125th Anniversary Zoltán Kodály * 16 December 1882125th Anniversary Gian Francesco Malipiero * 18 March 1882125th Anniversary Joseph Marx * 11 May 188270th Birthday Gösta Neuwirth * 06 January 193760th Birthday Paul Patterson * 15 June 194750th Birthday Thomas Daniel Schlee * 26 October 195750th Anniv. of Death Othmar Schoeck † 08 March 1957125th Anniversary Karol Szymanowski * 06 October 188270th Anniv. of Death Karol Szymanowski † 29 March 193750th Birthday Julian Yu * 02 September 1957

2008

80th Anniversary Cathy Berberian * 04 July 192825th Anniv. of Death Cathy Berberian † 06 March 1983

90th Anniversary Gottfried von Einem * 24 January 191870th Birthday Zygmunt Krauze * 19 September 193880th Anniversary Gerhard Lampersberg * 05 July 1928

100th Anniversary Olivier Messiaen * 10 December 190860th Birthday Nigel Osborne * 23 June 194860th Birthday Peter Ruzicka * 03 July 194870th Birthday Tona Scherchen * 12 March 193875th Anniv. of Death Max von Schillings † 24 July 1933

80th Birthday Karlheinz Stockhausen * 22 August 1928100th Birthday Eugen Suchon * 25 September 1908

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world premières

40

VYKINTAS BALTAKAS New Song (AT) for ensemble and voice Klangforum Wien, c. Johannes Kalitzke, Rita Balta, S24 April 2005 · Witten Festival of New Chamber Music/D

GEORG FRIEDRICH HAAS "... aus freier Lust ... verbunden ..." for 2 percussionists soloists of Ensemble Modern03 May 2005 · Happy New Ears, Opera Frankfurt/DHaiku for baritone and 10 instruments Klangforum Wien, c. Johannes Kalitzke, Georg Nigl, voice24 April 2005 · Witten Festival of New Chamber Music/D

CRISTÓBAL HALFFTER Cuatro piezas para orquesta for orchestraOrquesta Municipal de Valencia, c. Pedro Halffter18 May 2005 · Auditorio Municipal de Valencia/E

ROXANNA PANUFNIKAbraham. A Concerto for Hope for violin and orchestrac. John Axelrod, Daniel Hope, vln25 March 2005 · Lucas Theatre, Savannah Music Festival/USA

WOLFGANG RIHM Two Other Movements for orchestraNew York Philharmonic, c. Lorin Maazel10 March 2005 · Avery Fisher Hall, New York/USA

En plein air for harp, flute, clarinet and string quartetMinguet Quartett, Lucas Fels, vlc, Barbara Maurer, vla 13 March 2005 · Hotel Römerbad, Badenweiler/D

3. Doppelgesang for clarinet, viola and orchestraMinnesota Orchestra, c. Osmo Vänskä, Burt Hara, clar, Tom Turner, vla14 April 2005 · Orchestra Hall, Minnesota/USA

Memoria. Drei Requiem-Bruchstücke for treble, alto, choir and orchestra, Junge Deutsche Philharmonie, c. Lothar Zagrosek, Rund-funkchor Berlin, Cornelia Kallisch, treble from the Berlin CathedralChoir (Inauguration of the Holocaust Monument in Berlin) 09 May 2005 · Philharmonie Berlin/D

new releases

41

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MARY KAREN CLARDY (HG.)Classic Duets for Flute Vol.2 for two flutes UE 70078

MIKE CORNICKEasy Blue Piano. Selected titles in popular styles for pianoUE 21260

GEORG FRIEDRICH HAAS Finale for flute UE 32748

ARVO PÄRT Spiegel im Spiegel for clarinet and pianoUE 32764

JAMES RAE Play it cool - Trumpet with CD 10 easy pieces for trumpet and piano UE 21265

WOLFGANG RIHM Quartettstudie for string quartetScore UE 32932, Parts UE32933

ERIK SATIE Trois Gymnopédies arranged by Sylvia C. Rosinfor recorder (T/S/A) and piano UE 32922

DAVID SAWER Parthenope for viola UE 21247

THOMAS DANIEL SCHLEE String Quartet No. 3, op. 56 – Tempus floridum for string quartetScore UE 32611

CENTRE STAGE 2 Weill, Mack the Knife - Bizet, Habanera arranged by James Raefor ensemble in variable orchestrationUE 21266

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new releases

42

MAGIC FLUTE ON STAGE

Anna Magdalena

Bach’s Notebook

arranged by Ulrich Müller-Doppler

and Peter Ludwig

for flute and piano

UE 32921

An introduction to Baroque stylesfor flautistsThe famous collection of little key-board pieces also known as ‘AnnaMagdalena Bach’s Notebook’ pro-vided Johann Sebastian Bach withvaluable material for teaching theinterpretation of the music of histime. Generations of piano tea-chers after him have also used hiscollection of pieces to teach Baroque style.Now flautists, with these new arrangements for flute and piano,can be introduced to the rules ofBaroque articulation, ornamenta-tion and dynamics, which perhapswill stimulate an ongoing interestin the vast repertoire of Baroqueflute music.

new on cd

43

HUGO ALFVÉN Five Symphonies Stockholm Royal Philharmonic Orchestra, c. Neeme JärviBIS 501478 / Klassik Center

BÉLA BARTÓK Musik für Saiteninstrumente, Schlagzeug und CelestaChamber Orchestra of Europe, c. Nikolaus HarnoncourtBMG Ariola Classics D 82876 59326 2 (Deutsche Schallplattenkritik Award)

ALBAN BERG Lyric Suite Kronos Quartet, Dawn UpshawNonesuch 7559-79696 2

ALBAN BERG Lulu Choir and Orchestra of the Vienna State Opera, c. Karl Böhm,Anja Silja, Martha Mödl, Waldemar Kmentt, Ernst GutsteinAndante CD AN 3050 (UO2)

ALBAN BERG Wozzeck Choir and Orchestra of the Vienna State Opera, c. Karl Böhm,Walter Berry, Christel Goltz, 1955 Andante CD AN 3060 (UO2)(Midem Classical Award 2005)

MORTON FELDMAN The Turfan Fragments, For Samuel Beckett The Orchestra of the S.E.M. Ensemble, c. Petr Kotik DOG W / A BONE DWAB04

CRISTÓBAL HALFFTER AttenditeCello Octet Conjunto Ibérico, c. Elias Arizcuren ET'CETERA KTC 1268

GUSTAV MAHLER Lieder eines fahrenden Gesellen, Fünf Rückert-Lieder,Kindertotenlieder Wiener Philharmoniker, c. Pierre Boulez, ThomasQuasthoff, Violeta Urmana, Anne Sofie von Otter Deutsche Grammophon DGG 00289 477 5329

FRANK MARTIN Concertos Orchester Musikkollegium Wintherthur, c. Jac van Steen,Michael Erxleben, vln, Adrienne Soós, Iva Haag, pn Musikproduktion Dabringhaus und Grimm MDG 901 1280-6

FRANK MARTIN GolgothaBerliner Symphoniker, Luzerner Knabenkantorei, Akademiechor Lu-zern, Kantorei der Stiftskirche Stuttgart, c. Alois Koch MIGROS Musiques Suisses MGB CD 6221

EMIL NIKOLAUS VON REZNICEK Donna Diana Orchestra and choir of the Kiel Opera, c. Ulrich Windfuhr, ManuelaUhl, Roman Sadnik, Simon Pauly, Anne-Carolyn Schlütercpo 999 991 - 2

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new on cd

44

LIVE - THE RADIO RECORDING Compositions by

ALBAN BERG Violinkonzert, Sieben Frühe LiederLUCIANO BERIO Concerto for two pianos and orchestra,

Concerto II, Folk Songs, Formazioni, RequiesGUSTAV MAHLER Kindertotenlieder, 8. SymphonieWOLFGANG RIHM Schwarzer und roter Tanz ARNOLD SCHÖNBERG Kammersymphonie Nr. 1ANTON WEBERN PassacagliaALEXANDER ZEMLINSKY Die Seejungfrau

Royal Concertgebouw Orchestra, c. Riccardo ChaillyRadio Netherlands Music 13 CD Box MCCM 97033

G. F. HAAS String QuartetNo. 1 and 2Kronos Quartetedition zeitklang ez-19017(DeutscheSchallplatten-kritik Award)

CRISTÓBAL HALFFTER Don QuijoteOS de Madrid,c. Pedro Halff-ter, Baquerizo,Santamaria,Tiegs, RamónGlossa MusicGSP 98004 D.

A. ZEMLINSKY The Florentine TragedyOrchestre Philh.de France, c.Armin Jordan,Iris Vermillion,Viktor Lutsiuk,Albert Dohmennaive V 4987

D. SCHOSTAKO-WITSCHThe NoseOrchestre deChambre deLausanne,c. Armin Jordan Radio SuisseRomande RSR6183 CD

45

Anthèmes 1 for violin (10') . 1991-1992Anthèmes 2 for violin and live electronics (24') 1997cummings ist der dichter for 16 solo voices or 1970/1986mixed choir and instruments (13 - 14') source text: Poems 1923-1954 by e. e. cummingsDérive 1 for 6 instruments (7-8') 1984Dérive 2 for 11 instruments (26 - 28') 1988/2005Dialogue de l'ombre double for clarinet and tape (20') 1984Domaines for clarinet (variable duration) 1968/1969Domaines for clarinet and orchestra (29') 1968/1969Éclat for 15 instruments (8') 1965Éclat/Multiples for orchestra (25')Multiples may not be performed separately.. 1965... explosante-fixe ... for (midi-) flute with live electronics, 1991/19932 flutes and ensemble (36')consists of:

Transitoire V (15'30'') 1993Transitoire VII (13'30'') 1991Originel Orchestra version of Mémoriale (7') 1993

All parts from ... explosante-fixe ... may be performed separately.Figures – Doubles – Prismes for orchestra (20') 1963/1968Improvisation I sur Mallarmé: 1957"Le vierge, le vivace et le bel aujourd'hui"for soprano and 7 instrumentalists (original version) (6')text by: Stéphane MallarméThis version is not valid for the performance of the cycle Pli selon pli.Incises for piano (3'30'') 1994/2001Le Marteau sans Maître for alto and 6 instruments (35') 1953/1955text by: René CharMémoriale for flute and 8 instruments (7') 1985 (... explosante-fixe ... Originel)Messagesquisse for cello solo and 6 cellos (7') 1976/1977 Messagesquisse for viola solo and 6 violas (7') 1976/2000 12 Notations for piano (10') 1945Notations I-IV for orchestra (8') 1945/1978/1984(Notations I (2'20''), II (1'), III (3'10''), IV (1’25”)) Notations VII for orchestra (9') 1945/1997can be performed along with Notations I-IV,composer’s recommended order: I, VII, IV, III, II or I, III, IV, VII, II.

worklist boulez

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46

boulez

Pli selon pli (Portrait de Mallarmé) 1957-1962for soprano and orchestra (67'), text by: Stéphane Mallarméconsists of:

Don (15') 1960-1962/1989Improvisation I "Le vierge, le vivace et le bel aujourd'hui" (6')1957/1962Improvisation II "Une dentelle s'abolit" (12') 1957Improvisation III "À la nue accablante tu" (19') 1959/1983 Tombeau (15') 1959-1962

All parts from Pli selon pli can be performed and acquired separately.Pour le Dr. Kalmus for 5 players (4') 1969 Répons for 6 soloists, ensemble, computer sounds and live electronics, 1981 solo: 2 pianos, harp, vibraphone, glockenspiel, cimbalom (45')work in progress.Rituel (in memoriam Bruno Maderna) 1974-1975 for orchestra in 8 groups (27') Première Sonate for piano (10') (Editions Amphion) 1946 Troisième Sonate: Sigle for piano 1955-1957 Troisième Sonate: Formant 2 - Trope for piano 1955-1957 Troisième Sonate: Formant 3 - Constellation-Miroir for piano 1955-1957 ed. by Robert Piencikowski.Sonatine for flute and piano (12') (Editions Amphion) 1946 Structures, Premier Livre for 2 pianos (12') 1952 Structures, Deuxième Livre for 2 pianos (23') 1961 sur Incises for 3 pianos, 3 harps and 3 percussionists (40') 1996/1998 Ravel Maurice (1875-1937)Frontispice 1918 for orchestra arranged by Pierre Boulez (2') 1987

Pierre Boulez 1959

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48

UNIVERSAL EDITION

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Editors:Angelika Dworak and Eric Marinitsch Contributors: Clytus Gottwald,Bálint András Varga, Eric Marinitsch,Angelika Dworak, Rebecca Dawson,Marion Hermann, Norman Ryan andChristopher HaileyDesign: Egger & Lerch, W ien

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