09 Arvo Pärt.
Shining in the silence.
On the 70th birthday of Arvo Pärt
13 Victoria Borisova-Ollas.
Before the Mountains were Born.
The world première
24 Cristóbal Halffter.
Don Quijote on tour in Spain
17 Johannes Maria Staud.
The "new" Berenice in Heidelberg
Luciano Berio
Boulez on Berio80th anniversary of birth.
Worklist pp. 44 - 47
newsletter04/05 • autumn 2005
2
NEWSUE Music for Film — 4
COMPOSERSBerio — 5Pärt — 9Victoria Borisova-Ollas — 13Haas — 15Staud — 17Rihm — 18 Boulez — 19Panufnik — 20Eichberg — 20Birtwistle — 21Bennett — 22Cerha — 23Furrer — 23Halffter — 24Sawer — 25Feldman — 25Weill — 26Liebermann — 27Krenek — 27Szymanowski — 29Kodály — 29Schmidt — 31Schreker — 31Martin — 32Korngold — 32Shostakovich — 33Marx — 33Janácek — 34Mahler — 35Berg — 36
Contents
contents 04/2005
3
ANNIVERSARIES — 37 - 38
WORLD PREMIÈRES — 39
NEW RELEASES — 40 -41
NEW ON CD — 42 - 43
WORKLISTBerio — 44 - 47
ACKNOWLEDGEMENTS — 48
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The Editors
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4
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berio
5
BERIO
From an inter-
view with compa-
nion and ally
Pierre Boulez
B.A. Varga: The last time I experien-ced you and Luciano Berio togetherwas at a rehearsal for the world pre-mière of sur Incises on 31 August1998 in Edinburgh. The way you satnext to each other made an impres-sion of deep trust, as between peo-ple who’ve known each other fordecades. Would you describe yourrelationship as having been afriendship?Pierre Boulez: Yes, it was in factquite an unproblematic friendship.We didn’t always agree on every-thing - that would’ve been toomuch to ask. But we agreed on the
main things; that is to say, on thebig picture.B.A. Varga: When you first conduc-ted Berio’s Notturno, on tour withthe London Symphony Orchestra,you gave an interview in which youspoke only of those characteristicsof his music that were differentfrom your own: that he was moreextrovert, used more theatrical ge-stures in his music, and was inter-ested in instrumental virtuosity - allof which you might value, but ofwhich employment merely for itsown sake is foreign to you. So youemphasized the differences.Pierre Boulez: I’d like to point out afurther difference: I’ve now perfor-med Mahler’s Second Symphony.[Boulez conducted the work seve-ral times in Berlin and Vienna, in
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AUDITORIUM PARCO DELLA MUSICA
Infoline +39 06 80 82 058 Info www.santacecilia.it
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Soci fondatoriStato Italiano, Comune di Roma, Regione Lazio, BNL, ENI, ENEL,
la Repubblica, Generali-INA, Lottomatica, Autostrade per l’Italia,Ferrovie dello Stato, Gambero Rosso, Astaldi
7
berio
March and May.] Whenever I con-duct the Scherzo, I can’t help butthink of Berio’s Sinfonia - which hecreated based on the former. Icould never have done somethingsimilar. I admire that. Any numberof people have worked with quota-tions or done parodies, but I’venever succeeded at it: I’ve neverhad the distance, the humour, thesarcasm. Berio went about it verycleverly, integrating the quotationsorganically in the piece. I also maketheatrical gestures, more now thanI used to. Répons, Rituel and Dialogue de l’ombre double aresuch theatrical gestures. But thereare no foreign elements. On thecontrary: when I take one of mypieces, such as the Notations, thenI encounter something of myself inthem. I just put it in another con-text, and that gives it another me-aning.B.A. Varga: Up until now, you havespoken about the differences bet-ween yourself and Berio. What doyou have in common - indeed, doyou have anything in common?Pierre Boulez: Yes. There was a period during which we both developed in a similar way. We re-cognized rather early on that thetwelve-tone system was no longerany help, quite the contrary: we
wanted more freedom. We wentour respective ways (I being evenmore consistent than he), but witha sort of discipline.After the founding of IRCAM, I invited him to participate. Unfortu-nately he was very busy, and unable to devote much time to us.Back then there were two generaldirections, I’d say. The one orienta-ted towards theories, and bothBerio and I felt that this was a deadend: a giant heap of purely theore-tical considerations. We preferredthe second route: concrete research on the relationship bet-ween electronics and instruments.This is important in light of therichness of instrumental material.You can reduce something, makecomparisons, transform etc. Beriowas on my side when it came tobeing against all the dead-end theoretical concepts back then. Hewas practical, like I was.
berio
8
Stanze; Orchestra e Coro dell’Acca-demia Nazionale di Santa Cecilia,Andreas Schmidt, baritone,c. Daniel Kawka17 and 18 October, A-Ronne;I burattini di Amy Luckenback18 October, Folksongs, SequenzaVIII for violin, Sequenza V for trom-bone, Sequenza III for voice,Chemins II for viola and 9 instru-ments, Linea for 2 pianos, vibrapho-ne and marimba; Ensemble Ictus19 October, chamber music21 October, “points on the curve tofind”, Rendering; Orchestra dell’Ac-cademia Nazionale di Santa Cecilia,Bruno Canino, piano, c. PascalRophé.
3 September, Concertgebouw Amsterdam/NL: Stanze (Dutch première) with Andreas Schmidt,baritone, and the Radio Filharmo-nisch Orkest Holland, c. Jaap vanZweden.
9 September, Concertgebouw Bruges/B: Sequenza VIII for violin,O King, Autre fois, Sequenza XIV forcello, Linea, Duetti, Quattro Canzo-ni Popolari, Sequenza V for trom-bone, Chemins II for viola and 9 in-struments; London Sinfonietta, c.Diego Masson.
BERIO
at a glance
On 24 Oct 2005, Luciano Berio wouldhave turned 80. The following is aselection of concerts taking placebetween September and Decem-ber 2005 to mark his birthday:17 - 21 October, Rome/I:Berio Festival at the Accademia Nazionale di Santa Cecilia: from1999 Luciano Berio was responsiblefor the artistic direction of Rome’sAccademia Nazionale di Santa Ce-cilia. The Academy is to honourBerio with a one-week festival:
17 October, Berio / Bach Contra-punctus XIX from The Art of Fugue,
pärt
9
PÄRT
Shining in
the silence
In his famous book The Little Prince,French writer Antoine de Saint-Exupéry writes: I have always lovedthe desert. One sits on a desert sanddune, sees nothing, hears nothing.Yet through the silence somethingshines...The desert – or, loosely translated,perhaps tabula rasa(?) – is portray-ed here as the great, albeit uninha-bited framework which makes shi-ning through the silence possible.
What makes the desert beautiful,said the Little Prince, is that so-mewhere it hides a well.Arvo Pärt’s longing for the purity ofsound and his wish at least tocome close to it with his “Tintinna-buli” style bears a lot of similaritiesto this search for the well in the de-sert. As does the belief that shiningthrough the silence is only possiblethrough the employment of redu-ced means and personal restraint,an idea that is common to both ar-tists. It is touching to regard Saint-Exupéry’s drawing at the end of hisbook, with the two simple lines re-presenting the desert below andthe small, pointy star above; it is likewise telling to hear the words
pärt
11
in which Pärt describes his Tintin-nabuli style: “Tintinnabuli” – theastonishing, radical act of retreatinto voluntary poverty: the holymen left behind all their riches andwent into the wasteland. In thesame way, the modern composermay also seek to leave behind himthe whole modern arsenal and re-scue himself by way of naked mono-dy, taking with him only that whichis necessary – the triad, and nothingelse.
For experienced professional musicians, an encounter with Pärtcan have a cleansing effect on thefundamental way in which theydeal with music. Pärt’s almost ritu-alistic use of scales and triads, andthe naturalness with which theseare laid out in innocent nakedness,quietly invite one to adopt a diffe-rent approach to listening, and tohear the seemingly familiar in anew way: hence a scale, carelessly
disregarded thousands of timesbefore, can all at once lead to theconscious experience of rising andfalling, and the poor old triad,abused by supermarkets and popmusic – and long buried by historians – is restored as the crow-ning element of sound in which allthree individual tones give up theirindividuality in favour of the ideal,higher common aim.For a musician of the Middle Agesor the Renaissance, such reverencein the face of musical phenomenamay have been taken for granted.In our day – about which NellySachs comments: we have longsince forgotten how to listen – it isno less than the rediscovery of amusical axiom. I can well imaginethat, for many musicians, an en-counter with Pärt’s music can leadto an altogether more conscien-tious and affectionate relationshipwith music as a whole. And is thereanything more beautiful that couldbe said of a contemporary compo-ser?What makes the desert beautiful,said the Little Prince, is thatsomewhere it hides a well.
Andreas Peer Kähler
pärt
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PÄRT
at a glance
A selection of the numerous con-certs taking place from Septemberto December 2005 to celebrate the70th birthday of Arvo Pärt:
2 - 3 Sep, Kawaguchi/Kamakuras/Japan: Fratres, Orient & Occident.Tallinn Chamber Orchestra (TCO),c. Eri Klas.
9 & 11 Sep, Viinistu/EE and Stock-holm/S: Te Deum, Berliner Messe.TCO, Swedish Radio Choir, c. TõnuKaljuste (live EBU radio broadcast).
11 - 28 September, Estonia:Arvo Pärt Festival - 4 programmesin 9 concerts, to take place all overEstonia, Estonian PhilharmonicChamber Choir (EPCC), Theatre ofVoices, c. Paul Hillier.Details at www.partfestival.com
27 Sep, Tallinn/EE: Tabula Rasa.Gidon Kremer, Kremerata Baltica.
20 - 21 October, Budapest/H:Pärt Festival: Berliner Messe, Orient& Occident, Silouans Song, TeDeum. TCO, EPCC, c. Tõnu Kaljuste.
25 October, Ljubljana/SLO: Arbos,Cantus in Memory of BenjaminBritten, Como cierva sedienta,Summa. SO of RTV Slovenia,c. Karmin Silec.
Lamentate available as a studyscore and CDJust in time for Arvo Pärt’s birthday,ECM is releasing a new CD:Lamentate, with the SWR RSOStuttgart under Andrey Boreykoand with pianist Alexei Lubimov.Lamentate, composed in 2003, payshomage to the artist Anish Kapoorand his monumental sculptureMarsyas, which was unveiled andfirst exhibited at Tate Modern,London. The score is available bothfrom music dealers and online atour web shop www.universaledi-tion.com as a printed edition, or asa digital print fromwww.SheetMusicNow.com
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borisova-ollas
BORISOVA-OLLAS
Before the
Mountains
were Born
On 13 and 14 October 2005, VictoriaBorisova-Ollas’ first UE work willreceive its première in Stuttgart.This is what she writes about herwork:The title of the piece, Before theMountains were Born, comes fromPsalm 90. Many beautiful picturescame into my mind whilst readingthis psalm. I pursued my remini-scences of all those "frescoes" whilstcomposing the piece.When the RSO Stuttgart approa-ched me for a new piece, featuringtheir amazing woodwind section, Ifelt the time ripe for the use of mythird favourite psalm (my worksWings of the Wind and Kingdom ofSilence have featured my first two
favourites, Psalms 104 and 94).Being less descriptive than Psalm104, it gives little opportunity formusic and text to work hand-in-hand, scene by scene. It is a persi-stent prayer: the fleeting thoughtsof a human being appealing to thesuperior power.The work does not begin as a "stan-dard" concerto. The soloists – flute,oboe, clarinet and bassoon – startplaying within the woodwindgroup. They then proceed one afteranother towards their soloiststands at the front of the orchestra.After their virtuoso "cadenzas", thereverse process begins. Towards theend they begin to join the wood-wind section "musically" again.Before the Mountains were Born isdedicated to the conductor - AndreyBoreyko.Info: www.swr.de
fr 9.9. TIROLER SYMPHONIEORCHESTER INNSBRUCK · BLÄSERENSEMBLE DER SWAROVSKI MUSIK WATTENS · JAZZORCHESTER TIROL · DIRIGENT · OLARI ELTS · CELLO · LUCAS FELS · GITARRE · RIHO SIBUL · Wielecki · UA · G.F.Haas · ÖE · Lutoslawski · Erkki-Sven Tüür sa 10.9. WINDKRAFT –KAPELLE FÜR NEUE MUSIK · DIRIGENT · KASPER DE ROO · SAXOPHON · MARCUS WEISS · SWAROVSKI MUSIK WATTENS · J. M. Staud · UA · Ch. Dienz ·UA · Xenakis · Ewa Trebacz · UA so 11.9. TADEUSZ WIELECKI · JOANNA WOZNY · REINHARD SCHULZ · GESPRÄCH · GITARREN MICHAEL UND MARTIN ÖTTL · GUNTER SCHNEIDER · THE NEXT STEP · Th. Amann · UA · Joanna Wozny · UA · Furrer · Lutoslawski · Haimo Wisser so 11.9. GUNTER SCHNEIDER HÖRT HELMUT LACHENMANN · ENSEMBLE MODERN · DIRIGENT · BRAD LUBMAN ·Lachenmann · Nono · Bernhard Gander · UA mo 12.9. HELMUT LACHENMANN ·ROLAND DIRY · GESPRÄCH · GITARREN · BARBARA ROMEN · GUNTER SCHNEIDER · Helmut Lachenmann di 13.9. IEMA-ABSCHLUSSKONZERT · Helmut Lachenmann mi 14.9. PIERRE-LAURENT AIMARD · TAMARA STEFANOVICH · Pierre Boulez fr 16.9. 45 LEHRLINGE · THE NEXT STEP ·DJ WAZ EXP · ALEX MAYER · Firmenremixes · CD-Präsentation · MARTIN PHILADELPHY · RAOUL BJÖRKENHEIM · B. STANGL · M. SIEWERT · CH. DIENZ · D. HAMPL · L. LIGETI · Paint sa 17.9. WOLFGANG MITTERER · PRÄPARIERTES KLAVIER UND ELECTRONICS · BARITON · GEORG NIGL · Wolfgang Mittererso 18.9. LESUNG · AMANDA AIZPURIETE · NEUE VOCALSOLISTEN STUTTGART · A. Dohmen · G. F. Haas · UA · G. E. Winkler · UA · F. Zeller · B. Breit · UA di 20.9. GUITAR UNLIMITED · GITARREN · GUNTER SCHNEIDER · MAGNUS ANDERSSON · WERNER RADITSCHNIG · BURKHARD STANGL · FLORIAN KMET · TETUZI AKIYAMA mi 21.9. GEORG FRIEDRICH HAAS HÖRT LUIGI NONO · ARDITTI QUARTET · Luigi Nono · G. F. Haas · Lachenmann do 22.9. LESUNG · ANDRZEJ STASIUK · CELLO · ANDRZEJ BAUER ·SCHLAGWERK · THE NEXT STEP · E. Trebacz · C. Duchnowski · UA · M. Talma-Sutt fr 23.9. RIGAS KAMERMUZIKI · DIRIGENT · NORMUNDS SNE · GITARRE · TERJE RYPDAL · Gundega Smite · UA · Eriks Esenvalds · Michal Talma-Sutt · UA · Terje Rypdal sa 24.9. ENSEMBLE RECHERCHE · SÄNGER · DEJAN TRKULJA · G. F. Haas · P. Jakober · UA · S. Kajkut · UA · Ch. F. Schiller · UA so 25.9.
GEORG FRIEDRICH HAAS · RAOUL SCHROTT · GESPRÄCH · LETTISCHER RADIO-CHOR · QUINTETT RIGAS KAMERMUZIKI · SCHLAGWERK · THE NEXT STEP ·DIRIGENT · KASPARS PUTNINS · BASSTUBA · TOM WALSH · Lachenmann · A. Dzenitis · E. Esenvalds · UA · G.F. Haas · M. Einfelde
Information: T +43 5242 73582 · F -20 · [email protected] · Klangspurengasse 1/Ullreichstraße 8a · A 6130 Schwaz
klangspuren05
9/9/05-25/9/05 schwaz/tirolwww.klangspuren.at
main sponsor: swarovski kristallwelten
bü
ro
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haas
HAAS
International
The German territorial première ofthe chamber opera Nacht by GeorgFriedrich Haas, in a new productionat the Frankfurt Opera, elicited exceedingly positive reactions:darkly staged music…, floating sonictapestries…, not quite real, someti-mes slumbering, sometimes explo-ding into streams of consciousness…(Bayern 4) A ‘night’ which the com-poser fills with a positively sensualsounding, filigree music full of pul-sating overtones, which lays itselflike a dark cloak over the cascade ofsung and spoken words of Hölder-lin. (Gerd Döring)
The festival Klangspuren inSchwaz/A will be dedicating an extensive portrait series to thecomposer, including the world première of the choral work
3 Liebesgedichte (Neue Vocalsoli-sten Stuttgart, 18 September), theAustrian territorial première of hisConcerto for Cello and Orchestra(Olari Elts conducts the Tirol SOwith soloist Lucas Fels, 9 Sep), andperformances of the works Blumenstück (29 September),Nach-Ruf … ent-gleitend… (24 Sep),the String Quartet No. 2 (ArdittiQuartet, 21 September) and tria exuno (24 September). Information:www.klangspuren.at
The Warsaw Autumn Festival hasprogrammed the Polish premièresof Monodie (18 September) and Iniij. Noct. (Kairos Quartet, 21 Sep-tember). This 3rd String Quartet, apiece that must be played in totaldarkness, aroused the interest ofthe Lucerne Academy (headed byPierre Boulez). (Swiss première byparticipants of the Lucerne Acade-my on 3 September).
Klangforum Wien will be takingNach-Ruf … ent-gleitend…,de terrae fine and tria ex uno ontheir Japanese tour (territorial premières from 3 – 6 September).
Haas NachtOper Frankfurt 2005
17
staud
STAUD
Apeiron -
success
in Berlin
Sir Simon Rattle and the Berlin Phil-harmonic played the work theyhad commissioned, Apeiron, threetimes at the sold-out great hall ofthe Philharmonie - to cries of“bravo” and enthusiastic ovationfrom the audience. According tocritic Klaus Geitel in Die Welt, thepremière earned unanimous, stor-mily loud applause.Scored for 101 musicians and lasting around 20 minutes, Apeironpays homage to the sound of theorchestra, says Margarete Zander,who spoke with the composer be-fore the première. Above all, Stauddisplays excellent mastery of the or-chestra, according to Geitel. Heknows what sounds effective andsurprising when put together … butthat what one has to say must alsobe comprehensible and gripping,even in the face of all artifice. Andover long stretches, Staud achievesthis perfectly…
The theatre in Heidelberg (operadirector: Bernd Feuchtner) will bemounting its own production ofBerenice in a new version. NoamZur will conduct this staging by director Christian Spuck. Première:5 November.
There will also be two world premi-ères within a short space of time:on 9 September, the solo violinpiece Towards a Brighter Hue willbe played by participants of theARD competition in Munich (andon 13 September, Irvine Arditti willplay the work’s Italian première atParma’s Traiettorie Festival).
For Klangspuren, Staud is compo-sing Violent Incidents for saxopho-ne (Marcus Weiss), winds and per-cussion (Windkraft Tirol, c. Kasperde Roo, première: 10 September,www.klangspuren.at.
rihm
18
RIHM
Report from
the workshop
New pieces are being created,while existing pieces by WolfgangRihm are being selected - aleatori-cally, so to speak - and programm-ed from Warsaw to Venice.
One particular work in progress,commissioned by Leipzig’s Gewand-hausorchester, is Verwandlung 2,which will be premièred on 2 Sepby new chief conductor RiccardoChailly. Verwandlung is the title ofan orchestral work dating from2002 - and the title of this newpiece suggests the possible expan-sion into a cycle. Likewise, immedi-ately following the première ofEine Stimme in Strasbourg in 2004,the festival Musica asked for an ad-ditional piece for the same resour-ces. The composer in fact decided
to compose a trilogy: Eine Stimme1–3 premières on 30 Sep. Prior tothat, Rüdiger Bohn will conductPol. Kolchis. Nucleus at the WarsawAutumn Festival on 18 Sep; and onthe same day, Alexander Lonquichplays Klavierstück Nr. 5 in Düssel-dorf. Ensemble Modern under BradLubman will take Gejagte Form ontour to Alicante (27 Sep), and theVenice Biennale has invited theBerlin Contemporary Opera tomount Italy’s first performance ofthe experimental music theatrepiece Séraphin, staged by SabrinaHölzer and conducted by RüdigerBohn (8 Oct). Martin Schläpfer haschoreographed the piano work Aufeinem anderen Blatt, which will bepremièred at the StaatstheaterMainz on 9 Nov. The ensembleECHO under Konstantia Gourzi willperform Sotto voce, Notturno forpiano and small orchestra on 29Nov in the chamber music hall ofthe Berliner Philharmonie (soloist:Michael Endres).
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boulez
BOULEZ
Further festival
tributes
Musica in Strasbourg, the WarsawAutumn Festival, KlangspurenSchwaz, the Lucerne Festival, Mu-sikfest Berlin, Festival de Alicante,the Jerusalem International Cham-ber Music Festival, ZaterdagMati-nee in Amsterdam - all are honou-ring the 80th birthday of PierreBoulez.These celebrations will also includetwo territorial premières: Polandwill discover Notations for orche-stra and Répons, with ChristopherLyndon-Gee and the Polish Natio-nal RSO on 21 September; soloistsfrom EIC will join the Orchester derNeuen Musik under Franz-XavierRoth (23 Septenber). Jörg Widmannappears on 26 October in Essenwith Dialogue de l’ombre double
(with the experimental studio ofthe SWR), while Strasbourg has invited Peter Eötvös to lead the Orchestre Philharmonique deRadio France in Figures - Doubles -Prismes on 8 October.George Benjamin will conductNotations (SWR SO, on 23 Septem-ber), and Simon Rattle will followsuit with the Berlin Philharmonic(Lucerne, 2 September). He has alsoinvited Pierre Boulez to do thesound direction in a performanceof Répons involving soloists fromEIC and members of the Berlin Phil-harmonic in Berlin (22 October).Kent Nagano will conduct Rituelwith his orchestra, the DeutschesSO, in Berlin (12 Oct) and Cologne(15 Oct), Mark Wigglesworth willconduct the same piece in Amster-dam (1 Oct), and the Joven Orque-sta Nacional de España under Glo-ria Isabel Ramos will perform it inMadrid on 20 Sep. Furthermore,Daniel Barenboim has programm-ed Mémoriale in Jerusalem (4 Sep).
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panufnik / eichberg
PANUFNIK
a new
Beastly Tale...
Following on from the success ofAbraham comes The Hare and theTortoise, Roxanna Panufnik’s thirdsetting of one of Vikram Seth’s hila-rious Beastly Tales from Here andThere. Commissioned by the Cityof London Sinfonia, the premièretakes place on 25 September at theWindsor Festival. Sian Edwards willconduct and the soloists will be Pa-tricia Rozario, Yvonne Howard andRoderick Williams. A BBC InvitationConcert performance (26 Septem-ber) will also be broadcast live onRadio 3.
The first two Beastly Tale settings,The Crocodile and the Monkey andThe Frog and the Nightingale werevery well received, with The Timeswriting that Panufnik’s illustrativeflourishes captured the ear. Thisnew 30’ work is racy and wickedlyfunny, and all three Tales, togetherpresenting an ideal opportunity forthe stage, will be released on EMInext spring.
EICHBERG
For today’s
virtuoso cellist
The 24th Caprice by Paganini is oneof the most arranged and para-phrased themes in music history -composers from Brahms and Lisztto Rachmaninoff and Lutoslawskihave utilised its thematic materialin their own works. Now, Søren NilsEichberg has transported it intocontemporary musical languagewith his Cello Variations, in whichhe comments on both the principleof Paganini’s hyper-virtuosity andthe theme itself. Eichberg’s Pagani-ni variations will be performed asan obligatory work at the 2005ARD Music Competition (7 Sep).
Roxanna Panufnik
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birtwistle
BIRTWISTLE
Gawain’s Journey
in Holland
On 22 October Alexander Liebreichwill conduct the Noord NederlandsOrkest in the Dutch première ofHarrison Birtwistle’s Gawain’sJourney, as part of the GroningenFestival. The 25’ work is derivedfrom Birtwistle’s second large-scale opera, Gawain, although theconcert work is not simply a con-centrated version of the narrativeof the stage work. Rather, theextracts chosen and combined tocreate Gawain’s Journey do not ne-cessarily follow the opera’s chrono-logy, and thus emphasise the inhe-rent structural strength of themusic all the more. Nevertheless,the ending of the concert work,which also comprises the very endof the opera, does portray MorganLe Fay’s realisation that Gawain’sjourney has been one of self-disco-very: her nephew’s eyes have beenopened, metaphorically, to all thatis at fault in the court of King Ar-thur. First performed in Viennafourteen years ago by Elgar Ho-warth (who compiled the work andwho conducted the opera at Co-vent Garden) with the English Nor-thern Philharmonia, after a perfor-mance of Gawain’s Journey at the1991 Huddersfield Festival, PaulGriffiths wrote in The Times that
In this form the power, the massiveweight of the music is irresistable,whilst Gerald Larner wrote in TheGuardian that the work is a drama-tic concert piece and a bruising butexhilarating experience for the au-dience. David Fanning, in The Inde-pendent, wrote that the work coulddo for Gawain what Berg’s ThreeFragments did for Wozzeck.
bennett
22
dark, lyrical, and atonal qualitieswere in keeping with how I wasfeeling about music at that time.Your mother was a composer andpianist. Did she actively encouragecomposition when you were achild?In fact, she was horrified when I became Boulez’s pupil but under-stood that just as Debussy andRavel were so important to her as astudent, Boulez was equally impor-tant to me.Would you count Boulez as one ofyour most important influences?Are there others?He was a healthy influence. If youemerged your own person, withyour own voice, you were a truecomposer. Henze was a great in-fluence. He had broken away fromthe “correct” avant-garde which Isuppose is what I did as well.You’re a great jazz pianist and caba-ret performer. Has this music filte-red into your writing of concertmusic?I’m most interested in jazz singers.That kind of flexibility of the voiceis crucial to what I do. I was inter-ested to read a few years ago thatDutilleux has a passionate admira-tion for Sarah Vaughan.Do you have a favourite food?Yes, Indian!
BENNETT
In performance
and on recording
Richard Rodney Bennett’s operaThe Mines of Sulphur (recently rele-ased on Chandos Records) bows atthe New York City Opera on 23 Oct-ober following its smash successlast season at Glimmerglass Opera.The composer spoke about hiswork recently in New York.What do you think has made youropera so appealing to current au-diences and how did you first cometo set the story?It’s a very accessible piece and awork that singers love to sing. Its
Bennett Mines of SulphurGlimmerglass Opera 2004
23
cerha / furrer
CERHA
Birthday tribute
The Vienna Konzerthaus is to ho-nour Austrian composer FriedrichCerha on the occasion of his 80thbirthday (17 February 2006) with a“Friedrich Cerha Portrait” spreadacross the entire season. It beginsin November at the Wien ModernFestival: on 22 Nov, the ArdittiQuartet will play the String QuartetNo. 4 (2001), and on 25 NovemberJohannes Kalitzke will conductFasce (1959/74) with the ViennaRSO. The years 1959 and 1960 weredecisive for my compositional deve-lopment, states the composer. Theywere a time of feverish planning,conception, conquering - and alsorejecting, he writes in his book“Schriften: ein Netzwerk”. The titleFasce (to bind) refers to the factthat the individual instrumentalevent is always integrated into agroup occurrence, which is in turnpart of a larger process.
FURRER
Orchestral music
After a rather long dormant period,Beat Furrer’s Chiaroscuro (1983/86)will now be heard twice: on 11 No-vember at Wien Modern (Vienna
RSO/Olari Elts) and on 18 Novem-ber in Frankfurt (Hessian RSO/SianEdwards). Elts will also conductMadrigal (1992). The composerhimself will direct a performanceof Nuun (for two pianos and en-semble) with Klangforum Wien inGraz on 29 October, and soloistsfrom EIC will play …cold and calmand moving (1992) for flute, harp,violin, viola and cello in Paris on 9 October 2005.
Friedrich Cerha
24
halffter
HALFFTER
Don Quijote –
hero and myth
Cervantes’ Don Quixote, one of thetruly great works of internationalliterature, turns 400 years old thisyear. Cristóbal Halffter introduceshis own personal relationship tothe author and the work in hisopera Don Quijote: In each of mypieces I present a part of my life!Much like Cervantes, Halffter - asan observer and critic of his owntime - strives to create beauty inspite of everything. Thus, the novel’scentral conflict between ideals andreality is equally present in themusic. On the opera fragment Ladel alba sería, Halffter comments:The hero comes from nature, butthe myth arises from the fantasy ofhumans: - … presenting these twosymbolised values and analysingtheir validity in our time, that is …the true nature ... of my work.
Just how capably Halffter’s musicplays with the irrational and the rational is also in evidence follo-wing the success of his latest workCuatro piezas para orquesta. He iscelebrated as …a master and a ma-ture governor of notes, doyenne of amusical language capable of making its own case and communi-cating emotions…
Halffter himself will conduct DonQuijote with the Orquesta Sinfóni-ca de Madrid on 16 September inValladolid, on 17 September in Léonand on 25 September 2005 in Salamanca.Conductor Pedro Halffter and theBerliner Sinfonieorchester will perform the reworked version of Ladel alba sería in its first performan-ce without choir at the Berlin Konzerthaus (30 September to 2 October 2005).
Halffter Don QuijoteTeatro Real Madrid 2000
25
sawer / feldman
SAWER
From Morning to
Midnight Suite
David Sawer’s From Morning toMidnight, an opera highly acclai-med when it opened at English Na-tional Opera in 2001, and for whichthe composer received an OlivierAward nomination, has now givenlife to a new orchestral suite.Lasting approximately 25’, the suiteis being recorded in mid-Septem-ber by Martyn Brabbins and theBBCSO for an NMC portrait CD ofthe composer. (Other works on thisdisc will be Tiroirs and The Memoryof Water, both performed byBCMG, Songs of Love and War andthe greatest happiness principle.)
The new suite makes use of muchof the opera’s finely honed orche-stral writing, from the machine-like opening of the bank scene tothe velodrome scene, with all itsnail-biting excitement and noise.Orchestras can perform this newwork from October onwards, and itis expected that the NMC CD willbe released in 2006.
FELDMAN
Biennale di
Venezia
On 7 and 8 October Bradley Lubman will conduct MusikFabrikNRW in 2 performances of MortonFeldman’s For Samuel Beckett.Dating from 1987, the last year ofhis life, the work was commissio-ned by the Holland Festival andarose from the relationship Feldman had established with Samuel Beckett, which led to boththe 1976 choral work ElementalProcedures and the opera (or, moreprecisely, monodrama) Neither.Some hold the view that For Samuel Beckett may reflect inmusic Beckett’s own writing process.
David Sawer From Morningto Midnight, ENO 2001
26
weill
WEILL
The original
Mackie Messer
and its genesis
Without a doubt, The ThreepennyOpera by Kurt Weill is one of the greatest theatrical successes of the20th century. Weill always createdhis stage works with performancesin mind, making adaptations as re-quired. This resulted, of course, in amultitude of versions, some ofwhich represented lasting changesto the works, others of which wereonly temporary solutions for per-formance problems that had ari-sen along the way. The Critical Edi-tion of the Threepenny Opera, avai-lable since the year 2000, now al-lows one to understand these dis-crepancies once and for all. Usersare offered historically valid inter-
pretative possibilities, meaningthat a variety of performance is-sues may be carefully decided.
The Critical Edition is currentlyavailable as a conducting score(Series I, Vol. 5) and a piano reduction (UE 31544). A study scoreis currently in preparation.
Of course there is also the hand-written score by Weill, which repre-sents the original work and wasthe basis for the world première on31 August 1928. This wonderfulscore - which emanates the spiritof the 1920s and contains hand-written notes by Leonard Bernsteinand Marc Blitzstein - is part of theKurt Weill Critical Edition and alsoavailable in shops as a 4-colour facsimile volume … it’s an ideal giftfor any Weill aficionado (Series IV,Vol. 1).
Weill The Threepenny Opera, Lotte Lenya
27
liebermann / krenek
LIEBERMANN
Die Schule
der Frauen
in Switzerland
Rolf Liebermann’s Die Schule derFrauen is based on Molière's come-dy L'Ecole des femmes (1662), inwhich he advocates a moderateform of emancipation for youngwomen and the right to marry forlove - demands which caused in-tense controversy at the time.In 1955 the work was first perfor-med as a one-act opera in the US,and in 1957 the world première ofthe three-act 'opera buffa' tookplace (libretto: Heinrich Strobel)with a star-studded cast (WalterBerry, Kurt Böhme, Anneliese Ro-thenberger, Nicolai Gedda, ChristaLudwig; Vienna Philharmonicunder George Szell, stage directionby Oscar Fritz Schuh, scenery andcostumes by Caspar Neher) at theSalzburg Festival, resulting in triumphant curtain calls (morethan 67!). The composer's ironicplaying with classical music, his so-phisticated, sparkling music, at onceentertaining and dodecaphonic,and the first-class cast could not failto have their effect on Salzburg au-diences. (Max Nyffeler)From 16 September Theater Biel-Solothurn presents a new produc-tion: the young team of director
Rainer Holzapfel and conductorHarald Siegel is taking a critical ap-proach to the piece, with excitingperspectives!Information: www.theater-biel.ch
KRENEK
From the
Austrian Alps
At the age of 29, Ernst Krenek com-posed one of his most popularworks: Acht Lieder aus dem Reise-buch aus den österreichischenAlpen, a 75-minute song cycle remi-niscent of Schubert and based onseveral ironic, lyrical and pathetictexts. At the age of 73, he arrangeda version for medium voice and or-chestra which will be performed inSeptember at WDR Cologne withIsrael Yinon and the Nordwest-deutsche Philharmonie, and thenagain in the Netherlands in No-vember, when Yakov Kreizberg willconduct the Nederlands Philhar-monisch Orkest on 13, 14 and 15 No-vember, with soloist WolfgangHolzmair.
29
szymanowski/kodály
SZYMANOWSKI
Dionysus – an
eternal legend
Karol Szymanowski’s opera KingRoger may be set in the early Middle Ages and make use of thehistoric figure of the Norman kingRoger II, who ruled Sicily during the12th century, but the material is re-ally about the legend of Dionysus -the heathen cult of freedom, beau-ty and sensual pleasures in conflictwith the existing, Christian order -which was omnipresent in fin-de-siècle art. In 1914 Szymanowski undertook a journey to Italy, Sicilyand North Africa, a journey thatwas to play a crucial role in his artistic development. His worksexude the multi-layered impres-sions of this journey, which endedin Paris, by then dominated by im-pressionism.The Teatro Massimo in
Palermo has programmed KingRoger – a mixture of opera, oratorioand mystery play – for 1 November2005. On location, as it were…
KODÁLY
Marosszék Dances
The story of these evergreen dan-ces has its beginning in Dresden:Fritz Busch conducted the Sächsi-sche Staatskapelle in the worldpremière of Zoltán Kodály’sMarosszéker Tänze on 28 Nov 1930;the Hungarian première in Buda-pest occurred three days later. TheStaatskapelle has now invited IvánFischer to perform the dances oncemore, and this concert will takeplace on 9 Oct 2005. Kodály’s oeuvre is an indispensable part ofstandard concert repertoire.
Szymanowski King RogerDe Nederlandse Opera, 2000
The Book of theSeven SealsVienna Singverein · Johannes Chum ·Robert Holl · Sandra Trattnigg · MichelleBreedt · Nikolai Schukoff · Manfred Hemm ·Kristjan Järvi conductorFRANZ SCHMIDT «Das Buch mit siebenSiegeln». Oratorium für Soli, Chor, Orgelund Orchester
Do 29.9.05, 19.30 Uhr | Wien MusikvereinSo 2.10.05, 16 Uhr | Wien Musikverein Mo 3.10.05, 19.30 | St. Pölten Festspielhaus
www.tonkunstler.at
Apocalypse now: Franz Schmidt's musical setting of the Re-
velation to John opens the 2005-06 Tonkünstler season. Under
the baton of principal conductor Kristjan Järvi, the orchestra is
joined by the Wiener Singverein and a topnotch ensemble of soloists
in this oratorio by the important Austrian composer.
ook of the
chukoff · Manfred Hemm ·
| St. Pölten Festspielhaus
schmidt / schreker
31
SCHMIDT
The power of
the Apocalypse
In the late 1930s, Franz Schmidtwas viewed as one of the most im-portant composers of the “Ost-mark”, as the Nazis called Austria.He set himself apart from his peerswith his very personal tonal lang-uage, fusing baroque roots withlate-romantic sounds and re-defi-ning them for a twentieth-centuryconsciousness. Critics dubbed him“the new Bruckner” because of theexpressivity and beauty of his sym-phonic works. Schmidt’s setting ofthe Apocalypse according to St.John, Das Buch mit sieben Siegeln,remains a gripping modern orato-rio, and it can be heard on 29 Sep-tember and 2 October at the Musikverein in Vienna, as well ason 3 October at the Festspielhaus
St. Pölten with the Tonkünstler-Or-chester of Lower Austria under Kristian Järvi. Schmidt’s SymphonyNo. 4 will be performed by the Berlin SO under Roberto Paterno-stro from 24 to 26 November at theBerlin Konzerthaus.
SCHREKER
Of life eternal
In 1923, Franz Schreker composedthe two piano songs Vom ewigenLeben, based on nature- and death-related poems by Walt Whitman,and he orchestrated them in 1927.Schreker’s gentle composition,reminiscent of chamber music despite its large forces, will be per-formed on 14 October in Paris, withArmin Jordan conducting the Orchestre Philharmonique deRadio France.
Das Vorspiel zu einem Drama (DieGezeichneten) will be performed bythe Berlin Philharmonic underMarkus Stenz on 1 and 2 Octoberand by the Bamberger SO underMichael Gielen on 26 and 27 November 2005.
Schmidt
32
martin / korngold
MARTIN
O Lord, how
I fear death
In 1943, Frank Martin composed hisSechs Monologe aus Jedermann,that ‘piece on the death of a richman’ by Hugo von Hofmannsthal,which has stood at the centre ofthe Salzburg Festival for decades.The psychological and religious de-velopment of the main character,running from an elemental terror ofdeath to complete submission to hisbelief in forgiveness captivatedMartin. The work will be heard on28 October in Cottbus/G: Philhar-monisches Orchester, c. Markus Po-schner, Volker Maria Rabe, baritone.
In the course of the commemora-tions marking the end of the Second World War, Martin’s orato-rio In terra pax was performed inmany German towns. Further con-certs follow in autumn (Rostock,Lich/D).
ERICH KORNGOLD (1897-1957)
Early successes
At the tender age of eleven, ErichWolfgang Korngold made consid-erable waves by composing thepantomime ballet Der Schnee-mann. The work was performed in1910 at the Vienna Court Opera, inan instrumentation by AlexanderZemlinsky, who also used the workto create a Vorspiel, Serenade undWalzerzwischenspiel for orchestra,which will be performed by theTonkünstler-Orchester under Stephan Tetzlaff in Baden, Grafe-negg, Vienna and St. Pölten on 25,26, 27 and 28 November.www.tonkuenstler.at
Korngold
33
shostakovich /marx
SHOSTAKOVICH
Mariinsky Theatre
to appear
in Paris
A gala benefit evening on 6 November at the Opéra Nationalde Paris, in aid of the MariinskyTheatre, opens a series of guest ap-pearances by the world-famous -but cash-strapped - opera house ofSt. Petersburg (also known as theKirov). Valery Gergiev will travelfrom St. Petersburg to Paris withthe soloists, the choir and the orchestra to present multiple per-formances of Dimitri Shostakovi-ch’s Nos (The Nose) in a productionby Yuri Alexandrov. This ingenious,grotesque operatic work is basedon the synonymous, socially criticalstory by Nikolai Gogol, which fellvictim to the Czar’s censors in 1835.Performances on 14, 15, 17, 18 and 19November 2005.
JOSEPH MARX (1882 - 1964)
Autumn Symphony
in Graz
In sparkling colours and widebrush-strokes, and equipped withthe magnificent orchestral paletteof his day, Graz composer JosephMarx portrayed the Austrian au-tumn as he experienced it in sou-thern Styria in 1922. Eine Herbst-symphonie, a gigantic, large-scalesymphony lasting 90 min, has longbeen forgotten (last performance1927), but Michael Swierczewskiwill soon help it to its long overdueresurrection. Grosses OrchesterGraz, c. Michael Swierczewski, 24 &25 Oct 2005, Stefaniensaal, Graz.
Marx
34
janácek
JANÁCEK
The fascination
of Janácek,
in Berlin
When the new Musikfest Berlinopens at the end of this summer,the music of Eastern Europe will befeaturing very prominently.
A name that appears repeatedly inthe published festival programmeis that of Leos Janácek, and he will,in fact, be the festival’s most per-formed composer. The Janácek revival long in evidence at operahouses and concert halls worldwi-de would seem to be solidly confir-med by Berlin. The festival’s climaxis surely the concert performanceof Janácek’s tragic opera Jenufa,which will be given by the BerlinPhilharmonic and the Berlin Radio
Choir under Sir Simon Rattle on 10and 12 September. No less excitinga musical event is the performanceof the composer’s only recently revived first opera Sárka, in a con-cert performance by the Berlin RSOand the Czech Philharmonic Choirof Brno under Marek Janowski (3 September). On 8 September theSWR Sinfonieorchester of Baden-Baden and Freiburg, under SylvainCambreling, will perform the famous Sinfonietta, which, with itsemphasis on virtuosity places extremely high demands on the orchestra and has long been vie-wed as Janácek’s main symphonicwork. On 2 September BelmontPrize winner Carolin Anne Wid-mann will interpret the Sonata forviolin and piano, and on 6 Septem-ber the first two string quartets(Kreuzer Sonata and Intimate Letters) by Janácek will be perfor-med by the Skampa Quartet.
mahler
35
MAHLER
New scores
The many years of intensive workthat Rudolf Barshai invested in thereconstruction and orchestrationof Gustav Mahler’s Symphony No.10 have paid off: the 10th Sympho-ny is now available for sale and hire(study score UE 31504, orchestralmaterial for hire). Barshai’s aimwas to get as close as possible toMahler’s intentions, and the com-pleted 10th Symphony encompas-ses both the sonority and energywhich is characteristic of the musicand the fluidity of the overall con-cept. The crucial points were to resolve disputed passages such asunclear indications or implausibleharmonic formations and to recon-struct the 5th movement (whichonly existed as Mahler's fairly in-complete draft) on the strength ofhitherto unknown sketches.
The completion of another Mahlerproject is imminent: the new criti-cal edition of Mahler's SymphonyNo. 2, which has been realised inparticipation with the KaplanFoundation, should be available inspring 2006. The new score will bepublished as a volume of the Critical Edition of the InternationalGustav Mahler Society in Vienna.Renate Stark-Voit, a Mahler expert,in co-operation with Gilbert Kaplan,who owns the manuscript score of
the 2nd Symphony, has carefully reviewed all the available sourcesand incorporated approximately500 corrections.
After the CD recording with theVienna Philharmonic the firstpublic performance will take placein London on 18th October 2005.Gilbert Kaplan will conduct theRoyal Philharmonic Orchestra atthe Royal Albert Hall.
berg
36
BERG
Out of copyright,
but timeless
Even just a generation after hisdeath on 24 December 1935, AlbanBerg was already established as amodern classic. Despite his workshaving experienced extremely con-troversial receptions during his lifetime - his Orchesterlieder of 1913sparked off one of the most inten-se of the famous Viennese concertscandals - he is unanimously regar-ded today as one of the great com-posers of the 20th century. Even inan atonal musical language, Berg
sought out subliminal tonal relationships, melodic richness andambiguous forms, a quality towhich his great stage works Wozzeck and Lulu, as well as theViolin Concerto and the Lyric Suitebear unparalleled testament. It isprobably a unique occurrence for acomposer of challenging music tobe represented in present-day musical life by around half of hisoeuvre.
This year will see the 70th anniver-sary of his death, and at the end ofthe year copyright on his works ex-pires in several countries. Berg’s oeuvre has remained popular tothis day: it has become timelessand is among the cornerstones ofthe concert repertoire.And national premières still occur:at the Athens Concert Hall, one ofthe largest performance venues inGreece, the 2-act version of Luluwill have its Greek stage première.Dates: 19, 21 and 25 October 2005,Prague Radio Orchestra, c. NikosTsouchlos. Information:www.megaron.gr
Berg Lulu Staatstheater-Stuttgart 1966
anniversaries
37
2005
100th Anniversary Theodor Berger * 18 May 190580th Anniversary Luciano Berio * 24 October 192580th Anniversary Cathy Berberian * 04 July 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 Anniversary 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 Shostakovish * 25 Sep 1906125th Anniversary Karl Weigl * 06 February 188170th Birthday Hans Zender * 22 November 1936
anniversaries
38
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
25th Anniv. of Death Cathy Berberian † 06 March 198390th 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 Anniversary Eugen Suchon * 25 September 1908
world premières
39
VICTORIA BORISOVA-OLLAS Before the Mountains Were Born for wind quartetand orchestra, RSO Stuttgart, c. Andrey Boreyko12 October 2005 · Beethovenhalle Stuttgart/D
SØREN NILS EICHBERG Variationen über ein Thema von Niccolo Paganini for cellosemi -finalists of the ARD Music Competition07 September 2005 · Munich/D
GEORG FRIEDRICH HAAS 3 Liebesgedichte nach Texten von August Strammfor 6 voices (S, MS, A, T, Bar, B), Neue Vocalsolisten Stuttgart18 September 2005 · Klangspuren Schwaz, St. Martin, Schwaz/A
ROXANNA PANUFNIK The Hare and the Tortoise for soprano, mezzosoprano, baritone andorchestra, Patricia Rozario, Yvonne Howard und Roderick Williams,City of London Sinfonia, c. Sian Edwards25 September 2005 · Windsor Festival/GB
WOLFGANG RIHM Verwandlung 2 Music for orchestraGewandhausorchester, c. Riccardo Chailly02 September 2005 · Gewandhaus Leipzig/D
Stimme 1 - 3 for soprano and ensembleFrancoise Kubler, S, Les Percussions de Strasbourg /Accroche Note, c. Luca Pfaff 30 September 2005 · Festival Musica, Strasbourg/F
JOHANNES MARIA STAUD Towards a Brighter Hue for violinsemi -finalists of the ARD Music Competition09 September 2005 · Prinzregententheater Munich /D
Violent Incidents for saxophone solo, wind ensemble and percussion Marcus Weiss, sax, Windkraft Tirol, c. Kaspar de Roo10 September 2005 · Klangspuren Schwaz, Tennishalle, Schwaz/A
new releases
40
GUSTAV MAHLER / RUDOLF BARSHAI Symphony No. 10 for orchestraStudy score UE 31504
MIKE CORNICKTea for Two light-hearted duets for piano UE 21299
MIKE CORNICK 30 Easy Piano Studies UE 21298
RICHARD GRAF (ED.)World Music junior – Play along ChristmasSaxophone – for saxophone (b flat/e flat) (piano, guitar ad. lib.) + CD UE 32695Trumpet – for trumpet (piano, guitar ad. lib.) with CD UE 32696
ERNST KRENEKSonata No. 4 for piano UE 33076
ARVO PÄRT Da pacem domine for choir SATB or soloists UE 32941
ARVO PÄRT Lamentate for piano and orchestra Study score UE 32667also as download on: www.universaledition.com/downloads
JAMES RAEIntroducing Clarinet - Duets UE 21310
ERIK SATIE3 Gymnopédies for flute and piano UE 32988
ARNOLD SCHÖNBERGPresto for string quartetScore and parts UE 33011
new releases
41
PETER ROGGENKAMP (ED.)
Sounds New
19 easy piano pieces
UE 33000
Music of our time
Sounds New is a collection of worksfor solo piano from the masters ofthe 20th and 21st centuries. Selec-ted for the young and with younghands in mind, these pieces arealso suitable for older students andadults wishing to approach newmusic via this easier material.The technical levels match books IIand III of Bartók’s Mikrokosmos.The pieces are presented chronolo-gically according to the birth datesof the composers who include: BélaBartók, Anton Webern, Jenö Takács,György Kurtág, Friedrich Cerha,Anthony Hedges, Arvo Pärt, Peter Roggenkamp, Richard Rodney Bennett, Ian Wilson, Roxanna Panufnik and Johnannes MariaStaud.Works from these last three youngcomposers were especially writtenfor this collection along with apiece from the editor himself, PeterRoggenkamp.
Explanations of markings and notation along with performancetips are included with each piece.This is truly a wonderful resourceof piano works from the modernmasters.
42
new on cd
HUGO ALFVÉN Symphony No. 4Arndis Halla, Johann ValdimarssonIceland SO, c. Niklas Willén Naxos 8.557284
ALBAN BERG Lulu Suite Eva Brink, Nürnberger Symphoniker c. Othmar M.F. Mága, Günter Neidlinger, Zsolt DéakyColosseum COL 9033.2
ALBAN BERG SonateARNOLD SCHÖNBERG KlavierstückeFRANZ SCHREKER Kammersymphonie for piano arranged
by Ignaz Strasfogel; Emma Schmidt, pnAntes Edition BM-CD 14.9007
LUCIANO BERIO Epifanie, Coro Cathy Berberian, ORF-Choir and SO, c. Leif SegerstamOrfeo C 626041 B
PIERRE BOULEZ Rituel, Notations I-IV and VIIGUSTAV MAHLER Symphony No. 9
SWR-Sinfonieorchester, c. Michael GielenHänssler/Naxos 2 CD 93.098
GUSTAV MAHLER / ARNOLD SCHÖNBERG Das Lied von der Erde Robert Dean Smith, Ivan Paley, Stephan Matthias Lademann Telos/Klassik-Center 1002
JOSEPH MARX Alt-Wiener Serenaden Bochumer Symphoniker, c. Steven Sloane ASV / Codaex CD 1158
WOLFGANG RIHM Drängender Walzer ROLF LIEBERMANN Furioso
Philharmonisches Staatsorchester Hamburgc. Ingo Metzmacher Sony Music (distr.) SXP 130082
WOLFGANG RIHM Erscheinung, Skizze über SchubertPeter Selwyn, pn, Bamberger Symphoniker, c. Jonathan NottCD TUDOR 7132
WOLFGANG RIHM String Quartets Vol. 3 Minguet Quartettcol legno WWE 1 CD 20213
FRANZ SCHMIDT Symphony No. 1 - 4 MDR- Sinfonieorchester, c. Fabio Luisi Querstand MDR Edition 8-11 (VKJK 0503 - 0506)
43
new on cd
ALFRED SCHNITTKE Seid nüchtern und wachetBACH / WEBERN Ricercare
Marina Prudenskaja, Matthias Koch, Justin Lavender, AndreasSchmidt, Carl-Philipp-Emanuel-Bach-Chor, Hamburger Symphoniker, c. Andrey Boreyko Berlin / Edel CD 0017762
OTHMAR SCHOECK Suite op. 59 Südwestdeutsches Kammerorchester Pforzheim c. Vladislav Czarnecki ebs records 6145
ANTON WEBERN Symphonie op. 21, 3 Lieder op. 18, Streichtrio op. 20,Quartett op. 22, 6 Stücke op. 6, Konzert op. 24 Jennifer Welch-Babidge, 20th Century Classics EnsemblePhilharmonia Orchestra, c. Robert CraftNaxos D 8.557530
LUCIANO BERIORendering,Stanze, Orche-stre de Paris, c.Ch. Eschenbach,D. Henschel,French ArmyChorusOndine ODE1059-2
ARVO PÄRTLamentate, Dapacem DomineHilliard Ensem-ble, A. Lubimov,SWR StuttgartRSO, c. Andrey Boreyko ECM New Series1930 CD 4763048
WOLFGANGRIHM Canzone per so-nare, Cuts andDissolvesM. Svoboda, OSde la Monnaie,c. Kazushi OnoWarner Classics 2564 60244-1
R. R. BENNETTThe Mines ofSulphurGlimmerglassOpera Orche-stra, c. StewartRobertson,Irmiter, ClaytonChandos Records CHSA5036 (2CDs)
Luciano Berio Worklist (a selection)
MUSIC THEATRECompass ballet 45’ 1994
Laborintus II for voices, instruments and tape 35’ 1965
Monteverdi - Il Combattimento di Tancredi e Clorinda 25’ 1624 /1966
for soprano, tenor, baritone, cembalo and strings (arrang.)
Opera music theatre 90’ 1969-1970/1977
Passaggio messa in scena 35’ 1961-1962
Per la dolce memoria di quel giorno ballet 80’ 1974
Un Re In Ascolto azione musicale in due parti 90’ 1979-1982
La vera storia opera in 2 acts 120’ 1981
VOCAL MUSICa - ronne for 8 singers (2 versions) 32’ 1974-1975
Agnus for 2 sopranos, 3 clarinets and obligato electric organ 5’ 1971
Air from "Opera" for soprano + orchestra (or 4 instruments) 7’ 1969/1970
E vó Sicilian lullaby from "Opera" for soprano and instruments 4’ 1972
Altra voce for alto flute, mezzosoprano and live electronics 10 - 12’ 1999
Berio Family Album 29’ 1947
Calmo for mezzosoprano and 22 instruments 20’ 1989
Canticum novissimi testamenti ballata for 4 clarinets, 18’ 1989-1991
saxophon quartet and 8 voices
4 Canzoni popolari for voice and piano 12’ 1946-1947
Circles for female voice, harp and 2 percussionists 20’ 1960
Coro for 40 voices and instruments 60’ 1975-1976
Cries of London for 8 voices 12’ 1974-1976
de Falla - 7 Canciones populares españolas 18’ 1922/1978
for mezzosoprano and orchestra (arrang.)
E si fussi pisci Sicilian love song for mixed choir a cappella 2’ 2002
El mar la mar for soprano, mezzosoprano and 7 instruments 12’ 1952
Epiphanies for female voice and orchestra 30’ 1991
Folk Songs for mezzosoprano + 7 instruments (or orchestra) 23’ 1964/1973
Lennon/McCartney - Beatles Songs for voice 8’ 1965/1967/1995
and instruments (Michelle I, II, Ticket to Ride, Yesterday; arrang.)
Mahler - 5 Early Songs and 6 Early Songs 13’and 22’ vor 1892/1986/1987
for baritone and orchestra (songs from "Des Knaben Wunderhorn"; arrang.)
Ofanìm for 2 children’s choirs, 2 instrumental groups, 30’ 1988-1997
female voice and live electronics
O King for mezzosoprano and 5 players 5’ 1968
Opus Number Zoo children's play for wind quintet 7’ 1951/1970
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continuation VOCAL MUSIC Recital 1 for mezzosoprano and 17 instrumentalists 35’ 1972
Sequenza III for female voice 8’ 1966
Sinfonia for 8 voices and orchestra 35’ 1968
Stanze for baritone, 3 small male choirs and orchestra 25’ 2003
Verdi - 8 Romanze for tenor and orchestra (arrang.) 25’ 1991
Weill - Ballade von der sexuellen Hörigkeit from 3’/5’ 1928/1972/1993
"Die Dreigroschenoper", Le Grand Lustucru from "Marie Galante",
Surabaya Johnny from “Happy End” for alto (mezzo) + ensemble; arrang.
ELECTRONIC MUSIC (Full information on www.universaledition.com)a - ronne, Chants parallèles, Diario immaginario, Momenti and Visage
ORCHESTRAAccordo for 4 wind orchestras 30’ 1981
Bach - Contrapunctus 19 for 23 players (arrang.) 8’ 1750/2001
Bewegung for orchestra 14’ 1971/1984
Boccherini / Berio - Quattro versioni originali della Ritirata 8’ 1975
Notturna di Madrid di L. Boccherini for orchestra (arrang.)
Chemins IIb for orchestra 11’ 1970
Continuo for orchestra 20’ 1989-1991
Eindrücke for orchestra 11’ 1973-1974
Ekphrasis (Continuo II) for orchestra 30’ 1996
Encore for orchestra 5’ 1978/1981
Entrata for orchestra 3’ 1980
Fanfara for orchestra 2’ 1982
Festum for orchestra 2’ 1989
Formazioni for orchestra 20’ 1985-1987
Notturno for string orchestra 26’ 1993/1995
Re-Call for 23 instruments 4’ 1995
Requies for chamber orchestra 17’ 1983-1984
Schubert / Berio - Rendering for orchestra (arrang.) 35’ 1990
SOLO INSTRUMENTS WITH ORCHESTRAAlternatim for clarinet, viola and orchestra 30’ 1997
Brahms - Opus 120 Nr. 1 for clarinet (or viola) + orchestra 25’ 1894/1990
Chemins I (su Sequenza II) for harp and orchestra 12’ 1965
Chemins II (su Sequenza VI) for viola and 9 instruments 12’ 1967
Chemins IIc for bass clarinet and orchestra 11’ 1972
Chemins III (su Chemins II) for viola and orchestra 15’ 1968/1973
Chemins IV (su Sequenza VII) for oboe (sax) and 11 strings 10’ 1975/2000
berio worklist
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berio worklist
continuation SOLO INSTRUMENTS WITH ORCHESTRAChemins V (su Sequenza XI) for guitar and chamber orchestra 20’ 1992
Concertino for clarinet, violin, harp, celeste and strings 11’ 1951/1970
Concerto for 2 pianos and orchestra 25’ 1972-1973
Concerto II (echoing curves) for piano and 2 instr. groups 25’ 1988-1989
Corale (su Sequenza VIII) for violin, 2 horns and strings 15’ 1981
Kol od (Chemins VI) for trumpet and chamber orchestra 20’ 1996
"points on the curve to find ..." for piano and 22 instrumentalists 16’ 1974
Récit (Chemins VII) for alto sax and orchestra (sax ensemble) 15’ 1996
Ritorno degli snovidenia for cello and 30 instruments 19’ 1976-1977
SOLO for trombone and orchestra 22’ 1999-2000
Tempi concertati for flute, violin, 2 pianos and other instr. 16’ 1958-1959
Voci (Folk Songs II) for viola and 2 instrumental groups 30’ 1984
Variazioni Nr. 2 from "Divertimento für Mozart" 3’ 1956
CHAMBER MUSICCall (St. Louis-Fanfare) for 5 wind players 4’ 1985
Différences for 5 instruments and tape 17’ 1958-1959
Duetti per due Violini for 2 violins (2 further scores) 70’ 1979-1983
Glosse for string quartet 6’ 1997
Korót for 8 cellos 9’ 1998
Linea for 2 pianos, vibraphone and marimba 15’ 1973
Memory for electric piano and electric cembalo 13’ 1970/1973
Musica Leggera for flute, viola, cello and tabor 5’ 1974
Naturale for viola, percussion and tape 20’ 1985
Notturno (Quartetto III) for string quartet 26’ 1993
Opus Number Zoo children's play for wind quintet 7’ 1951/1970
Ricorrenze for flute, oboe, clarinet in B flat, horn + bassoon 15’ 1985-1987
Sincronie for string quartet 15’ 1964
Wasserklavier for 2 pianos (original version) 2’ 1965
SOLO INSTRUMENTS6 Encores for piano (Brin 1’ 30, Leaf 2’, Wasserklavier 2’, 12' 1965-1990
Erdenklavier 2’, Luftklavier 2’, Feuerklavier 2’)
Fa - Si for organ 6’ 1975
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continuation SOLO INSTRUMENTSGesti for treble recorder 7’ 1966
Gute Nacht - Good Night for trumpet 1’ 1986
Lied for clarinet 4’ 1983
Les mots sont allés... "Recitativo" for cello 3’ 1979
Petite Suite from "Berio Family Album" for piano 20’ 1947
Psy for double bass 2’ 1989
Rounds for cembalo (or piano) 4’ 1965/1967
Sequenza I for flute 6’ 1958
Sequenza II for harp 7’ 1963
Sequenza IV for piano 9’ 1965
Sequenza V for trombone 8’ 1966
Sequenza VI for viola 8’ 1987
Sequenza VIIa for oboe, arrang. by Jacquile Leclair 10’ 1969/2000
Sequenza VIIb for soprano saxophone, arr. by C. Delangle 10’ 1969/1993
Sequenza VIII for violin 15’ 1976
Sequenza IXa for clarinet 13’ 1980
Sequenza IXb for alto saxophone 13’ 1980
Sequenza IXc for bass clarinet in B flat, arr. by Rocco Parisi 13’ 1980/1998
Sequenza X for trumpet in C (and piano resonances) 10’ 1984
Sequenza XI for guitar 14’ 1988
Sequenza XII for bassoon 19’ 1997
Sequenza XIII (Chanson) for accordion 12’ 1995
Sequenza XIV for cello 13’ 2002
Sequenza XIV version f. double bass by Stefano Scodanibbio 14’ 2002/2004
Sonata for piano 26’ 2001
Complete worklist available on www.universaledition.com
48
UNIVERSAL EDITION
A-1015 Vienna, PO Box 3, Austria
tel +43-1-337 23 - 0, fax +43-1-337 23 - 400
48 Great Marlborough Street, London
W1F 7BB, GB, tel +44-20-7437-6880,
fax +44-20-7437-6115
Web: www.universaledition.com
Editors: Angelika Dworak and
Eric Marinitsch
Contributors: Bálint András Varga, Eric
Marinitsch, Angelika Dworak, Rebecca
Dawson, Marion Hermann, Norman Ryan,
Andreas Peer Kähler
Design: Egger & Lerch, Vienna
Photo Credits: Eric Marinitsch (10), Mats
Lundqvist, Oper Frankfurt / Wolf-Dieter
Gericke, Keith Saunders/Arena PAL, Eva
Smirzitz, Glimmerglass Opera / George
Mott, Frank Helmrich, Teatro Real / Javier
del Real, ENO / Neil Libbert / Stewart
Laing, set design, Tobis-Warner, De Neder-
landse Opera / Hermann & Clärchen
Baus, UE Archiv, Janácek Museum Brno,
Staatstheater Stuttgart, Charlotte Till-
Borchardt, Alfred Schlee; CDs: Ondine,
ECM, Warner Classics, Chandos Records.
