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With the remarkable Mozart 250th anniversary yeardrawing to a
close, two new Mozart tributes join thecelebrations this month:
John Tavener’s new oboeconcerto Kaleidoscopes (A Tribute to Mozart)
and RolfWallin’s percussion concerto Das was schön!
Das was schön! explores Mozart’s fascination with theinfinite
possibilities of sound production. “…All this inventing,”
pennedMozart in his diary, “this producing, takes place in a
pleasing, livelydream…I simply follow my feelings…” The concerto
takes its name fromthe story of Mozart’s reaction when he heard his
pet bird singing the finaleof his Piano Concerto No. 17. Das was
schön! premieres on the 17th withthe Vienna Radio Symphony,
featuring percussionist Martin Grubinger.John Axelrod conducts the
work — a co-commission with the OsloPhilharmonic, which presents
the Norwegian premiere on 21 February2007.
“I have always regarded Mozart,” Tavener shares, “as the most
sacred andalso the most inexplicable of all composers. Sacred,
because more than anyother composer that I know, he celebrates the
act of Being; inexplicable,because the music contains a rapturous
beauty and a childlike wonder…in
Kaleidoscopes, I attempted to pluck Mozart’s music from out of
the harmony of the spheres, and tomeditate on it…” Kaleidoscopes,
written for oboe and four distinct string quartets that surround
thesoloist, premieres on the 6th with the Britten Sinfonia, and
Nicholas Daniel as soloist and director.
250 Years and CountingJohn Tavener
Kaleidoscopes 30'Oboe; perc, 18 str
Rolf WallinDas war schön! 20'
Percussion; orchestra
“Among living composers, John Corigliano is a superstar. Huge.
The proverbial mack-daddy…And hismasterpiece, Circus Maximus, is
spectacular…witness the future of music.” Hyperbole? Or truth
inadvertising? Dallas Wind Symphony audiences will judge for
themselves on 14 November as JerryJunkin conducts. The ensemble
brings it to theMidwest Clinic in Chicago on 20 December.
Circus Maximus (Symphony No. 3 for LargeWind Ensemble) —
Corigliano’sgroundbreaking first work for concert band —premiered
in 2005 with Junkin and theUniversity of Texas at Austin Wind
Ensemble.Corigliano composed his band opus as adramatic and
engulfing experience, a “wildride…people standing to
cheer”(musicweb.uk.net). “I searched for its shape,”he explains,
“with the desire to create a ‘spatial’ piece in which the
performers would surround theaudience.” The work takes its name
from the famed ancient Roman arena and the spectacles offered
tocrowds with appetites for larger-than-life amusement.
“Entertainment dominates our reality and theparallels between the
decadence of the coliseums and our present time are obvious.”
“Circus Maximus” Mack-Daddy
Timothy Salzman’s AComposer’s Insight: Thoughts,Analysis and
Commentary onContemporary Masterpieces
for Wind Band (Volume III,Meredith Music Publications)contains a
chapter on Circus
Maximus. Corigliano’s work isanalyzed by contributor
Christopher Koch, who — withthe composer — examines indepth the
various influencesand novel spatial techniques
found in this distinctive concert work.
ISBN: 1574630482
G.SchirmerNovember ’06
257 Park Avenue South, 20th FloorNew York, NY 10010tel 212 254
2100fax 212 254 2013
News from G. Schirmer, Inc.and Associated Music Publishers,
Inc.
Members of the Music Sales Groupwww.schirmer.com
Rudolf Steiner: early20th-century Austrianphilosopher,
literaryscholar, educator, andsocial thinker. Founderof
Anthroposophy — amovement that marriesspiritual thought
andawareness with humandevelopment. Throughextensive lectures
andaccompanyingillustrative drawings,
Steiner’s innovative teachings touched many areas ofthought —
economics, religion, science, medicine,and the arts. His drawings
(sketched on papercovering a lecturer’s blackboard) are
consideredhighly singular art, and are housed at the RudolphSteiner
Archives in Dornach, Switzerland. It is here— in Dornach — where
Augusta Read Thomaswill be for the 28 Novemberpremiere of her new
trio TheSoul is Light.
“Rudolf Steiner’s blackboard drawings are a hugeinspiration to
me,” Thomas explains. Commissionedby the Steiner Archives, The Soul
is Light takes itsname from Steiner’s drawing of the same title.
“Fromout of a timeless universe within a blackbackground,” Thomas
reflects, “Steiner’s beautifulwork with its colorful, vivid lines
(which look andfeel as if they are still in motion by the hand
thatdrew them) remind us of a spiritual world. Someobjects are
close, others timelessly far away. Shapesare improvisatory, yet
concrete....This trio lasts just abrief time during which materials
evolve, transformand shift from calm to bold, ritualistic to
elegant,and majestic to playful.”
Prior to the Dornach premiere, Thomas travels toGermany to
attend lectures and portrait concerts asshe serves a brief composer
residency at theMusikseminars Hamburg. Thomas’s next worldpremiere
takes place on 18 January 2007, as pianistLang Lang presents
Traces, at the Montalvo ArtsCenter in Saratoga, CA.
Blackboard Drawings
The Soul is Light 8'Violin, oboe, harp
W.A. Mozart, 1777, by anunknown painter for thePadre Martini
Collection
It may be that when theangels go about their taskpraising God,
they playonly Bach. I am sure,however, that when theyare together
en famillethey play Mozart
— Karl Barth
Rudolf Steiner, 1889
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2
Sofia’s Path
Phot
o: L
aure
l E. F
ay, 1
987
“I want you to continue along yourmistaken path.” Dmitri
Shostakovichgave this advice to a young SofiaGubaidulina upon her
graduationfrom the Moscow Conservatory. Eventhen, Gubaidulina’s
music exhibiteditself as original, exploratory,
forceful, and spiritual. “I’ll never forgetthose encouraging
words,” she recalled.“Shostakovich encouraged me to bemyself, no
matter what everybody elsesaid, and I am very grateful for
that.”Gubaidulina indeed followed her pathto become one of the most
distinctivepost-Soviet voices in contemporarymusic; and, her
journey continues thismonth as she embarks on a NorthAmerican
tour.
Gubaidulinabegins inToronto for a75th birthdayfestival hostedby
the TorontoSymphony,SoundstreamsCanada, theEsprit Orchestra, and
New MusicConcerts. From 21 to 27 November,she will attend numerous
performanceswhich include the Canadian premieresof Now Always Snow
sung by the Berlin-based RIAS Chamber Choir,
and the Toronto Symphony’s concertsof The Rider on the White
Horse.
On 1 December, Gubaidulina goes toPittsburgh, where Andrew
Davisconducts the Pittsburgh Symphony intheir performances of Feast
During aPlague, a co-commission with thePhiladelphia Orchestra.
Pittsburghimmediately brings the work toCarnegie Hall for the 5
December NewYork premiere. The following day,
Gubaidulina joins moderatorAra Guzelimian for a portraitevening
at Zankel Hall. TheMaking Music 2006chamber concert includes theUS
premieres of Mirage: TheDancing Sun and On theEdge of the
Abyss.
Gubaidulina starts her New Year inLondon at the Barbican’s
annualcomposer weekend which includesperformances of Feast During a
Plague(UK premiere), Pro et Contra, and TheLight of the End.
[a] lively, soft-spoken womanwith warm and piercing eyes...known
for a uniquely personaland uncompromising vision....[Her] music has
the power tomove and transform the humanspirit.”
The Christian Science Monitor
John CoriglianoFancy on a Bach AirSolo viola – 50486362
$3.95
Yehudi WynerO To Be a DragonSA chorus, pianoOctavo – 50486248
$3.95
New Publications
“I was simply shocked at the maturity and depth which is
contained inLera Auerbach’s works. It is unbelievable! Truly a
great talent!” SofiaGubaidulina enthuses these admirable words
about her fellow Russiancomposer — an impressive, young voice on
the American andinternational music scene.
At age 33, Auerbach is a culturaltriple-threat — an
accomplishedcomposer, pianist, and poet.Described as a passionate
andversatile musician, Auerbach has acompositional voice that
iscommunicative, imaginative, andengaging. Often called
neo-Romantic (with a 21st-centurysensibility) and polystylistic (à
laAlfred Schnittke), her music drawsboth performer and listener
into hersound world.
Born in Chelyabinsk (a city near Siberia), Auerbach began
pianostudies at an early age, and, at 12, she composed her first
opera whichtoured throughout the former Soviet Union. In 1991,
Auerbach wasinvited to perform in the US, during which time she
became one of
the last Soviet artists to defectand remain in America.Auerbach
receivedundergraduate and master’sdegrees from the JuilliardSchool,
where she studied pianoand composition. Her teachersincluded Einar
Steen-Nokleberg, Joseph Kalichstein,Nina Svetlanova, and
MiltonBabbitt and Robert Beaser incomposition. She also
studiedliterature and poetry atColumbia University, as
evidenced by her integral and intimate text-setting
sensibilities. Withover 50 works in her growing catalogue,
Auerbach’s music is publishedby Sikorski Music Publishers in
Hamburg, Germany (www.sikorski.de).
This month, Auerbach’s Symphony No. 1 receives its world
premiere bythe Düsseldorf Symphony, conducted by John Fiore. Here
in the US,the Louisiana Philharmonic showcases her Violin Concerto
No. 1 withsoloist Philippe Quint (for whom the work was written),
and theTokyo String Quartet performs String Quartet No. 2, “Primera
luz” inNew York. Next month, the SWR Radio Symphony
OrchestraStuttgart (led by Andrey Boreyko) offers the world
premiere of herDouble Concerto for Violin, Piano and Orchestra,
with soloists VadimGluzman and Angela Yoffe.
Introducing Lera Auerbach
Lera Auerbach is one of themost gifted artists I ever met.Her
strong talent which is evi-dent in so many fields — per-forming,
composing, writing— is nurtured by a deeprespect towards the past,
butstill allows her creations toremain sincere and personal,while
being innovative andadventurous.
— Gidon Kremer
Auerbach is also a writer noted for her poetry (“1996 Poet of
theYear” by the International Pushkin Society), prose, novels,
andnumerous contributions to Russian-language newspapers and
jour-nals. She is among the first recipients of the Paul and Daisy
SorosFellowship for New Americans (1998).
“Lera Auerbach Plays Her Preludes and Dreams” BIS CD 1462
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“Ten years ago, when the Metropolitan Opera approached me
withthis commission, I began to think about the best way to
revitalizethe opera tradition and to expand it so that it’s
relevant to youngpeople around the world. I knew that I must find a
unique subject,a challenging format, and a new conceptual language
to bridge thevisual and musical aspects in more innovative ways
than traditionalopera had previously done.” *
With that, Tan Dun harkens back to the brainstorming
sessionsbehind his new opera The First Emperor, which premieres
nextmonth at The Met. The work features an English libretto by
thecomposer and novelist Ha Jin. Award-winning filmmaker ZhangYimou
directs and Tan Dun conducts. Tenor Plácido Domingooriginates the
title role of an emperor widely recognized for unifyingChina and
building The Great Wall.
Tan continues, “The story of The First Emperor is very familiar
inChina. It is a very human and tragic story. He was the first man
tounify China and the Chinese language. But in doing so, he killed
somany people and destroyed their culture and language. I thought
itwould be interesting to try to discover musically the process
throughwhich the Emperor attempted to find the soul of the people
whileestablishing the nation. The soul did not yet exist — it was
empty.The opera examines the Emperor’s search for his own voice as
wellas the spirit of the nation.
“Thirty years ago, I was a Peking Opera musician, and since
thattime, I have also developed a great love of Western opera. Both
arevery dramatic and colorful, yet each is unique in its different
artform. In this work, I wanted to continue the Western
traditionwhile heightening the Eastern one. I wanted it to be
melodic butchallenging, romantic yet theatrical. I felt that it
would beartistically provocative and fulfilling to link them
together — out oftwo distinct forms — and create one different and
new operalanguage. I’m looking forward to seeing how the audience
reacts tothis new vocabulary. The First Emperor will speak to the
generationof today and tomorrow.”
*Tan Dun, as told to Elena Park of The Metropolitan Opera3
To Challenge and be Challenged
Gunther Schuller, musical polymath, leaves notimbral stone
unturned in his Chamber Symphony of1989. “I’m always fascinated by
the infinite varietyand possibilities of colors and textures within
anensemble,” he shares. “I enjoy searching for anddiscovering the
particular, idiomatic characteristics ofa group of instruments.
I’ve always been drawn tocolor and have a deep interest in
translating it intomusic. Of course, the possibilities increase
whenwriting for musicians ranging from flute to tuba, as opposed to
a string quartet.”
Schuller’s Chamber Symphony translates color into a soft
introduction, followed by a firstmovement featuring solo passages
for many instruments, then returning to the opening
tone. In the second movement, the horn(Schuller’s own
instrument) enjoys aprominent solo theme, which develops untilit is
performed by the entire ensemble inunison. Schuller describes the
thirdmovement as opening with a “lively, bouncyscherzo-like motion,
which undergoes variousinstrumental and rhythmic
transformations.”These changing color combinations runthrough most
of the ensemble members.Then Schuller paints “an exact
recapitulationof the first part of the movement. [It] issuddenly
interrupted by slower broadlysustained chords, ending in a quiet
cadence.The coda, returning to the bouncyscherzando motive, brings
the piece to abrilliant and fortissimo close for the
wholeensemble.”
Schuller’s inspirations come from a buffet ofsources — with jazz
occupying a special
place. This work may not be jazz, but it has the energy and
rhythmic urgency of a full-fledged jazz riff — complete with solos.
And although the solos are written out for the
players — the virtuosity andintensity required of theplayers has
all the hallmarks,it not the impetus, of a realjazz “out” solo.
(Re)View – Gunther SchullerChamber Symphony
Chamber Symphony (1989) 14'
1+pic.2(ca).2(bcl).2(cbn)/1111/hp/str
Premiere: Cleveland ChamberSymphony/Edwin London
16 April 1989; Shaker Heights, OH
In Three Movements: I. Calmo-animando-calmo
II. Arioso III. Vivo
Schuller’s Refrains (for 10 euphoniums, 12 tubas, and
2percussion players) premieres on 5 November by theTennessee
Technological University Tuba Ensemble,conducted by Winston Morris.
The group records thepiece for the Mark Recordings label to
bereleased in time for their December/Januarytour to Chicago,
Washington, DC, and NewYork City. Schuller just finished Volume I
ofhis autobiography. The yet-to-be-namedtome, published by Oxford
University Pressand scheduled to be released next year, isan
expansive journey through his lifelonginvolvement in concert music
and jazz, aswell as his passionate efforts in education,literature,
music publishing, and audiophil-ia. Upcoming compositions include a
com-mission for the Boston Symphony and hisFifth String
Quartet.
Chamber Symphony. Copyright © 1989 byAssociated Music Publishers
(BMI), New York,NY. International Copyright Secured. All Rights
Reserved. Used by permission.
2007 Tennessee Technological University Tuba/Euphonium
Ensemble;courtesy: Music Department, Tennessee Technological
University
Plácido Domingo and Tan DunPhoto: courtesy Parnassus
Productions
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1 Virgil ThomsonThe Feast of Love premiered 1964
2 Henry CowellVariations for Orchestra premiered 1959
3 Dmitri ShostakovichSymphony No. 9 premiered 1945
4 Bright ShengString Quartet No. 3 premiered 1993
5 Samuel BarberAdagio for Strings premiered 1938
6 Augusta Read ThomasBrass Rush premiered 2004
7 Peter Maxwell DaviesPiano Concerto premiered 1997
9 John CoriglianoOboe Concerto premiered 1975
10 Stephen AlbertSymphony No. 2 premiered 1994
11 John CoriglianoVocalise premiered 1999
11 Augusta Read ThomasDancing Galaxy premiered 2004
12 Dmitri ShostakovichString Quartet No. 14 premiered 1973
13 Poul RudersSymphony No. 2 premiered 1997
14 Richard DanielpourAn American Requiem premiered 2001
15 John HarbisonMirabai Songs premiered 1983
16 Morton GouldPhilharmonic Waltzes premiered 1948
19 Elliott CarterSonata for flute, oboe, cello and harpischord
premiered 1953
20 Roy HarrisSymphony No. 7 premiered 1952
21 John HarbisonThe Flight into Egypt premiered 1986
22 Gunther Schuller born 1925
23 Manuel de Falla born 1876
24 Alfred Schnittke born 1934
25 Walter PistonSymphony No. 6 premiered 1955
25 Virgil Thomson born 1896
26 John CoriglianoThe Red Violin (Chaconne for Violin and
Orchestra) premiered 1997
28 Charles T. GriffesThe Pleasure Dome of Kubla Khan premiered
1919
29 Anthony DavisAmistad premiered 1997
30 John CoriglianoSymphony No. 2 premiered 2000
30 John HarbisonNovember 19, 1828 premiered 1989
Anniversaries This month, mezzo-sopranoDenyce Graves again
channels Margaret Garner— the title role written forher by Richard
Danielpourin his acclaimed first opera— as she joins JohnDeMain and
the MadisonSymphony in concert performances of the“Triptych from
MargaretGarner.”
Schuller (AMP) Refrains ���Tennessee Tech TubaEnsemble/Winston
MorrisCookeville, TN
Kirchner (AMP) For the Left HandGary Graffman, pianoNew York
City
Auerbach (SIK) Primera Luz, Quartet No. 2Tokyo String
QuartetPurchase, NY
Kapilow (GS) Dr. Seuss’s GertrudeMcFuzz Dr. Seuss’s Green
Eggsand HamKansas CitySymphony/Gupton
Tan Dun (GS) Crouching Tiger ConcertoPro Arte
ChamberOrchestra/Stanley DerushaIndianapolis, IN
Corigliano (GS) The Red Violin: ChaconneUniversity
CitySymphony/Leon BurkeSt Louis, MO
Hovhaness (AMP) Mysterious MountainPrinceton SymphonyPrinceton,
NJ
Babbitt (AMP) All SetBoston Conservatory ofMusic/Eric Hewitt
Barber (GS) Concerto for ViolinKnoxville, Summer of 1915Mary
PetroChappaqua Orchestra/Michael Shapiro
Dorman (GS) Azerbaijani DanceConcerto in AJuilliard School
Tower (AMP) Made in America Youth Symphony ofKansas City
Weill (GS) Down in the ValleyUniversity of Texas
PanAmericaEdinburg, TX
G. Schirmer Selected
Tchaikovsky / Ellingtonand Strayhorn / Tyzik(TPO) The Nutcracker
SuiteBochumer Symphony/Steven SloaneGermany
Tower (AMP) For the UncommonWomanTurok (GS) A Joplin
OvertureMadison Symphony
Barber (GS) Medea’s Dance ofVengeanceShostakovich (GSR) Festive
OvertureSymphony No. 6Oklahoma CityUniversity/Mark Parker
Shostakovich (GSR) String Quartet No. 15Calder QuartetNew York
City
Tower (AMP) Made in America Charlotte SymphonyPort Charlotte,
FL
Tower (AMP) Made in America Louisville Youth Orchestra
Villa-Lobos (AMP) Concerto for HarmonicaRiverside
CountyPhilharmonic/Patrick Flynn
Brubeck (MAL) ElementalsTexas State University/Howard
HudiburgSan Marcos, TX
Kernis (AMP) The Four Seasons ofFuturist Cuisine(November 13,
14)SOLI ensembleSan Antonio, TX
Thorne (MG) Adagio Music for BandEastman Wind Orchestra/Mark
ScatterdayRochester, NY
Adams (AMP) HarmonielehreMannes College ofMusic/David HayesNew
York City
Corigliano (GS) Circus MaximusDallas Wind Symphony/Jerry
Junkin
Antheil (GS) Ballet mécaniqueWichita State University
Barber (GS) Symphony No. 1Northern IllinoisUniversity/Brett
Mitchell
Schuller (AMP) Grand Concerto forPercussion
andKeyboardsCleveland Institute ofMusic/Paul Yancich
Shostakovich (GSR) October, Op. 131University of MichiganSchool
of Music/Anthony Elliot
Wyner (AMP) A Mad Tea Party (fromAlice's
AdventuresUnderground)Mirror ImagesMerkin Concert HallNew York
City
Adams (AMP) Grand Pianola MusicShepherd School ofMusic/Karl
Blench
Falla (CH) The Three-Cornered HatUniversity ofMassachusetts
Amherst/Lanfranco Marcelletti
Tower (AMP) Noon DanceUniversity of SouthernCalifornia
Rudolf Steiner Archive Thomas (GS) The Soul is Light ���Virginia
Shaw, oboeVerena Giovanazzi, violinStephanie Meitzner, harpSix
Piano EtudesKazuhiko Yoshida, pianoDornach, Switzerland
Corigliano (GS) DodecaphoniaMarvelous InventionCherry Duke,
soprano;Cynthia Peterson, pianoLehman CollegeNew York City
New Crowned Hope FestSaariaho (CH) La Passion de
Simone���Klangforum Wien; ArnoldSchoenberg Chor/SusannaMälkki;
Vienna, Austria
Tavener (CH) A Little Child Shall LeadThem ���Choir of King's
CollegeCambridge/StephenCleobury; United Kingdom
Gubaidulina (GSR) De ProfundisSeven Last WordsEsprit
Orchestra/Alex PaukHell und DunkelWilliam O'Meara, organIn
ErwartungToronto New MusicProjects/Gregory OhToronto, ON,
Canada
Gubaidulina (GSR) Hommage à T.S. EliotIn CroceNew Music
ConcertsSilenzioThe Garden of Joy andSorrowGlenn Gould
StudioToronto, ON, Canada
Kirchner (AMP) String Quartet No. 4Orion String
QuartetPittsburgh, PA
Sheng (GS) China Dreams(November 27 - 29)Dortmund
Philharmonic/Bright ShengGermany
Tavener (CH) Kaleidoscopes ���Nicholas Daniel, oboeBritten
Sinfonia/Nicholas DanielLondon
Harbison (AMP) Concerto for OboeOhio University/Steven Huang
Husa (AMP) String Quartet No. 4,North Carolina Symphony
Tanaka (CH) Techno EtudesJay Gottlieb, pianoSan Francisco,
CA
On TourTower (AMP) DNATalujon PercussionQuintetSacramento,
CA
credit: Niels Bush
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Lang (RP) Men ��Maverick EnsembleChicago, IL
Antheil (GS) Fighting the WavesLang (RP) Mary Stuart
ChorusesThomson (GS) Seven ChorusesCantori New York/Mark
Shapiro
Lang (RP) World to ComeTalbot (CH) Motion DetectorTan Dun (GS)
FeigeMaya Beiser, celloEmory UniversityMeltzer (GS)RumorsSequitur,
New York CityTower (AMP) Made in AmericaGulf Coast Symphony
Adams (AMP) Shaker Loops(November 8 - 26)Cullberg
BalletNorsborg, Sweden
Ali-Zade (GSR) Music for PianoTatjana Rankovich, pianoGreenwich
HouseNew York City
Hovhaness (AMP) Mysterious MountainCase Western
ReserveUniversity
Shostakovich (GSR) Cello Concerto No. 2Montreal Symphony/Jacques
Laconbe
Tan Dun (GS) Circle with Four Trios,Conductor and AudienceNDR
SymphonyHamburg, Germany
Koppel (WH) Concerto for Saxophone,Piano and Orchestra ���Danish
National Symphony/John StorgårdsDenmark
Pape (WH) Suburban Nightmares���Odense SymphonyDenmark
Thomas (GS) Ring Flourish Blaze
Corigliano (GS) Violin ConcertoLahti SymphonyOrchestra/Osmo
VänskäFinland
Rodríguez (GS) Decem PerfectumSeven Deadly SinsVolans (CH)
L’isle joyeuse (Debussy)New EnglandConservatory/Charles Peltz
Auerbach (SIK) Violin Concerto No. 1Louisiana
Philharmonic/Carlos Miguel Prieto
Kancheli (GSR) Night PrayersMarymount ManhattanCollege
Schnittke (GSR) Moz-Art à la HaydnSan Diego
ChamberOrchestra/Jung Ho Pak
Kirchner (AMP) Piano Sonata ���Joel Fan, pianoLongy School of
Music
Górecki (CH) Harpsichord ConcertoStamford Symphony/Eckart
Preu
Kapilow (GS) Dr. Seuss’s GertrudeMcFuzzSyracuse Symphony/William
Henry Curry
Sheng (GS) La’iUniversity of Louisville/Frederick Speck
Tan Dun (GS) Crouching Tiger ConcertoPro Musica
ChamberOrchestra/TimothyRussell
Tower (AMP) Made in AmericaSanta Barbara Symhony/Nir
Kabaretti
Harbison (AMP) Darkbloom: Overture foran Imagined
OperaRemembering GatsbyThree City BlocksSyracuse
UniversitySyracuse, NY
Danielpour (AMP) A Child's Reliquary���Jaime Laredo,
violin;Sharon Robinson, celloPacific Symphony/Carl St. Clair
Wallin (CH) Das war schön! ���Martin Grubinger, percussionVienna
Radio Symphony/John Axelrod
Corigliano (GS) Promenade OvertureRostov
RegionalPhilharmonia/PiotrGribanov; Russia
Lutoslawski (CH) Concerto for OrchestraChicago Symphony/Paavo
Järvi
Mingus (MG) RevelationsAmerican ComposersOrchestra/Steven
Sloane
Koppel (WH) Marimba Concerto No. 4���MusikvereinVienna,
Austria
Chávez (GS) Sinfonía de AntígonaAmerican SymphonyOrchestra/Leon
Botstein
Danielpour (AMP) Toward the Splendid CityAmarillo
Symphony/Byung-Hyun Rhee
Lang (RP) World to ComeTalbot (CH) Motion DetectorTan Dun (GS)
FeigeMaya Beiser, celloSeattle, WA
Frank (GS)Sonata AndinaLura Johnson-Lee, pianoBaltimore, MD
O'Regan (NOV) Lamentation ���Helsinki Male Voice Choir/Matti
Hyökki; London
Thomas (GS) Ring Out Wild Bells, to theWild Sky ��University of
Surrey/Russell Keable; London
Kernis (AMP) Musica CelestisCharlotte Symphony/Alan Yamamoto
Barber (GS) Cello ConcertoMatt Haimovitz, celloLas Vegas
Philharmonic/David Itkin
Hamlisch (GS) Zin! Zin! Zin! A ViolinDetroit Symphony/Thomas
Wilkins
Yanov-Yanovsky (GSR) Lux AeternaSan Francisco
Conservatory/Nicole Paiement
Glass (DUN) Concerto Fantasy for TwoTimpanists and
Orchestra��Orchestre National deFrance/James Conlon
Gubaidulina (GSR) The Rider on the WhiteHorse ��Toronto
Symphony/Gianandrea Noseda
Kernis (AMP) Musica CelestisIsrael Sinfonietta/Stephen
Gunzenhauser
Shostakovich arr.Barshai (GSR) Chamber Symphony, Op.
110aManitoba ChamberOrchestra/Anne Manson
Danielpour (AMP) Adagietto ��Barber (GS) Violin ConcertoMoravian
Philharmonic/André Raphel SmithOlomouc, Czech Republic
Talbot (CH) Trumpet Concerto ��(November 23, 24)Alison Balsam,
trumpetTurku PhilharmonicTurku
Gubaidulina (GSR) Now Always Snow ��(November 24, 26)RIAS
ChamberChoir/James WoodToronto, ON, Canada
Henze (CH) L' Upupa und der Triumphder Sohnesliebe ��Orchestra
of the TeatroCarlo Felice/Julia JonesGenova, Italy
Sallinen (NOV) Ratsumies ��Savonlinna Opera/Ari
RasilainenMoscow, Russia
Corigliano (GS) Symphony No. 1Royal
ConservatoryOrchestra/Bramwell ToveyToronto, ON, Canada
Harbison (AMP) Concerto for Bass ViolLos AngelesPhilharmonic
Stravinsky (CH) Les NocesUniversity ofToronto/Doreen RaoToronto,
ON, Canada
Composer-in-ResidenceThomas (GS) Basho SettingsCornelia Bitzner,
sopranoMatthias Boelts, piano Bells Ring SummerSpring SongWolfgang
Sellner, celloLove SongsKammerchor desMusikseminarsSix Piano
EtudesAlan Newcombe, pianoHamburg, Germany
Performances November ’06
Thomas (GS) Ritual IncantationsShakin'Louisville
Orchestra/Stuart ChafetzBloomington, IN
Thomas (GS) Silver Chants the LitaniesUniversity of
Louisville
Tower (AMP) Made In AmericaOakland East BaySymphony/Michael
Morgan
On TourGuarnieri (AMP) Abertura Concertante(November 1 - 16)Sao
Paulo StateSymphony/John NeschlingNew York City
Thomson (GS) Piano Etudes(November 1 - 5)American Ballet
TheatreNew York City
Adams (AMP) Grand Pianola MusicLang (RP) The Anvil Chorus Volans
(CH) White Man Sleeps(November 2 - 12)Pacific Northwest Ballet
Corigliano (GS) Concerto for ViolinAlexander Souptel,
violinSingapore Symphony/Lim Yau
Dorman (GS) Sonata for ViolinChamber Music Societyof Lincoln
Center
Harbison (AMP) Concerto for Bass ViolJordan Anderson,
bassSeattle Symphony/Lawrence RenesSchoenberg (GS) Concerto for
ViolinChristian Tetzlaff, violinBoston Symphony/Levine
Frank (GS) El Dia de los Muertos(chamber version)���Santa Clara
University
Carter (AMP) The Harmony of MorningWyner (AMP) PassageVassar
College
Lindberg (CH) Related RocksNew World Symphony/
Danielpour (AMP) Triptych from MargaretGarnerDenyce Graves,
mezzoMadison Symphony/John DeMain
Concert WorkshopO’Regan (NOV) Heart of DarknessAmerican Opera
ProjectsBrooklyn, NY (Nov. 3)Princeton, NJ (Nov. 4)
Lorentzen (WH) Tivoli ���Odense SymphonyDenmark
Corigliano (GS) Circus MaximusUniversity of
Illinois/Urbana-Champaign/James KeeneRantoul, IL
Glass (DUN) Concerto Fantasy for TwoTimpanists and
OrchestraJonathan Haas and JohnEvans, timpaniNaples
Philharmonic/Jorge Mester
Corigliano (GS) Symphony No. 1Yomiuri NipponSymphony
Orchestra/Tatsuya ShimonoJapan
Nyman (CH) The Man Who MistookHis Wife for a HatTeatro Municipal
De SaoPauloBrazil
Shostakovich (GSR) String Quartet No. 14Miró Quartet New York
City
Tubin (NS) Symphony No. 11(November 29,
30)CincinnatiSymphony/Paavo Järvi
On 11 November, contem-porary music advocate Joel
Fan puts fingers to keyswhen he premieres Leon
Kirchner’s Piano Sonata atthe Longy School of Music
in Cambridge, MA.
credit: Barry Rosenthal, courtesy: Vantage Artists Management
Inc
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6
Hanspeter Kyburztouché 22'
...Kyburz’s newest creationdraws the listener into thedramatic
narrative throughsheer force of vocal andinstrumental
personality.
A tenor and soprano speak, sing and declaim fragmented lines,
answeringand ending sentences or ordering the other to move on. The
diversion isalmost unrelievedly dark, its episodes of anger,
sarcasm and tensionalleviated by moments of serenity.
Kyburz’s musical language rarely flirts with tonality, but its
powerfulsonorities are reminiscent of Alban Berg’s writing in terms
of turbulentlyricism. The composer uses the orchestra as a
brooding, clamorous beastthat can transform itself into a delicate
creature.
..The artistic weather isn’t completely overcast. Flashes of
humor can bediscerned...Kyburz’s command of vocal color and
orchestral animation isso sure that touché intrigues even when,
like the protagonists, its essenceis untouchable. Donald Rosenberg,
Cleveland Plain Dealer
ReviewEnglish texts by Sabine Marienberg
Soprano, Tenor4(pic,afl).2+ca.3+bcl.2+cbn/4321/timp.4perc/
2hp.pf.cel/str (14.12.10.8.6) Laura Aikin, soprano; John Mark
Ainsley, tenor
Cleveland Orchestra/Welser-MöstUS Premiere; 1 October 2006;
Cleveland, OH
Malcolm ArnoldThe Three Musketeers 100'
...Arnold’s [music] — lively, tuneful, fast-paced or romantic —
drives theaction and fits the bill with great success. And it is
delightful….The ThreeMusketeers is an attractive stage
spectacle...
David Dougill, Sunday Times (London)
...Malcolm Arnold was famous for his commitment to writing tunes
evenwhen melody had gone out of vogue. In much the same
way,choreographer David Nixon insists on creating family-friendly,
full-lengthballets....In both men’s work, accessibility and
communication are key, soit is apt that Arnold’s music is Nixon’s
partner for Northern BalletTheatre’s The Three Musketeers…it is
Arnold’s cinematic soundtrack thatmakes this ballet a sweeping
drama…and the soaring themes, jazzy licksand folk inflections are
played with relish…It’s all-around greatentertainment... Lyndsey
Winship, The Telegraph (London)
photo: Merlin Hendy, courtesy: Northern Ballet Theatre
Hironao Takahasi, Jonathan Byrne Olliver and David PaulKierce in
Northern Ballet Theatre’s The Three Musketeers
Tarik O’ReganThree Motets from Sequence for St.
WulfstanMagnificat and Nunc Dimittis: Variations for ChoirTwo
Upper-Voice SettingsDorchester CanticlesFour Mixed-Voice
SettingsColimaçon
The composer Tarik O’Regan is a significant newBritish voice…His
music communicates through thewell-explored channels of warm,
chordal sonority, but,crucially, neglects neither rhythmic vitality
norpolyphonic weave. Consequently, there’s a real rigor tohis
music, and when it is performed with as muchcommitment as it is
here, it is a transportingexperience...
William Whitehead, BBC Music Magazine
Tarik O’Regan won the vocal category at last year’s British
Composer Awards and,listening to this disc of his choral music, one
can hear why. In a largely tonal, or atleast modal language, he
breathes new life in the motet idiom...
Matthew Rye, The Telegraph (London)
Rafal Jezierski, cello James McVinnie, organ
Adrian Spillett, percussionHelen Tunstall, harp
The Choir of Clare College,Cambridge/Brown
Collegium Records COLCD 130
“As we enter the 21st century, it’s frightening to think that
all that happens in JosephConrad’s seminal novella, which heralded
the 20th century, still goes on in theworld’s many hearts of
darkness.” Composer Tarik O’Regan seizes upon thisunsettling
feeling in his new project — a musical adaptation of Heart of
Darkness.O’Regan creates his first opera with librettist Tom
Phillips, the British painter,
collagist, and multi-media artist. On 3 and 4November, both
artists will be on hand inBrooklyn, NY, and Princeton, NJ, for a
pair ofdevelopmental workshops presented by AmericanOpera Projects
(www.operaprojects.org).
“Tom and I,” O’Regan notes, “have worked onvarious projects
before and he had long wanted to work on the story. My interest
inHeart of Darkness was rekindled when Francis Ford Coppola’s
“Apocalypse Now”(itself an adaptation of the Conrad story) was
re-released in 2001, making mentionof an Orson Wells abridgement as
a radio play from the 1930s. I became aware,while watching
Coppola’s film, how the narrative is bound together by
WalterMurch’s seminal sound design and editing. When re-reading the
book, after thisepiphany, I discovered that Conrad wrote his own
soundtrack into the novella(water, trees, drums, guns, steam
engines, beatings, trampling, etc). It seemed anatural development
to augment Conrad’s music with my own, while offering a
newadaptation of this timeless and ever-timely tale for a
modern-day audience.”
“Heart of Darkness”
The old savageries of colo-nialism are reappearing innew and
terrible guises andthe moral void that Conraddescribes is clearly
prevalenttoday. — Tarik O’Regan
Upcoming: On 4 March, the Yale Schola Cantorum andconductor
Simon Carrington premiere The EcstasiesAbove, based on Edgar Allan
Poe’s poem “Israfel.” Afterwards, the ensemblepresents the work at
the American Choral Directors Association convention inMiami.
O’Regan is also composing Stolen Voices, a 20-minute oratorio for
theYoung People’s Chorus of New York. Written in collaboration with
poet MelanieChallenger — editor of the soon-to-be-released volume
Stolen Voices (a collec-tion of children’s diaries during times of
war) — the work premieres on 21September 2007 and marks the
International Day of Peace.
The Ecstasies Above 18'2S, 2A, 2T, 2B;
SATB chorus; str4tet
Reviewssmall orchestra
David Nixon, choreographerNorthern Ballet Theatre
Premiere; 23 September 2006; Bradford, England
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The Absolute CDThe latest in a series of samplers to promotethe
Schirmer/AMP catalogue to the film,television, and advertising
industries,“Absolute Masters” consists of 19 newlyrecorded
orchestral tracks especially chosenfor their cinematic and
evocative qualities.Samples include Adagio for Strings, Sabre
Dance, Peter and the Wolf, and works by Adams, Nyman,
Revueltas,Shostakovich, Tavener, and others. To license both the
music and the recordingin one easy step contact
[email protected].
7
GramophoneAmericanAwards
Bridge Records’ recent portrait disc ofPeter Lieberson is among
thehonorees of the first annual WQXRGramophone American Awards.
NewYork City-based radio station 96.3WQXR-FM partnered with the
UKaudiophile journal The Gramophone tohonor the year’s best
recordingachievements by American artists andin American
repertoire.
Peter LiebersonRilke SongsLorraine Hunt Lieberson,mezzo-soprano;
Peter Serkin, pianoHorn ConcertoWilliam Purvis, hornOdense
Symphony/PalmaThe Six RealmsMichaela Fukacova, celloOdense
Symphony/BrownBridge Records CD 9178 irresistibly
listenable disc
San Francisco Chronicle
George AntheilDreamsPiano Concerto No. 2Serenade No. 2Guy
Livingston, pianoPhiladelphia Virtuosi ChamberOrchestra/SpaldingNew
World Records CD 80647
New Recordings
Philip GlassOpeningAugusta Read ThomasSilhouettesNathaniel
Bartlett, marimbaAlbany Troy SACD 855
Elvis CostelloThe Juliet LettersKerry-Anne Kutz, sopranoThe
Abysse String QuartetX (Albany Troy) CD 541
John HarbisonBook of Hours and SeasonsNorth and South: Six Poems
ofElizabeth BishopSix American PaintersThe Three Wise MenLorraine
Hunt Lieberson andEmily Lodine, mezzo-sopranosChicago Chamber
MusiciansNaxos CD 8.559188
Dmitri ShostakovichA Child’s Exercise BookThe Limpid StreamPiano
Sonata No. 2Konstantin Scherbakov, pianoNaxos CD 8.570092
Hans Werner HenzeSebastian im TraumeRoyal
ConcertgebouwOrchestra/JansonsRCO Live CD
5425008375304www.concertgebouworkest.nl
Joan TowerValentine TrillsNina Assimakopoulos, fluteCapstone
Records (Albany Troy)CPS 8759
John HarbisonString Quartet No. 4Orion String QuartetKoch
International ClassicsKIC CD 7598
Yehudi WynerMa TovuShiru Ladonai (Psalm 93)Meir Finkelstein,
tenorBBC SingersNaxos CD 8.559445
Michael GordonThe Sad Park 30-45'
The program’s centerpiece, MichaelGordon’s The Sad Park,
surrounds theelectronically manipulated voices ofchildren who
witnessed the WorldTrade Center attack with stringtextures
incorporating their speech
rhythms, and itemerges as athrenody for lostinnocence.
Theexperience is
disorienting and heartbreaking…
Allan Ulrich, Financial Times
str4tet and recordingKronos Quartet
11 September 2006San Francisco, CA
Robert X. RodríguezLa Curandera 60'
An entertaining, family-friendly treat….Using an orchestra of
just nine musicians,Rodríguez …has created an appealing,
mariachi-infused score…
Kyle McMillan, The Denver Post
A revelation....Rodríguez’ inventive score andMary Medrick’s
modern libretto highlight thetimelessness of Jean-Jacques
Rousseau’s originalstory while creatively updating the romantic
talefor 21st-century sensibilities and adapting it toLatin American
cultural paradigms.
Bob Bows, Variety
A mini-masterpiece that seems destined to be popular for years
to come.
Wes Blomster, Boulder Daily Camera
Reviews
Soprano, Mezzo-soprano, Contralto,Tenor, Baritone, Bass
cl(asx), tpt, btbn, 2perc, acn, pf, vn, vcKatherine Myers, stage
director
Opera Colorado/RodríguezWorld Premiere
13 May 2006; Denver, CO
phot
o:Gl
enn
Asak
awa,
Denv
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ost,
cour
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Oper
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G. Schirmer, Inc.Associated Music Publishers, Inc.257 Park
Avenue South, 20th FloorNew York, NY 10010
Address Correction Requested
To receive Schirmer Newselectronically, contact us
[email protected]
On the Internet athttp://www.schirmer.com
Copyright © 2006 by G. Schirmer, Inc.Articles from Schirmer News
may be copied fornoncommercial educational and informational
purposes provided that credit is given to G. Schirmer News as the
source.
Deborah Horne, EditorEd Matthew, Layout Editor
JohnCoriglianoThe Red Violin:Chaconne forViolin andOrchestra
Coriglianoeventually devised a whole violin concertofrom music
he wrote for the 1998 film“The Red Violin,”but he first
releasedthis Chaconne, adramatic andeffective updating ofthe
baroque variation form.
Scott Cantrell, The Dallas Morning News
Chloë Hanslip, violinRoyal Philharmonic
Orchestra/SlatkinNaxos CD 8.559302
Opening bars of Leon Kirchner’s new Piano Sonata. World
premiere: 11 November 2006.Joel Fan, piano. Pickman Concert Hall,
Longy School of Music, Cambridge, MA.Copyright © 2006. Associated
Music Publishers (BMI). New York, NY. InternationalCopyright
Secured. All Rights Reserved. Used by permission.
ReviewsBright ShengLa’i
This spectacular album opens with a bang— several minutes of
roaring, cacopho-nous horns and trombones, along withbashing
percussion punctuations. BrightSheng calls it a “Love Song” (“a
looselybased impression of La’i singing”) that heheard in the
fields of Tibet, but [there are]
wild free-for-allsounds...I havemuch to learn aboutTibet.
Barry Kilpatrick, American Record Guide
University ofMichigan Symphonic
Band/HaithcockEquilibrium CD 75
Pre-sorted1st Class
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Permit #247Pittston, PA
