1

thema

25 Rolf Liebermann L'École des Femmes –

New production at the Opéra National de Bordeaux

33 Alexander Zemlinsky Der Zwerg conducted by Kent Nagano

at the Munich State Opera

35 Alban Berg / E. Kloke Successful world première of the new

3-act Lulu at Copenhagen Opera

38 Leo� Janá�ek Glagolitic Mass – New editions of

both versions now available

FriedrichCerha85th Birthday (17 Feb 2011)

newsletter01/11 • winter 2010/2011

2

content 01/2011

= World Première

Contents newsGustav Mahler-Blog: new Interviews — 4Charles Mackerras — 5

composersCerha — 7Haas — 9Pärt — 11Rihm — 12Sotelo — 13Staud — 13Schwartz — 14Baltakas — 14Lentz — 14 Halffter — 15 Furrer — 15Luke Bedford — 16 Borisova-Ollas — 16Sawer — 17Birtwistle — 17Boulez — 19Kurtág — 20Reich — 20 Gielen — 20Berio — 21Feldman — 23Stockhausen — 23Liebermann — 25Nick — 25Marx — 26Martin — 26Milhaud — 27Mosolov — 27Weill — 29Braunfels — 29Bartók — 30Kodály — 30Martin� — 31Szymanowski — 31

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Dear Readers,

In summer 2010, three voices caused a buzz in a certain musical city – even without bel canto. The singers and the composer were the talk of the town. The achievements of the three protagonists in wolf-gang rihm’s opera Dionysos, which was performed at the Salzburg Festival, astounded the audience and the press alike: Johannes Martin Kränzle, Mojca Erdmann and Matthias Klink showed just how passionate and lyrical con-temporary music can – or indeed must – sound. They learned their extremely challenging parts with breathtaking speed, fully aware that they might not meet with a positive response despite their enormous efforts. But the risk paid off. They brought an impor-tant work of art to life and were recognised and admired as its architects. They are representative of the many young performers of new music who prefer to dedicate their talents to the present rather than the past. To them we offer our wholehearted respect.

The editorial Team

Schreker — 32Schmidt — 32Zemlinsky — 33Schönberg — 34Berg — 35Satie — 36Alma Mahler/C. Gottwald — 36Mahler — 37Janá�ek — 38 - 39Puccini — 40

anniversaries — 41 - 42

world premières — 43

new releases — 44 - 45

new on cd — 46 - 47

impressum — 48

4

news

universal ediTion

New interviews on our UE Mahler Blog

There are two new video interviews on our Gustav mahler-Blog: with riccardo chailly and Gustavo dudamel. All conducters interviews are available on www.universaledition.com/mahler

Gustavo dudamel: “John Barbirolli once said: “If you don’t exaggerate when you are young, what can you do when you are old?” Of course as a young conductor I cannot feel like a 60 year old conductor. But in Mahler’s music everything is there and eve-rything is perfect. You have pianis-simo in one line and the same line fortissimo in another place. This is very clearly written. You don’t have to exaggerate it. It is perfect.”

Gustavo Dudamel

riccardo chailly: “Mahler was more than aware that he left behind him masterpieces, not just very good music. Music that wasn’t being composed at that time by any other colleague. Mahler created a universe of a new language. I think this is what he wanted and achieved. Being so young when he died, the biggest question is what the world of mu-sic has lost, because Mahler still had a lot to say.”

Riccardo Chailly

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to offer the fruits of his extensive and pioneering labours in our catalogue:

charles mackerras

charles mackerras (1925–2010)

Valuable work

sir charles mackerras died on 14 July 2010. His decades of experience as a conductor and researcher made him the world’s number one authority on Leo� Janá�ek. Mackerras’ work is invaluable when it comes to performing Janá�ek’s works. We at UE are proud to be able

Charles Mackerras

Arrangements of works by Leo�š Janá�ek:

From the House of the Dead 1927–1928 opera in 3 acts (4 scenes)practical critical edition by Charles Mackerras and John Tyrrell (1990).Glagolitic Mass 1927 (missa solemnis) for soli, mixed choir, organ and orchestra (original version), edited by Paul Wingfield (2010), consulting/cooperation by Charles Mackerras. Jen�fa 1894–1903/1908 opera in 3 acts from the life of Moravian peasants (Brno version), edited by Charles Mackerras and John Tyrrell (1993).Katja Kabanowa 1921 opera in 3 actsedited by Charles Mackerras and Karl Heinz Füssl (1971–1992). The Makropulos Case 1925 opera in 3 acts version by Charles Mackerras; a critical new edition by Vanda Prochaska is in preparation, based on the Mackerras version and with additional per-formance suggestions by Charles Mackerras.�árka 1887–1888 opera in 3 actsedited by Ji�í Zahrádka and Charles Mackerras (2000).The Cunning Little Vixen 1924 opera in 3 actsrevised new edition by Ji�í Zahrádka (2008), with performance suggesti-ons by Charles Mackerras.Suite from the opera „The Cunning Little Vixen“ for orchestraarranged by Charles Mackerras (2006), based on the new musicological edition of the opera The Cunning Little Vixen by Ji�í Zahrádka.

3.– 27. März 2011

ZoomGielen Cerha

Schnebel Kessler

Licht spiel

musik

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3.– 27. März 2011

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Schnebel Kessler

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cerha

cerha

Music prize for his 85th birthday

Friedrich cerha, who will turn 85 on 17 Feb 2011, “may rightly be de-scribed as Austria’s most impor-tant contemporary composer” – ac-cording to an announcement for the Biennale festival in Salzburg, which will be featuring works by Cerha. Writing in the Frankfurter Allgemeine newspaper, Julia Spi-nola adds: “In an unspectacular yet radical style, he epitomises a multi-

perspectivity which is exemplary in modern art. When it comes to com-positional techniques, his work of-fers a blend of post-war avant-garde techniques and older methods and material, which he handles in a completely new manner. Cerha has never been concerned with only eclectic variety or aesthetic con-cessions – instead, he has always aimed to square the circle, one of the basic issues of new music: to use the full potential of the articu-lation afforded by complex music compositions to address listeners directly.” This coming spring will see him being awarded the 2011 salzburg music prize – an International Composition Prize Awarded by Land Salzburg. This recognition has come late in the day, as the composer himself stated when the decision was announced. The pro-gramme for the prize-winner’s con-cert includes Bruchstück, geträumt and Jahrlang ins Ungewisse hinab. Johannes Kalitzke will conduct Austria’s two top ensembles for new music: Klangforum Wien and the oesterreichisches ensemble für neue musik (12–13 Mar).www.bit.ly/musikpreis

Klangforum Wien is also set to per-form Eine Art Chansons and 8 Sätze nach Hölderlin-Fragmenten in Vi-enna on 5 and 10 Jan.

Friedrich Cerha

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Dirigenten Giovanni Antonini, Ivor Bolton, Dennis Russell Davies, Gottfried von der Goltz, Nikolaus Harnoncourt, Heinz Holliger, René Jacobs, Louis Langrée, Marc Minkowski, Yannick Nézet-Séguin, Jonathan Nott, András Schiff, Jörg Widmann Orchester Akademie für Alte Musik Berlin, Camerata Salzburg, Cappella Andrea Barca, Chamber Orchestra ofEurope, Concentus Musicus Wien, Freiburger Barock orchester,Les Musiciens du Louvre·Grenoble, Mozarteumorchester Salzburg,Sinfonieorchester der Univ. Mozarteum, Wiener PhilharmonikerSänger Kurt Azesberger, Thomas Bauer, Daniel Behle, FlorianBoesch, Markus Brutscher, Joachim Buhrmann, Annette Dasch,Marcos Fink, Anna Grevelius, Sunhae Im, Philippe Jaroussky,Inga Kalna, Mika Kares, Julia Kleiter, Christina Landshamer,Wiebke Lehmkuhl, Elisabeth von Magnus, Hanno Müller-Brachmann,Jeremy Ovenden, Anna Prohaska, Thomas Quasthoff, ChristineSchäfer, Daniel Schmutzhard, Toby Spence, Lydia Teuscher, BurcuUyar, Rolando Villazón, Kai Wessel Solisten Piotr Anderszewski,Teodoro Anzellotti, Florian Birsak, Helmut Deutsch, David Greil-sammer, Marie-Elisabeth Hecker, Heinz Holliger, Gidon Kremer,Robert Levin, Alexander Lonquich, Johannes Nied, Jerca Novak,Maurizio Pollini, Fazil Say, András Schiff, Elmar Schmid, EricSchneider, Christian Tetzlaff, Hanna Weinmeister, Antje Weithaas,Jörg Widmann, Tabea Zimmermann Ensembles & Chöre HagenQuartett, oesterreichisches ensemble für neue musik, ArnoldSchoenberg Chor, RIAS Kammerchor, Salzburger Bachchor, NeueVocal solisten Stuttgart, St. Florianer Sängerknaben

So, 23.1.2011, 15.00 Stiftung Mozarteum, Großer SaalHagen Quartett, Jörg Widmann Klarinette

Georg Friedrich Haas 6. StreichquartettUA. Auftragswerk der Stiftung Mozarteum Salzburg,

KölnMusik und Wigmore Hall Londonsowie Werke von Heinz Holliger und Mozart

14.00 Uhr Künstlergespräch Georg Friedrich Haas

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Dirigenten Giovanni Antonini, Ivor Bolton, Dennis Russell Davies, Gottfried von der Goltz, Nikolaus Harnoncourt, Heinz Holliger, René Jacobs, Louis Langrée, Marc Minkowski, Yannick Nézet-Séguin, Jonathan Nott, András Schiff, Jörg Widmann Orchester Akademie für Alte Musik Berlin, Camerata Salzburg, Cappella Andrea Barca, Chamber Orchestra ofEurope, Concentus Musicus Wien, Freiburger Barock orchester,Les Musiciens du Louvre·Grenoble, Mozarteumorchester Salzburg,Sinfonieorchester der Univ. Mozarteum, Wiener PhilharmonikerSänger Kurt Azesberger, Thomas Bauer, Daniel Behle, FlorianBoesch, Markus Brutscher, Joachim Buhrmann, Annette Dasch,Marcos Fink, Anna Grevelius, Sunhae Im, Philippe Jaroussky,Inga Kalna, Mika Kares, Julia Kleiter, Christina Landshamer,Wiebke Lehmkuhl, Elisabeth von Magnus, Hanno Müller-Brachmann,Jeremy Ovenden, Anna Prohaska, Thomas Quasthoff, ChristineSchäfer, Daniel Schmutzhard, Toby Spence, Lydia Teuscher, BurcuUyar, Rolando Villazón, Kai Wessel Solisten Piotr Anderszewski,Teodoro Anzellotti, Florian Birsak, Helmut Deutsch, David Greil-sammer, Marie-Elisabeth Hecker, Heinz Holliger, Gidon Kremer,Robert Levin, Alexander Lonquich, Johannes Nied, Jerca Novak,Maurizio Pollini, Fazil Say, András Schiff, Elmar Schmid, EricSchneider, Christian Tetzlaff, Hanna Weinmeister, Antje Weithaas,Jörg Widmann, Tabea Zimmermann Ensembles & Chöre HagenQuartett, oesterreichisches ensemble für neue musik, ArnoldSchoenberg Chor, RIAS Kammerchor, Salzburger Bachchor, NeueVocal solisten Stuttgart, St. Florianer Sängerknaben

So, 23.1.2011, 15.00 Stiftung Mozarteum, Großer SaalHagen Quartett, Jörg Widmann Klarinette

Georg Friedrich Haas 6. StreichquartettUA. Auftragswerk der Stiftung Mozarteum Salzburg,

KölnMusik und Wigmore Hall Londonsowie Werke von Heinz Holliger und Mozart

14.00 Uhr Künstlergespräch Georg Friedrich Haas

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haas

haas

Close ties

At least since the 1998 world première of String

Quartet No. 2, close ties have existed between Georg Frie-drich haas and the Hagen Quar-tet. The quartet themselves talk of their experiences with intonation, which are helpful when perform-ing the classical and romantic rep-ertoire as well. To celebrate their 25th anniversary, the Hagen Quartet will also be performing the world première of String Quartet No. 6 in Salzburg on 23 Jan – a piece com-missioned by Salzburg’s Mozarte-um Foundation, KölnMusik and the Wigmore Hall.

The US première of in vain on 6 Feb 2009 brought Haas enormous pub-lic success, as well as great reviews from the New York Times, among others. The critics expressed sur-prise that such exciting and evoca-tive sounds could be produced by conventional instruments without electronic manipulation. Argento Chamber Ensemble will perform in vain again in New York (12 Nov and 18 Feb).www.bit.ly/invain … wie stille brannte das Licht for soprano and chamber orchestra, which premièred in Cologne in May 2009, impressed the audience

with the detailed composition of the scales of harmonics and the resulting oscillating effects, the mixtures in the second piece, which reveal the influence of Oliver Messiaen’s music, and the complex layers of chords, which repeatedly return to the ‘Vyshnegradsky chord’ and its variants. The work is set to receive its world première in the version for soprano and piano (27 Nov, Luxembourg), again with Sa-rah Wegener as the soloist.www.bit.ly/wiestillee

Georg Friedrich Haas

UE 26 300

Universal Edition

Restagno | Brauneiss | Kareda | Pärt

ARVO PÄRTim Gespräch

Mit den gesammelten Artikeln dieses Buches wird dem Leser Arvo Pärt

vorgestellt: ein Komponist, der sich in den letzten Jahrzehnten als eine

große, eigenständige Persönlichkeit in der Musikszene etabliert hat.

Die ausgewählten Texte wenden sich an unterschiedlich interessierte

Lesergruppen:

• In einem ausführlichen Gespräch, das Enzo Restagno mit Arvo Pärt

führte, erzählt der Komponist auf sehr persönliche Weise von seinen

Werken und seinem Leben im sowjetischen Estland, seiner Emigration,

seiner künstlerische Odyssee,

seinem Weltbild.

• Arvo Pärts Tintinnabuli-Kompositionstechnik steht im Mittel punkt

der musikwissenschaftlichen Annäherung von Leopold Brauneiss.

• Saale Kareda erläutert in ihrem Essay die spirituellen Aspekte der

Annäherung an das Werk Pärts.

• Zwei Dankesreden Arvo Pärts, die er bei besonderen Ehrungen

gehalten hat, runden das Porträt ab.

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ISMN 979-0-008-08000-5 ISBN 978-3-7024-6643-5UPC

Arvo PärtIm Gespräch

The collected articles of this book introduce the reader to Arvo Pärt:a composer who in the last few decades has become an eminent and unique personality in the music world. The main highlight of the book is an extensive conversion between Enzo Restagno and Arvo Pärt, in which Pärt talks in his very personal way about his works, his life in Soviet Estonia, his emigration, his artistic odyssey and vision of the world. The book is available in Germany only.

UE 26300 ISMN 979-0-008-08301-3Euro 19,90 UPC 8-03452-06674-3 ISBN 978-3-7024-6961-0

PärtBuchInseratE.indd 1 09.11.2010 08:31:49

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pärt

Arvo Pärt

pärT

Read and rediscover

Milestone birthdays are a time to take stock and reflect on one’s oeuvre and its reception. The al-bum Tabula Rasa was released by ECM in 1984, bringing arvo pärt’s work to a wider international audi-ence beyond the new music scene. 26 years on, the album has now been released as a special edition (ECM/UE), offering facsimiles of the scores of the key works Tabula Rasa and Cantus and study scores of the four works on the album. In his introductory note for the spe-cial edition, Paul Griffiths offers a fitting summary: “… modernism is not denied but understood … This is not a totally amnesiac simplic-ity but one that has been struggled for, one that implies an immense

process of discovery, one that has come through to some other side yet not lost sight of the stretch that has been travelled.” (UE 35222, Eng-lish/German)www.bit.ly/tabula-rasa-ue Another publication on the ‘Pärt phenomenon’ has recently been issued by UE: arvo pärt – im Gespräch. The book offers two important theoretical contribu-tions on Pärt. Its main feature is a written account of an extensive interview between Pärt and Enzo Restagno in 2003. In this highly personal interview, Pärt recalls nu-merous periods of his life and the creation of many of his works (UE 26 300, German only). Both items are available from UE.

UE 26 300

Universal Edition

Restagno | Brauneiss | Kareda | Pärt

ARVO PÄRTim Gespräch

Mit den gesammelten Artikeln dieses Buches wird dem Leser Arvo Pärt

vorgestellt: ein Komponist, der sich in den letzten Jahrzehnten als eine

große, eigenständige Persönlichkeit in der Musikszene etabliert hat.

Die ausgewählten Texte wenden sich an unterschiedlich interessierte

Lesergruppen:

• In einem ausführlichen Gespräch, das Enzo Restagno mit Arvo Pärt

führte, erzählt der Komponist auf sehr persönliche Weise von seinen

Werken und seinem Leben im sowjetischen Estland, seiner Emigration,

seiner künstlerische Odyssee,

seinem Weltbild.

• Arvo Pärts Tintinnabuli-Kompositionstechnik steht im Mittel punkt

der musikwissenschaftlichen Annäherung von Leopold Brauneiss.

• Saale Kareda erläutert in ihrem Essay die spirituellen Aspekte der

Annäherung an das Werk Pärts.

• Zwei Dankesreden Arvo Pärts, die er bei besonderen Ehrungen

gehalten hat, runden das Porträt ab.

UE

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ISMN 979-0-008-08000-5 ISBN 978-3-7024-6643-5UPC

Arvo PärtIm Gespräch

The collected articles of this book introduce the reader to Arvo Pärt:a composer who in the last few decades has become an eminent and unique personality in the music world. The main highlight of the book is an extensive conversion between Enzo Restagno and Arvo Pärt, in which Pärt talks in his very personal way about his works, his life in Soviet Estonia, his emigration, his artistic odyssey and vision of the world. The book is available in Germany only.

UE 26300 ISMN 979-0-008-08301-3Euro 19,90 UPC 8-03452-06674-3 ISBN 978-3-7024-6961-0

PärtBuchInseratE.indd 1 09.11.2010 08:31:49

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rihm

rihm

More sound

When wolfgang rihm was asked to write a new piece for Ensemble Alarm

Will Sound, he created Will Sound, which received its world première in New York in 2006. He is now composing a sequel.Will Sound More is set to première in Frankfurt on 15 Jan with Ensem-ble Modern.www.bit.ly/willsoundmore

One of the ‘wild’ works written by a young Rihm, Fantasia for string orchestra and piano, will receive its world première on 15 Dec with the Bottroper Kammerorchester under Kai Röhrig. Jagden und Formen is becoming one of the most frequently per-formed of Rihm’s works. Stefan Asbury, a renowned Rihm special-ist, will conduct the piece in Tapi-ola/FIN on 3 Feb with the Tapiola Sinfonietta. Peter Rundel will also be presenting Jagden und Formen with Remix-Ensemble in Porto/P

on 18 Jan. Rihm is set to take up the post of composer-in-residence at the Casa da Música. A wealth of other concerts are also scheduled.The monodrama Das Gehege ap-pears to be finding its way into the repertoire and will feature in the events calendar of the Hamburg Opera again on 12, 13 and 15 Feb (di-rector: Matthew Jocelyn). Simone Young will conduct; the soloist is Kristine Jepson.www. bit.ly/dasgehege

The Music-Hall-Suite will see 2 per-formances by the Ives Ensemble (8 Dec in Amsterdam, 13 Dec in Wa-geningen/NL). Viola Concerto No. 2 can also be heard in Amsterdam (6 Jan) with Aléjo Perez conducting the Radio Kamer Filharmonie and Geneviève Strosser as the soloist. The same concert will also feature 3 Walzer.

Paraphrase for cello, percussion and piano will be performed by Ensemble Recherche on 22 Jan in Freiburg/D. Fremde Szene III can be heard twice: on 23 Jan at the Ge-wandhaus in Leipzig and on 3 Feb at the Lincoln Center in New York.

Wolfgang Rihm

13

sotelo / staud

soTelo

New opera

The great esteem in which mauricio sotelo is

held in Spain (and beyond) has now resulted in an opera being commis-sioned by Madrid’s Teatro Real. The artistic director Gerard Mortier has announced that Sotelo is to write an opera on a subject by Federico García Lorca. The details will follow shortly. Sotelo cannot complain about a lack of commissioned works or interest in other respects either:Muerte sin fin was commissioned by the Dutch Flamenco Biennale 2011, Nieuw-Ensemble and Spain’s Min-istry of Culture. The world première will be held in Amsterdam on 30 Jan. The approx 30-minute piece was composed for flamenco singer, orchestra and electronics. Arcana ... I for bass saxophone and electronics will receive its world première in Mallorca in Dec 2010, while Alfa Centauri for ensemble and electronics can be heard for the first time in Valencia on 11 Dec, per-formed by Ensemble Espai Sonor.

sTaud

Behind the scenes

The Wien Modern festival in au-tumn turned the spotlight on Johannes Maria Staud. In the fes-

tival brochure, Staud spoke of his working methods and self-image, as well as of new projects: “If you think I was lucky to be able to turn my wonderful hobby into a career, I have to say: it’s not a hobby – it’s too tough, too demanding for that.” Anyone who takes a look at his me-ticulous pencil-written scores can see that he is serious. 2011 will see Staud taking up the post of Capell-Compositeur (composer-in-residence) at the Staatskapelle Dresden, which has commissioned Tondo for orchestra (world première 1 May 2011). He is also working on 2 other pieces for Dresden (solo piece for bassoon; narrator with ensem-ble), as well as one for Paris (IRCAM) and one for Klangspuren Schwaz (for 4 bassoons and electronics). www.bit.ly/tondo-dresden

Johannes Maria Staud

14

schwartz / baltakas /lentz

schwarTz

Ungraceful landing

On Jay Schwartz’ Music for Orches-tra III: “The work began more as a feeling than as a sound or a sight, as if it were made up less of specific notes as from the results of their interaction, the overtone song of their combination. You didn’t ‘hear’ it so much with your ears as with the area between the solar plexus, stomach and heart muscle, first as an unendingly slow descent, and then as a polyphonic rising and falling, and at the end an ungrace-ful but not catastrophic landing.” (Elisabeth Risch, FAZ)Listen to an audio excerpt at www.universaledition.com/schwartz

BalTakas

New work for ensemble

vykintas Baltakas’ autumn started with the world première of his new work for orchestra in three groups – Scoria – which was performed at the Musica Viva festival in Munich by the RSO Munich conducted by Lucas Vis. In October, Redditio for ensemble was given its first per-

formance at the Transit Festival in Leuven/B. The composer himself conducted Champs d’Action in Leuven. Further performances of Baltakas’ string quartet – b(ell tree) – also took place, with the Chordos Quartet performing in Kaliningrad (RUS), Kaunas and Vilnius (LIT). Contact us for scores and record-ings of all works.

lenTz

New CD oforchestral works

The inimitable music of Georges lentz will be presented in a com-prehensive new recording by Timpani Records this winter. The Orchestre Philharmonique de Luxembourg has made studio re-cordings of three of Lentz’ major works for orchestra: Mohn (for viola and orchestra), Guyuhmgan and Ngangkar. Emilio Pomàrico con-ducted the session with Tabea Zim-mermann as the soloist in Monh. The release date is Spring 2011. Read more at www.bit.ly/lentz-cd

15

halffter / furrer

halFFTer

Set of three

After hosting the German première of cristóbal halffter’s opera Don Quijote (2006) and presenting the world première of his second, com-missioned opera Lázaro (2008), the Kiel Opera has now commis-sioned the composer and a libret-tist to write Halffter’s third opera for 2012–2013. Kiel will host the world première. Wolfgang Haende-ler is writing the libretto based on material chosen by Halffter him-self: Chess Story by Stefan Zweig. The world première is planned for 2012–2013.The opera tells of a prisoner fight-ing against monotonous materi-alism and the tyranny of dictator-ship – which gives him something in common with Halffter and the eponymous heroes of his other operas Don Quijote and Lazarus.

Furrer

Adventures in sound

As part of their Adventures in Sound series, the London Sinfonietta is presenting a concert dedicated to the music of Beat Furrer. Included in the programme is his nuun, for two pianos and orchestra, from 1996. Bernhard Günther, writing for the world première at the Salzburg Festival, mentions that “the central principle is transformation, spe-cifically on the rhythmic, harmonic and tonal planes, as a continuous process from the beginning to the end. nuun is an almost unparal-leled example of Furrer’s breadth of expression.” www.bit.ly/nuunlondon

Cristóbal Halffter

16

bedford / borisova-ollas

luke BedFord

The first opera

luke Bedford is writing an opera. The première of Seven Angels is on 17 June 2011, and is a cooperation between the Opera Group and the BCMG. Seven angels have fallen through space and time for so long, they have forgotten why. Coming to rest on a desert landscape, they imagine the creation of a legend-ary garden that once flourished there and its destruction through greed and neglect.Inspired by Paradise Lost, Seven An-gels interprets the themes of John Milton’s masterpiece for a modern audience facing up to the urgent challenges of a changing climate and ever-depleting resources. Seven Angels is for 7 singers and 12 instru-ments. Nicholas Collon conducts a production directed by John Full-james. See www.bit.ly/7angels1 and www.bit.ly/7angels2

Borisova-ollas

Concerto for two pianos

victoria Borisova-ollas’ new work for two pianos and orchestra – Wunderbare Leiden – was given its world première by the Düssel-dorf Symphoniker conducted by Andrey Borekyo this October. The two pianists – who could possibly be embodying Robert and Clara Schumann themselves – battle away at the pianos in front of a deep orchestral background full of nuances and various quotes from the music of both the Schumanns. The work is one of the most ad-venturous yet from the composer. Score and recording are available on request. Borisova-Ollas is cur-rently working on an opera based on Bram Stoker’s Dracula.

Luke Bedford

17

sawer / birtwistle

sawer

On CD

Though the most substantial work in this collection is the ‘symphonic’ suite that the composer extracted from his opera, From Morning to Midnight, ... the other pieces, all from the late 1990s, show the un-failing originality and distinctive-ness of everything david sawer composes. The chamber orchestral Tiroirs is a sequence of razor-sharp images, each perfectly scored and imagined, and shuffled with a conjuror's virtuosity; The Memory of Water, for string orchestra and a pair of solo violins whose spatial relationship steadily shifts through the course of the piece, is a compel-ling musical flux that Sawer likens to a flowing river from which ideas emerge only to be submerged again. Listen to excerpts and order online at the NMC websitewww.bit.ly/nmcsawer

BirTwisTle

New study score

“I have always felt that I have had music in my head that already exists, and I just have to find a way of getting it onto paper. There is a sort of stream of things going round in my head, probably even

right now, but I never quite catch them. Actually, I hope I don’t. So-metimes it has to do with all sorts of aleatoric things and sometimes with highly formalised things, be-cause I am really interested in wri-ting a sort of formal music.” (Harri-son Birtwistle)harrison Birtwistle’s Silbury Air, for chamber ensemble (1977, revised 2003) is now available in the new study score series. In 1977, the Guar-dian wrote “The result is dramatic and immediately exciting, … show-ing the firmest possible architec-tural sense, with each section re-lating naturally and satisfyingly to the rest.”Ensemble Recherche performs Pulse Sampler in the snow at Hotel Kristiana in the Voralberg moun-tains of Austria (13 Jan 2011).

Harrison Birtwistle

“People see me as a theoretician, but my music is also seductive, even spiritual.” -Pierre Boulez

COMPOSER PORTRAITSMiller Theatre’s signature series shines the spotlight on

a single contemporary composer in every concert. Get

to know the most important musical voices of our time,

from established masters to emerging artists, and

discover why New York magazine calls us “one of the best

destinations anywhere for contemporary music.”

2010-2011 SEASON:Oct 21 Matthias Pintscher Nov 19 Fred Lerdahl Dec 6 Pierre Boulez Feb 3 Julia Wolfe Mar 4 Mario Davidovsky Apr 15 Chaya Czernowin May 5 Joan Tower

Miller Theatre at Columbia UniversityBroadway at 116th Street, New York, NY212.854.7799www.millertheatre.com

19

boulez

Boulez

Ingenious derivatives

pierre Boulez’ Dérive means ‘a by-product’ – of Répons (1981).As a work evolves, many elements, which could be developed further, are omitted or left over as part of the preliminary process.Dérive 1 for 6 instruments origina-ted from the compositions Répons (1981) and Messagesquisse (1976–1977). The starting point for the derivative is also a series “based around the name of Sacher”: the notes Eb, A, C, B, E (Es, A, C, H, E in German notation) are supplemen-ted by a French Re (D). This series is transposed and used to form 6 chords. Dérive 2, dedicated to Elliott Carter on his 80th birthday, was the re-sult of “research into periodici-ty”. “When I reflected on some of

Pierre Boulez

Ligeti’s compositions,” wrote Bou-lez, “I felt the desire to dedicate myself to some almost theoretical research into periodicity in order to systematically examine its over-lays, its shifts and its exchange.” Daniel Barenboim, who performed Dérive 2 at this year’s musikfest berlin, regards it as one of Pierre Boulez’s masterpieces.Both works are now to receive their US premières. Dérive 1 and Dérive 2 (the revised version) will be per-formed by the Talea Ensemble at the Miller Theater in New York on 6 Dec. A second performance of Dérive 1 can be heard at Zankel Hall (also in NY) with ensemble eighth blackbird on 31 Jan.www.bit.ly/boulez-miller

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kurtág / reich / gielen

kurTÁG

85th birthday

“One has to put one’s life into the music – it must have blood in it!”, György Kurtág explained in an interview with Susanne Kübler (2010). To Kurtág, music means far more than art; each individual note is of vital importance. The composer, who was born in Lu-goj (now Romania) in 1926, will cel-ebrate his 85th birthday on 19 Feb. All of us here at UE offer him our best wishes and are proud to have a number of his exemplary works in our catalogue, such as 4 Capriccios for soprano and chamber orchestra op. 9 (1970/71/97).www.universaledition.com/kurtag

reich

No instruments needed

steve reich composed Clapping Music in 1972, aiming to create a piece of music that would need no instruments beyond the human body. One performer repeatedly claps the same basic rhythm while the second performer’s rhythm shifts abruptly forwards, and then, after clapping in unison for several beats, gradually moves further and

further away until he is in unison with the first performer again. The piece can be heard in Hanover on 23 Jan and in Stockholm on 26 Jan.www.bit.ly/stevereich

Gielen

The Star of the Covenant

The great conductor michael Gie-len has been awarded this year’s Ernst von Siemens Music Prize and is now appearing more and more as a composer in his own right. In 4 Gedichte (1955–1958) for mixed choir and 19 instruments, he set poems by Stefan George (The Star of the Covenant) to music. The un- usual instrumentation is striking: 6 clarinets, 4 trombones, 4 cellos, piano, tubular bells, timpani and 2 glockenspiels. The work lasts around 18 minutes and will be per-formed by the composer himself with the RSO Stuttgart on 4 Dec in Freiburg.

21

berio

Berio

Berio-Saal for the Vienna Konzerthaus

luciano Berio’s last visit to Vienna was in Nov 2000 when he attended the Austrian première of Epipha-nies (RSO Vienna, conductor Dennis Russell Davies) at the Wien Modern festival (listen to an extract from an interview with Berio and Davies at www.bit.ly/epiphaniese).When the Vienna Konzerthaus was refurbished, it was equipped with the latest technology and a fourth concert hall (sponsored by Kapsch) which has now been named the Berio-saal. The Konzerthaus will officially commemorate the com-poser, whose music has always played a key role there, in concert on 16 Dec with an ‘Hommage à

Luciano Berio’. The portrait concert will feature the soloists Alda Caiel-lo, mezzo-soprano, Mario Caroli, fl, Garth Knox, vla, Krassimir Sterev, acc, Lukas Schiske, perc, Marino For-menti, pno and Studio Tempo Re-ale from Florence. The programme includes Quattro canzoni popolari, Sequenza I for flute, Momenti, Nat-urale su melodie siciliane, Sequenza XIII for accordion, Altra voce for alto flute, mezzo-soprano and live elec-tronics, and Sonata.

Berio-Saal at Vienna Konzerthaus

MORTON FELDMAN’SROTHKO CHAPELBrice PausetKinderszenen mit Robert Schumann (Dutch première)Hanna Kulenty Decimo forte (world première)

Asko | SchönbergNederlands Kamerkoor (NKK) conductor Emilio Pomarico

12 January 2011, Rotterdam, Laurenskerk Reservations: www.dedoelen.nl

13 January 2011, Amsterdam, Muziekgebouw aan ’t IJDonderdagavondserie-PROMSReservations: www.muziekgebouw.nl

www.askoschoenberg.nl

Concert in The Netherlands

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MORTON FELDMAN’SROTHKO CHAPELBrice PausetKinderszenen mit Robert Schumann (Dutch première)Hanna Kulenty Decimo forte (world première)

Asko | SchönbergNederlands Kamerkoor (NKK) conductor Emilio Pomarico

12 January 2011, Rotterdam, Laurenskerk Reservations: www.dedoelen.nl

13 January 2011, Amsterdam, Muziekgebouw aan ’t IJDonderdagavondserie-PROMSReservations: www.muziekgebouw.nl

www.askoschoenberg.nl

Concert in The Netherlands

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ASK 21011009 AD 120x225 Feldman.indd 1 09-11-10 09:02

feldman / stockhausen

Feldman

Rothko Chapel

morton Feldman wrote Rothko Chapel for soprano, alto, mixed choir and instruments for the med-itation room of the Menil Founda-tion in Houston/Texas in 1971. The room contains 14 large paintings by the American artist Mark Rothko in red, black and purple tones, which vary according to the light and cre-ate an atmosphere of contempla-tion and tranquillity. “To a large degree, my choice of instruments (in terms of forces used, balance and timbre) was affected by the space of the chapel as well as the paintings. I wanted the music … to permeate the whole octagonal-shaped room and not be heard from a certain distance” (Feld-man). Rothko Chapel can be heard in San Francisco on 23–26 Feb (San Francisco SO under Michael Tilson Thomas), Asko|Schönberg Ensem-ble will perform the piece under

Emilio Pomàrico in Rotterdam (12 Jan) and Amsterdam (13 Jan), while Da Camera of Houston is to present it at the Rothko Chapel itself on 26 Feb. www.bit.ly/rothkochapel

sTockhausen

Punctualism

In the early 1950s, karlheinz stock-hausen developed punctualism – a style of composition “whose structures are predominantly ef-fected from tone to tone, without superordinate formal conceptions coming to bear”. In Kontra-Punkte for 10 instruments, which was writ-ten in 1952–1953, the punctualism is overlaid by a process of develop-ment, which steadily resolves the extreme contrasts of the individual points in terms of their timbre, dy-namics and length, right through to the end. The Nieuwe Ensemble Amsterdam will perform the piece in the Netherlands on 19–21 Jan.

Michael Tilson Thomas

Rolf Liebermann

L’école desfemmes

Direction musicale, Jurjen HempelMise en scène, Eric Génovèse

sociétaire de la Comédie française

NouvELLE productioN

Dans le cadre de la célébration du centenaire de la naissance de Rolf Liebermann

Grand-Théâtre26 Nov. 20h00 - 28 Nov. 15h0030 Nov. 20h00 - 01 déc. 20h00

05 56 00 85 95www.opera-bordeaux.com

Directeur Général Thierry Fouquet

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Rolf Liebermann

L’école desfemmes

Direction musicale, Jurjen HempelMise en scène, Eric Génovèse

sociétaire de la Comédie française

NouvELLE productioN

Dans le cadre de la célébration du centenaire de la naissance de Rolf Liebermann

Grand-Théâtre26 Nov. 20h00 - 28 Nov. 15h0030 Nov. 20h00 - 01 déc. 20h00

05 56 00 85 95www.opera-bordeaux.com

Directeur Général Thierry Fouquet

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liebermann / nick

lieBermann

School for Wives

To celebrate the 100th anniversary of rolf liebermann’s birth, a new pro-duction of the 3-act opera buffa Die Schule der Frauen (1954–55), based on a libretto by Heinrich Strobel, is to open at the Opéra National de Bordeaux on 26 Nov. The storyline was inspired by the French theatri-cal comedy L’école des femmes by Molière. Molière himself (alias Poq-uelin) directs the action in this com-edy, commenting on the modern staging of his creation, intervening where necessary and even slipping into the role of a minor character. Liebermann’s music has an aston-ishing vitality and fusion of baroque motor rhythms and counterpoint, of expansive late-romantic melodi-ousness and harmony interwoven with dodecaphony. Eric Génovèse, a member of the Comédie Française and Molière enthusiast, will be stag-ing the piece in Bordeaux. The con-ductor will be Jurjen Hempel.

nick

Economic crisis as a radio play

On 27 Feb, the Kurt Weill Festival in Dessau will be presenting ed-mund nick’s Leben in dieser Zeit, Lyrische Suite in 3 Sätzen (1929) in the successful 2008 production by Staatsoperette Dresden (musical director: Ernst Theis). The work was based on a radio play about the economic crisis of the time. Erich Kästner, who was a friend of Nick, interwove poems and dialogue in verse, while Nick supplied a fit-ting colourful composition with quotations from classical and folk music literature. Interspersed with montages of sound and music, this exciting record of its time has been transformed into a stage version. A CD of Leben in dieser Zeit has recently been released by cpo (see page 47). www.bit.ly/edmundnicke

Rolf Liebermann Die Schule der Frauen Opéra National de Bordeaux 2010

26

marx / martin

marx

A declaration of love

As already announced, Joseph marx’s declaration of love to Cas-telli Romani, a picturesque area near Rome, will be performed in Istanbul and Graz: Castelli Romani (1929–1930), concerto for piano and orchestra No. 2, length: 32 min; Borusan Istanbul Philharmonic Or-chestra under Sascha Goetzel (23–24 Feb) and Grazer Philharmonis-ches Orchester under John Axelrod (28 Feb, 1 Mar). Markus Schirmer will be the solo pianist in both Is-tanbul and Graz. The German première of Marx’s Neujahrshymnus and Herbstchor an Pan will be held on 12–13 Feb with the Monteverdichor and Mainphilhar-monie Würzburg under Matthias Beckert. www.bit.ly/josephmarx

marTin

Adaptable melody

Frank martin wrote Passacaille for organ in 1944, later producing ver-sions for string orchestra (1952) and large orchestra (1962). In this work, Martin’s interest lies in creating endless new harmonic interpreta-tions and varying textures around the theme. The version for string orchestra can be heard on 18–19 Dec, performed by Ensemble Sym-phonique de Neuchâtel. www.bit.ly/ensemblesymphonique

In 1951, Martin completed the Violin Concerto which he had mentioned in 1948: “There is a problem I would like to resolve: the Violin Concerto. I wish to achieve a contrast between different colours, rather than just between the solo part and the oth-er string parts.” The concerto will be performed by the Orchestre de Dijon-Bourgogne on 22 Jan.www.bit.ly/martin-dijon

Blue Mosque Istanbul

27

milhaud / mosolov

milhaud

Machines agricoles in the Platteland region

The Dutch Platteland region, its farmers and their relationship with city life are the focus of the musical theatre production Plat-teland als Podium, which will be presented by the Veenfabriek dra-ma group from 18 Nov to 18 Dec in Warmond/NL. Various texts and in-terviews with local farmers will be accompanied by darius milhaud’s Machines agricoles, performed by ASKO|Schönberg. The production will have a culinary finale with a dinner for the guests prepared by a chef who will present produce and recipes from the Platteland region. The production is scheduled to move to the Paradiso cultural cen-tre in Amsterdam in March.

alexander w. mosolov

Rhythmic machine music

In the 1920s, alexander w. mosolov developed a new style, which was anti-romantic, anti-emotional, radical and provocative. Inspired by Arthur Honegger’s Pacific 231,

Iron Foundry from the ballet Steel brought him fame. In the piece, Mosolov transforms the sounds of an iron foundry into music as realistically as possible. This ex-tremely dissonant, penetratingly rhythmic machine music is typical of Mosolov’s enthusiasm for ex-perimentation with which he also influenced other young composers of the day. After coming into conflict with the State, he was arrested on suspicion of being a counterrevolutionary andsentenced to 8 years’ hard labour. After his imprisonment, he re-nounced all modernistic tendencies.Iron Foundry will be performed by the Noord Nederlands Orkest un-der Stefan Asbury in the Nether-lands on 27, 28 and 30 Jan.

Highlights>

Kurt Weill: „Der Protagonist“„One Touch of Venus“ „Zaubernacht“

Erich Kästner/Edmund Nick: „Leben in dieser Zeit“

Georg Kreisler: „Heute Abend: Lola Blau“

Lotte Reiniger/Renaud Garcia-Fons:„Die Abenteuer des Prinzen Achmed“

Ensemble Modern

Salome Kammer

HK Gruber

Nils Landgren

PhiLlip Boa

Staatsoperette Dresden

MDR Sinfonieorchester

Anhaltische Philharmonie

Klingende Stadtportraits von Berlin, Paris und New York präsentieren die Lebens-Arbeits-Stationen Kurt Weills und geben den Takt der kommenden Kurt Weill Feste vor. Berlin, Hotspot der 20er und 30er Jahre, steht zuerst Pate für ein hoch karätiges Programm.

Aber schon damals spielte die „Musik“ nicht nur in der Haupt-stadt: Hugo Junkers, die Meister des Bauhaus und einige ebenso visionär wie aufrecht gesinnte Politiker sorgen für bedeutende Impulse – auch heute noch erlebbar in der Musik Kurt Weills.

Seien Sie neugierig – machen Sie Ihre Klangreise in die Stadt der Klassischen Moderne!

Berlinim Licht

Informationen & Kartenservice

0341 - 14 990 900www.kurt-weill-fest.de

25.2.-13.3.2011

29

Highlights>

Kurt Weill: „Der Protagonist“„One Touch of Venus“ „Zaubernacht“

Erich Kästner/Edmund Nick: „Leben in dieser Zeit“

Georg Kreisler: „Heute Abend: Lola Blau“

Lotte Reiniger/Renaud Garcia-Fons:„Die Abenteuer des Prinzen Achmed“

Ensemble Modern

Salome Kammer

HK Gruber

Nils Landgren

PhiLlip Boa

Staatsoperette Dresden

MDR Sinfonieorchester

Anhaltische Philharmonie

Klingende Stadtportraits von Berlin, Paris und New York präsentieren die Lebens-Arbeits-Stationen Kurt Weills und geben den Takt der kommenden Kurt Weill Feste vor. Berlin, Hotspot der 20er und 30er Jahre, steht zuerst Pate für ein hoch karätiges Programm.

Aber schon damals spielte die „Musik“ nicht nur in der Haupt-stadt: Hugo Junkers, die Meister des Bauhaus und einige ebenso visionär wie aufrecht gesinnte Politiker sorgen für bedeutende Impulse – auch heute noch erlebbar in der Musik Kurt Weills.

Seien Sie neugierig – machen Sie Ihre Klangreise in die Stadt der Klassischen Moderne!

Berlinim Licht

Informationen & Kartenservice

0341 - 14 990 900www.kurt-weill-fest.de

25.2.-13.3.2011

weill / braunfels

weill

Kurt Weill Fest

The 19th kurt weill Festival is to be held in Dessau from 25 Feb to 13 March 2011 and will focus on the first of three periods of Kurt Weill’s life and work: based on the theme of ‘Berlin im Licht’ (Berlin in the light), the festival will showcase Berlin’s fascinating musical and cultural variety at the time of the Weimar Republic. The Anhaltisches Theater Dessau is to open the festi-val with Weill’s first opera Der Pro-tagonist. Thanks to his one-act op-era, which premièred in Dresden in 1925, Weill achieved a breakthrough as an operatic composer and be-came a celebrated beacon of hope for the revival of the opera genre. Other highlights include a staged performance of Zaubernacht and the return of edmund nick’s Le-ben in dieser Zeit by Staatsoperette Dresden (see page 25). www.bit.ly/weill-festival

BraunFels

Schlingensief's last opera

walter Braunfels’ opera Szenen aus dem Leben der Heiligen Jo-hanna, Dichtung nach den Prozes-sakten von 1431, which was written in 1938–1942, will return to the

Deutsche Oper Berlin on 30 Oct. The world première of the staged opera was produced in 2008 by the dramatist Christoph Schlingensief, who died recently. The orchestra and choir of the Deutsche Oper Berlin will be conducted by Ulf Schirmer and the eponymous part sung by Mary Mills. A selection of press reviews: “Walter Braunfels tells the tale of a miracle against all the odds, the empowerment of the weak, the manipulation of the masses, the hope of and doubt in divine sal-vation – all in his expressive, late-romantic sound language, with echoes of musical neoclassicism, as well as chromatic harmonies which teeter on the edge of tonality with-out ever crossing the line.” (Berliner Morgenpost)According to Ulf Schirmer, “Braun-fels’ music only exudes a great sense of peace on the outside – on the inside it is full of strong, con-densed emotions.” (Tagesspiegel)www.bit.ly/braunfelse

Walter Braunfels Szenen aus dem Leben der Heiligen Johanna Deutsche Oper Berlin 2008

30

bartók / kodály

BarTók

Pictures of the soul

Piano Concerto No. 2 was written in 1930–1931, four years after the challengingly radical and aggres-sive Piano Concerto No. 1. In 1939, Béla Bartók explained: “My second piano concerto was composed to complement the first – with fewer difficulties for the orchestra and more pleasant themes. This inten-tion of mine explains the folk-like, lighter character of most of the themes.” Daniel Barenboim will

present the work with Staatska-pelle Berlin in Berlin (24–25 Jan), in Vienna (1 Feb) and Paris (6 Feb). So-loist: Yefim Bronfman.From 15 Dec, the Israeli Opera will play host to a new production (Dale Chihuly) of Bartók’s one-act opera Duke Bluebeard’s Castle alongside Mahler’s Kindertotenlieder (in con-cert). Bartók composed his opera as a symphony in seven pictures of the soul, framed by a ballad-like prologue.www.bit.ly/blaubart

kodÁly

Hungarian folk music on stage

Zoltán Kodály’s musical com-edy Die kaiserlichen Abenteuer des Háry János received its world prem-ière in Budapest in 1926. This piece was Kodály’s first attempt at inte-grating Hungarian folk music into a work for stage, thus bringing it to a wider audience. Written one year later, the Háry János-Suite consists of 6 movements with characteris-tic sections of the musical comedy and quickly became one of Kodály’s most popular orchestral works. The Suite can be heard in Bremer-haven/D on 10–12 Jan.

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31

martinů / szymanowski

Karol Szymanowski Hagith Opera Wroclaw 2006

marTin�

Perfecting a new style

Bohuslav Martin� composed his Concerto grosso for chamber or-chestra and two pianos in Paris in 1937. By immersing himself in old music, he developed his own un-mistakable language and broke away from the technical aspects of composition, structuring and developing his music in a free style – in his own words, his de-sired “perfection of a new style”. Owing to wartime disruptions, Concerto grosso did not receive its world première until 1941 with the Boston SO under Sergei A. Koussev-itzky in the USA. The piece can now be heard in Reno/USA on 22–23 Jan, performed by the Reno Chamber Orchestra under Theodore Kuchar. www.bit.ly/martinu-reno

szymanowski

Expressive music

karol szymanowski’s one-act opera Hagith (1911–1913) can be heard again at Poland’s Wroclaw Opera on 15 Feb. The opera tells of the beautiful Hagith, who is sup-posed to bring the aged king power and the vitality of youth but is, of course, doomed to failure. The char-acter sketches of the main parts are razor-sharp and the action is driven forwards with breathtaking sus-pense, supported by the dynamics of the expressive music.

The Wroclaw Opera will also be presenting another performance of Szymanowski’s opera King Roger on 29 Dec, which has been shown in an extremely successful staging by Mariusz Trelinski since 2007. The opera offers a blend of Arab culture, Christianity and Ancient Greece in music and images, making for a captivating whole. From 15 Jan, audiences can also see the opera at the Staatstheater Mainz/D in a production by Joan Anton Rechi.www.bit.ly/hagithwww.bit.ly/kingroger

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schreker / schmidt

schreker

Fevered thoughts in music

Nachtstück, a symphonic interlude from Act 3 of the opera Der ferne Klang, premièred in 1909, three years before the opera itself, and gave rise to Franz schreker’s first major scandal. It is little wonder that Schreker’s score encountered so much resistance among Vi-enna’s critics and audiences, for it was indeed a work of nearly un-precedented complexity. Schreker became one of Vienna’s ‘difficult’ composers overnight. This sud-den popularity paved the way for the opera which would make him famous. Nachtstück describes a dreamscape, and its motivic, har-monic and rhythmic layerings, its brilliant and often luxuriant or-chestration, mirror the protago-nist’s fevered thoughts. It can be

heard at the Alte Oper in Frankfurt on 10 Feb with the Munich Philhar-monic under Christian Thielemann. www.bit.ly/nachtstueck

schmidT

Good and evil Franz schmidt’s musical creativity peaked in his last completed work – the oratorio Das Buch mit sieben Siegeln (1935–1937). In setting the Revelation of St. John to music, the composer’s most important meth-od was a “fundamental antithesis” of good and evil based on varying ranges of tone, as he wrote in his preface. The piece can be heard at the Alte Oper in Frankfurt on 30–31 Jan with the Figuralchor Frankfurt and Frankfurter Museumsorches-ter.www.bit.ly/schmidt-e

Christian Thielemann

33

zemlinsky

zemlinsky

The tragedy of the ugly man

On 3 May 1921, alexander zem-linsky received the following tel-egram: “have read your opera the dwarf with great enjoyment co-logne is prepared to accept sole rights for world premiere would you be prepared to entrust your work to us Klemperer.” Der Zwerg received its world première one year later, on 28 May 1922 in Co-logne under Otto Klemperer. Dur-ing this era of change, audiences displayed a growing enthusiasm for ‘Zeitoper’ (opera of the times), neoclassicism and New Objectivity. Apparently exaggerated, late-ro-mantic music like Der Zwerg began to lose popularity. Following a se-ries of performances, the work van-ished from the stage for half a cen-

tury and only made a triumphant return to concert programmes in 1981, along with A Florentine Trag-edy. Friends and acquaintances did not necessarily share Zemlin-sky’s enthusiasm for this “drama of the ugly man”, primarily because Georg C. Klaren, the librettist, had depicted the title role – if perhaps inadvertently – as the composer’s Doppelgänger. By identifying him-self with a figure so closely mod-elled on his own physical traits, it was feared that Zemlinsky would expose himself to public ridicule. The Munich State Opera will be presenting a new staging of the one-act opera from 27 Feb under the musical direction of Kent Naga-no. The première will be broadcast live on BR-Klassik with John Daszak in the grand role of the dwarf.www.bit.ly/zemlinskye

Alexander Zemlinsky Der Zwerg La Monnaie Brüssel 2003

34

schönberg

Arnold Schönberg

schönBerG

Inspiration and ecstasy

“The work is a true turning point in my life in this respect – even more so because it was my first attempt at creating a chamber orchestra,” wrote arnold schönberg, describ-ing his Chamber Symphony No. 1 op. 9 for 15 solo instruments, which he completed in Rottach-Egern on Lake Tegernsee in 1906. Only half the length of the early chamber music works (and consisting of

just one movement), it has a lively, bright and energetic character. Members of the Berlin Philhar-monic will be performing the piece in Berlin on 13 Feb and in London on 20 Feb (conductor: Simon Rattle). www.bit.ly/schoenberg-op9

Schönberg’s Verklärte Nacht op. 4 is probably the composer’s best-known and most popular work. Inspired by his acquaintance with his wife-to-be, Mathilde, the sister of his friend and teacher Alexan-der Zemlinsky, he composed the string sextet Verklärte Nacht in 1899, based on a poem by Richard Dehmel. He later arranged it for string orchestra in 1917 and 1943. The conductor and violinist Chris-toph Poppen said about the or-chestral version: “What fascinates me about this orchestration is that he succeeded in using the orches-tration to substantially enhance the sounds of ecstasy, those huge dimensions, without losing the fragility in certain places.” Pierre Boulez and the Chicago Sympho-ny Orchestra will be bringing the piece to Symphony Hall Chicago/USA (2–4 Dec).

35

berg

BerG

Lulu with a contemporary approach

alban Berg left his opera Lulu un-finished. His untimely death in 1935 prevented him from completing the orchestration for Act 3, which he left as a short score. The first two acts received their posthumous world première in 1937 in Zurich. The first performance of the whole opera took place in Paris in 1979. This version, which was completed by Friedrich cerha, offers perform-ers the choice of two or three acts.

Another version joined the reper-toire in Copenhagen on 15 Oct 2010. eberhard kloke has developed a type of ‘modular system’ for Act 3, allowing performers to structure the scenes and dramatic flow more

Alban Berg

freely, with the aim of streamlining the act. The world première of this new version was a success, both for Eberhard Kloke and for the conduc-tor Michael Boder and the team led by director Stefan Herheim, which included Alexander Meier-Dörzen-bach (assistant director), Heike Scheele (choreography) and Gesine Völlm (costumes). Sine Bundgaard was a convincing Lulu.

A review by Deutschlandradio reads: “Berg can be heard as a con-temporary of Kurt Weill (Mahago-nny) and Ernst Krenek (Jonny spielt auf). This in itself is exciting, but Kloke’s version offers even more: the drafts and scenes do not re-sult in or force a linear sequence of events. Individual production teams can and must choose their own sequence of music and scenes – a ‘free form’ which gives each pro-duction of Berg-Kloke’s Lulu its own sound … ultimately what the ‘inter-active films’ of the future will offer with their free choice of scenes … In short, it is an old-style opera with a contemporary dramatic approach!”www.bit.ly/berg-lulu

36

satie / milhauda. mahler / gottwald

saTie / milhaud

Circus music

Jack in the Box (1899) for piano is a rather unusual piece in eric satie’s oeuvre. Consisting of three move-ments, it is reminiscent of stylised circus music. The sometimes hectic gaiety in the rhythms and the of-ten garish tones with a dissonant and sometimes bi-tonal colouring create a picture of sudden flashes of blinding light in a grey sky. darius milhaud arranged the work for orchestra in 1928. Michal Nest-erowicz will be presenting this ver-sion in Barcelona (25–27 Feb).

alma mahler / c. GoTTwald

World première ofthe choir version

Perhaps the first major crisis Gustav mahler had

with his wife Alma oc-curred when he wrote her a letter asking her to give up her compos-ing. Some biographers believe that Alma never really forgave him. This theory is supported by the fact that Gustav Mahler encouraged her to be creative again once she had be-gun an affair with Walter Gropius. Although this made Alma very hap-py, it was too late.

Alma Mahler

clytus Gottwald has now tran-scribed alma mahler’s 3 frühe Lied-er for a cappella choir. The world première will be given on 26 Feb at Gaisburg protestant church in Stuttgart at a special concert by the SWR Vokalensemble Stuttgart under Marcus Creed.The programme also features Gott-wald’s transcriptions of works by Gustav Mahler, including Ich bin der Welt abhanden gekommen (I have become lost to the world)www.bit.ly/alma-mahler

37

mahler

mahler

World première revisited

The UE database contains over 200 concerts featuring works by Gustav mahler just between this Decem-ber and February – and the list is by no means exhaustive. As Mahler once said: “My time will come ...” Highlights include performances of Symphony No. 3 (5 Feb) and Sym-phony No. 4 (17 Feb, soloist: Chris-tine Schäfer) with Simon Rattle and the Berlin Philharmonic in Berlin.

Mariss Jansons will conduct Sym-phony No. 3 (soloist: Nathalie Stutzman) in Munich on 9 Dec. Christoph Eschenbach will conduct Symphony No. 9, Mahler’s last com-pleted work, with two orchestras: the Munich Philharmonic (12–16 Jan) and the London Philharmonic Orchestra (25 Feb). Symphony No. 9 will also be con-ducted by Gustavo Dudamel on the European tour of the Los Angeles Symphony Orchestra – presumably from memory again, as in Gothen-burg last spring – in Cologne (26 Jan), in Paris (31 Jan) and at the Vi-enna Musikverein (4 Feb), where it received its world première (on 26 June 1912). Dudamel has waited a long time to conduct this sym-phony, but now feels ready for the challenge, as he said in a video in-

terview for our Mahler blog, which is now online: www.universaledi-tion.com/mahlerAndris Nelsons will also be con-ducting Symphony No. 9, with the City of Birmingham Symphony Or-chestra in Birmingham (2–3 Feb).

Gustav Mahler

38

janáček

Leo�š Janá�ek

JAná�ek

Glagolitic Mass

1926 was a particularly success-ful and productive year for Leo�š Janá�ek, who composed the opera The Makropulos Case, as well as Sinfonietta and the Glagolitic Mass, among other works.

Janá�ek wrote his Glagolitic Mass in just two and a half months, and it became one of the most impor-tant mass compositions. Distanc-ing himself from all of the well-trodden paths of the traditional

genre, Janá�ek created a piece of sacred music that is so unique, it begs the question of whether it can be categorised as such at all. It can best be compared to Zoltán Kodá-ly’s powerful Psalmus hungaricus. Instead of using Latin, Janá�ek based his piece on a ninth century text written in Glagolitic (Cyrillic) script – Old Church Slavonic. When committing his work to paper, Janá�ek said: “I want to show peo-ple how to talk to our dear Lord.” And he did so with a self-assurance that is a far cry from Catholic hu-mility and contrition. His aim was to write a “joyful mass” because all of the masses composed thus far were so sad.

The composer was apparently forced to make major revisions dur-ing rehearsals for the mass’s premi-ère (5 Dec 1927) owing to a lack of instrumental resources and the limited rehearsal time available, and some additional questionable changes seem to have been made prior to the second performance in Prague (8 Apr 1928). Some of these revisions actually constitute cuts of music that ranks amongst the most arresting that Janá�ek ever wrote. To make matters worse, the composer died before the full score could be published. As a result, the

39

janáček

edition of the work published after his death promulgated a score that is far less exciting and ambitious than the one Janá�ek originally composed.

After years of consulting various sources, the musicologist paul wingfield succeeded in recon-structing the original version. sir charles mackerras then added valuable performance suggestions, after which this hitherto unknown version was presented to the pub-lic. The original final version was then subsequently revised, taking musicological and practical perfor-mance aspects into account. Brand new performance material is now available for both versions. Direc-tors can choose their preferred version, each of which has its own merits. The Glagolitic Mass has also been published as part of the new UE study score series (UE34298); an informative preface sets out the differences and similarities be-tween the two versions, which can both be found in the study score.www.bit.ly/janaceke

40

puccini

puccini

Between opera and operetta

While visiting Vienna for the prem-ière of his opera La fanciulla del West, Giacomo puccini received a highly tempting offer of the prince-ly sum of 300,000 crowns to write an operetta. After initially rejecting the request, he was persuaded, but called the project a “lyrical come-dy”: “in other words, an opera in the style of Rosenkavalier, only more entertaining and more organic”. From the librettos suggested in Vi-enna, he chose Die Schwalbe (The Swallow) by Alfred Maria Willner. In September 1914, Puccini began set-ting the text to music, ultimately opting for an Italian version. March 1917 saw the world première of La Rondine at the Opéra de Monte Carlo – the last world première that

Puccini was to attend. Puccini was highly satisfied with his work. He saw his three-act “lyrical comedy” as a “response to the terrible con-temporary music, to the World War music” and as his way of mediating between the worlds of opera and operetta.It is a melodious tale of the roman-tic mistress Magda, who finds the love of her life only to lose him again.La Rondine is performed in four versions, which mainly differ with respect to the positioning of the Parigi … aria and the third act, which has a more dramatic finale in Lorenzo Ferrero’s reconstructed version. The performance materials for all versions are available from Universal Edition and Sonzogno in Milan.

Giacomo Puccini La Rondine Oper Leipzig 2009

41

anniversaries

2010 75th Anniv. of Death alban Berg † 24 December 1935 80th Birthday paul-heinz dittrich * 04 December 1930

2011 75th Birthday Gilbert amy * 29 August 1936 75th Birthday sir richard rodney Bennett * 29 March 1936 100th Anniversary paul Burkhard * 21 December 1911 85th Birthday Francis Burt * 28 April 1926 75th Anniversary cornelius cardew * 07 May 1936 85th Birthday Friedrich cerha * 17 February 1926 80th Anniversary mauricio kagel * 24 December 1931 125th Anniversary heinrich kaminski * 04 July 1886 75th Birthday ladislav kupkovic * 17 March 1936 85th Birthday György Kurtág * 19 February 1926 200th Anniversary Franz liszt * 22 October 1811 100th Anniv. of Death Gustav mahler † 18 May 1911 75th Birthday steve reich * 03 October 1936 75th Anniv. of Death ottorino respighi † 18 April 1936 50th Birthday david sawer * 14 September 1961 50th Birthday daniel schnyder * 12 March 1961 125th Anniversary othmar schoeck * 01 September 1886 50th Birthday mauricio sotelo * 02 October 1961 25th Anniv. of Death alexandre Tansman † 15 November 1986 75th Birthday hans zender * 22 November 1936

2012 125th Anniversary kurt atterberg * 12 December 1887 75th Birthday david Bedford * 04 August 1937 50th Anniv. of Death hanns eisler † 06 September 1962 25th Anniv. of Death morton Feldman † 03 September 1987 50th Birthday silvia Fómina * 1962 75th Birthday peter kolman * 29 May 1937

42

anniversaries

80th Anniversary richard meale * 24 August 1932 50th Anniv. of Death caspar neher † 30 June 1962 75th Birthday Gösta neuwirth * 06 January 1937 75th Birthday Bo nilsson * 01 May 1937 60th Birthday wolfgang rihm * 13 March 1952 80th Birthday rodion k. schtschedrin * 16 December 1932 70th Anniv. of Death alexander zemlinsky † 15 March 1942

2013 60th Birthday Georg Friedrich haas * 16 August 1953 75th Birthday zygmunt krauze * 19 September 1938 25th Anniv. of Death marcel poot † 12 June 1988 80th Birthday raymond murray schafer * 18 July 1933 75th Birthday Tona scherchen * 12 March 1938

2014 60th Anniv. of Death Franco alfano † 27 Oktober 1954 80th Birthday harrison Birtwistle * 15 July 1934 75th Anniv. of Death Julius Bittner † 09 January 1939 60th Anniv. of Death walter Braunfels † 19 March 1954 80th Anniv. of Death Frederick delius † 10 June 1934 60th Birthday Beat Furrer * 06 December 1954 90th Anniversary karl heinz Füssl * 21 March 1924 75th Anniv. of Death wilhelm Grosz † 10 December 1939 90th Birthday milko kelemen * 30 March 1924 70th Anniv. of Death Hans Krása † 17 October 1944 50th Anniv. of Death alma maria mahler † 11 December 1964 50th Anniv. of Death Joseph Marx † 03 September 1964 90th Anniversary Francis miroglio * 12 December 1924 60th Anniv. of Death karol rathaus † 21 November 1954 75th Anniv. of Death Franz schmidt † 11 February 1939 80th Anniversary alfred schnittke * 24 November 1934 80th Anniv. of Death Franz schreker † 21 March 1934 70th Anniv. of Death ethel smyth † 09 May 1944 70th Birthday mathias spahlinger * 14 October 1944 50th Birthday ian wilson * 26 December 1964

43

world premières

GeorG Friedrich haasString Quartet No. 6 Hagen Quartett23 January 2011 · Mozartwoche, Stiftung Mozarteum Salzburg/A

alma mahler / clyTus GoTTwald3 frühe Lieder for 6 – 10-part choirSWR Vokalensemble Stuttgart 26 February 2011 · Gaisburger Kirche Stuttgart/D

wolFGanG rihmFantasia for string orchestra and piano Bottroper Kammerorchester, cond. Kai Röhrig 15 December 2010 · Bottrop/D

wolFGanG rihmWill Sound More for ensemble Ensemble Modern 15 January 2011 · Alte Oper Frankfurt/D

mauricio soTeloArcana ... I for bass-saxophone and electronics Andrés Gomis, sax, Mauricio Sotelo, electronics 04 December 2010 · Conservatorio Superior de Música, Mallorca/E

Alfa Centauri for ensemble and electronics Ensemble Espai Sonor, cond. Voro García11 December 2010 · Valencia/E

mauricio soTeloMuerte sin fin ‚bocetos escénicos’ para bailaora, cantaor, grupo instrumental y electrónicaFuensanta “La Moneta” (Tanz), Arcángel (Cantaor), Nieuw Ensemble, cond. Ed Spanjaard30 January 2011 · Muziekgebouw Amsterdam/NL

44

new releases

Frédéric chopinAndante spianato and Grande Polonaise brillante (Urtext) editor: Christian Ubber UT 50266

helmuT hödl (ediTor)Klezmer Clarinet Duets for 2 clarinets UE 34531

GusTav mahlerSymphony No. 8for 8 soloists (2 S, 2 A, T, Bar, B), boys choir ad lib., choirs SSAATTBB and large orchestraStudy score UE 34318Symphony No. 9for orchestraStudy score UE 34319Adagio from Symphony No. 10for orchestraStudy score UE 34320Das Lied von der Erdefor tenor and alto (or baritone) voices and orchestraStudy score UE 34800

CLAy MCMiLLAn / JASon FreeMAn / JuAn de dioS MAGdALenoK 2010 for piano UE 34990

new karl scheiT GuiTar ediTionsanTiaGo de murcia

Villanos – Fandango – Gallardas – Cumbees – Marizapálos – La Jotta for guitar, editors: Van Gonnissen, Müller-Pering, MonnoUE 34488

maurice ravelGaspard de la nuit for piano (Urtext) UT 50261

arvo pärTim Gespräch – interview and analysis of the music of Arvo Pärt (book)UE 26300 ISMN 979-0-008-08301-3 UPC 8-03452-06674-3 ISBN 978-3-7024-6961-0 Euro 19.90 (only available in German)

45

new releases

nicolai podGornov

Nicolai Podgornov's Graded Pieces

volume 3 – advancedfor pianoUE 34553

This collection of pieces for grades 7–8 is the last in the highly-praised, three-volume series from nicolai podgornov. Across the three vol-umes, there are now pieces to in-spire and stimulate piano students from the earliest to advanced grades. Within each volume the pieces are presented in order, the technical level gradually increasing throughout.

Reviewing Vol 2 Faye Caley wrote:“A delightful array of short pieces in varying styles – a sort of 21st cen-tury take on Burgmuller's Op 100 studies. Musically appealing, every piece oozes quality and substance despite being aimed at the less ex-perienced player. I enjoyed playing every piece and cannot wait to in-troduce them to my pupils.”(Music Teacher, March 2010)

46

new on cd

euGen d’alBerT Der Golem Beethoven Orchester Bonn, Chor Theater Bonn, cond. Stefan Blunier, Mark Morouse, bar, Alfred Reiter, bass, Tansel Akzeybek, t, Ingeborg Greiner, s · Larmore, MS · MDG 2 SACD 93716376hans erich aposTel Requiem, Variationen über ein Thema von Joseph Haydn, Kammersymphonie ORF Chor, RSO Wien, cond. Milan Horvat, Wiener Symphoniker, cond. Wolfgang Sawallisch, Ensemble Kontra- punkte, cond. Peter Keuschnig · ORF CD 3109Béla BarTók The Miraculous Mandarin

Boston SO, cond. Seiji Ozawa, Tanglewood Festival Chorus Newton Classics CD 8802029

Béla BarTók Concertos No. 1 and No. 2 for Piano and Orchestra BBC Philharmonic, cond. Gianandrea Noseda, Jean-Efflam Bavouzet, pno

Chandos CD CHAN 10610pierre Boulez Messagesquisse

Ensemble Modern, Eva Böcker, vlc · Ensemble Modern Medien SACD003alFred casella Scarlattiana

Orchestra Sinfonica di Roma, cond. Francesco La Vecchia, Sun Hee You, pno · Naxos CD 8572416

michael Finnissy Piano Concerto No. 3 Ixion Ensemble, cond. M. Finnissy, James Clapperton, pno · NEOS CD 11060BeaT Furrer Studie 2 - a un moment de terre perdue Klangforum Wien, cond. Beat Furrer · NEOS CD 11060GeorG Friedrich haas ein Saitenspiel

Martin Mallaun, zith · Extraplatte CD EXSP0322GeorGes lenTz Monh, Guyuhmgan, Ngangkar

Orchestre Philharmonique du Luxembourg, cond. Emilio Pomàrico, Tabea Zimmermann, vla · Timpani Records CD 1C1184 (Spring 2011)

rolF lieBermann La ForêtOrchestre de la Suisse Romande, cond. Jeffrey Tate, Regine Raviner, ms, Michal Shamir, s · Musiques Suisses 2CD MGB 6266

arvo pärT Stabat Mater, Cantique des degrésRSO Berlin, RIAS Kammerchor, cond. Kristjan Järvi · Sony CD 88697723342

arvo pärT Passacaglia Kremerata Baltica Chamber Orchestra, Gidon Kremer, vlnNonesuch Records CD 287228-2

wolFGanG rihm Verwandlung 2, 3 and 4RSO Stuttgart, cond. Christian Arming, Matthias PintscherHaenssler Classics CD 093263000

Franz schmidT Symphony No. 4, Variationen über ein HusarenliedMalmö Symphony Orchestra, cond. Vassily SinaiskyNaxos CD 8572118

47

new on cd

arnold schönBerG Pelleas und MelisandeDuisburger Philharmoniker, cond. Jonathan DarlingtonAcousence ACO CD 21209

arnold schönBerG Pierrot LunaireHolst-Sinfonietta, cond. Klaus Simon, Clementine Jesdinsky, sSpektral CD SRL408021

karlheinz sTockhausen Kreuzspiel Alfred Schweinfurter, ob, Wolfgang Marx, bass clar, David Tudor, pno, Christoph Caskel, Heinz Haedler, Manfred Wehner, perc, cond. Karl-heinz Stockhausen · NEOS CD 11060

karol szymanowski Concerto No. 1 for Violin and Orchestra, Symphony No. 3Wiener Philharmoniker, cond. Pierre Boulez, Wiener Singverein, Christian Tetzlaff, vln, Steve Davislim, t · DGG CD 00028947787716GH2

eGon wellesz Persisches Ballet, Suite für Violin and Chamber OrchestraEnsemble Kontrapunkte, cond. Peter Keuschnig, Josef Hell, vlncpo/ORF CD 777 575-2

ian wilson Man-o'-War, An Angel Serves a Small Breakfast, Licht/ungRTÉ National Symphony Orchestra, cond. Gerhard Markson, David Porcelijn, Rebecca Hirsch, vln · RTE Lyric FM CD126

walTer BraunFelsSzenen aus dem Leben der heili-gen JohannaM. Honeck, J. Banse, Swedish RSO, G. Missen-hardt, E. Ericson Kammerchor, Decca CD 0028947639787

c. halFFTer Tres piezas para cuarteto, String Quartet No. 2, Espacio de silencioLeipziger Streichquartett MDG CD 30716712

edmund nick Leben in dieser Zeit Chor u. Orchester der Staatsoperette Dresden, cond. Ernst TheisMarcus Günzel, Christian Grygas, Elke Kottmaircpo CD 761203754120

w. rihm String Quartet No. 1 2, Fetzen, InterscriptumArditti String Quartet, Teodoro Anzellotti, Nicolas Hodges Winter & Winter / WDR media-group CD 9101782

universal ediTion

austria: Boesendorferstr. 12, a-1010 vienna, austria (musikverein)tel +43-1-337 23 - 0, fax +43-1-337 23 - 400uk: 48 Great marlborough street, london w1F 7BBtel +44-20-7292-9160, fax +44-20-7292-9173usa: european american music distributors llc254 west 31st street, 15th Floor, new york, ny 10001-2813tel +1-212-461-6940, fax +1-212-810-4565www.universaledition.com, promotion@universaledition.comchief editors: Angelika Dworak and Eric Marinitschcontributors: Eric Marinitsch, Wolfgang Schaufler, Jonathan Irons, Angelika Dworak, Daniela Burgstaller and Marion Dürrdesign: Egger & Lerch, Vienna/Austriaphoto credits: Biennale di Venezia (2), UE Archiv (8), Stefano Bollani, Philharmonia Orchestra, Marion Kalter (2), Eric Marinitsch (3), Ben Ealovega, Swarovsky Kristallwelten, Wiener Konzerthaus, San Francisco Symphony, Opéra National de Bordeaux, Deutsche Oper Berlin /Thomas Aurin, Israeli Opera, Oper Wroclaw / Marek Grotowski, Bayreuther Fest-spiele, La Monnaie Bruxelles, Jan Mikota, Oper Leipzig / Volkmar Heinz, Muziekgebouw Amsterdam; CDs: Decca, MDG, cpo, Winter&Winter / WDR mediagroup.DVR: 0836702