Newsletter 01/11 • Winterthema 2010/2011 Contents News Gustav Mahler-Blog: New Interviews — 4 Charles Mackerras — 5

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

Friedrich Cerha

85th Birthday (17 Feb 2011)

1 newsletter 01/11 • winterthema 2010/2011 Contents news Gustav Mahler-Blog: new Interviews — 4 Charles Mackerras — 5

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

content 01/2011 Schreker — 32 Schmidt — 32 Zemlinsky — 33 Schönberg — 34 Berg — 35 Dear Readers, Satie — 36 Alma Mahler/C. Gottwald — 36 Mahler — 37 In summer 2010, three voices Janá�ek — 38 - 39 caused a buzz in a certain musical Puccini — 40 city – even without bel canto. The singers and the composer were the talk of the town. The achievements anniversaries — 41 - 42 of the three protagonists in Wolf- gang Rihm’s opera Dionysos, which world premières — 43 was performed at the Salzburg Festival, astounded the audience New releases — 44 - 45 and the press alike: Johannes Martin Kränzle, Mojca Erdmann New on CD — 46 - 47 and Matthias Klink showed just how passionate and lyrical con- Impressum — 48 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 important 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

3 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 everything 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.”

Riccardo Chailly

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 music has lost, because Mahler still had a lot to say.” Gustavo Dudamel

news 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 Charles Mackerras it comes to performing Janá�ek’s works. We at UE are proud to be able to offer the fruits of his extensive and pioneering labours in our catalogue:

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 acts edited 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 performance suggestions by Charles Mackerras. �árka 1887–1888 opera in 3 acts edited by Ji�í Zahrádka and Charles Mackerras (2000). The Cunning Little Vixen 1924 opera in 3 acts revised new edition by Ji�í Zahrádka (2008), with performance suggestions by Charles Mackerras. Suite from the opera „The Cunning Little Vixen“ for orchestra arranged by Charles Mackerras (2006), based on the new musicological edition of the opera The Cunning Little Vixen by Ji�í Zahrádka.

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3.–27. März 2011

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3.–27. März 2011

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cerha Music prize for perspectivity which is exemplary in th his 85 birthday modern art. When it comes to com- positional techniques, his work offers a blend of post-war avant-garde Friedrich Cerha, who will turn 85 techniques and older methods and on 17 Feb 2011, “may rightly be de- material, which he handles in a scribed as Austria’s most impor- completely new manner. Cerha has tant contemporary composer” – ac- never been concerned with only cording to an announcement for eclectic variety or aesthetic con- the Biennale festival in Salzburg, cessions – instead, he has always which will be featuring works by aimed to square the circle, one of Cerha. Writing in the Frankfurter the basic issues of new music: to Allgemeine newspaper, Julia Spi- use the full potential of the articu- nola adds: “In an unspectacular yet lation afforded by complex music radical style, he epitomises a multi- 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 programme for the prize-winner’s concert 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.salzburgbiennale.at www.bit.ly/musikpreis

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

cerha InseratUE120x225_Layout 1 11.10.10 14:29 Seite 1

MOZART WOCHE 2011 21. – 30. JÄNNER

So, 23.1.2011, 15.00 Stiftung Mozarteum, Großer Saal Hagen Quartett, Jörg Widmann Klarinette Georg Friedrich Haas 6. Streichquartett UA. Auftragswerk der Stiftung Mozarteum Salzburg, KölnMusik und Wigmore Hall London sowie Werke von Heinz Holliger und Mozart 14.00 Uhr Künstlergespräch Georg Friedrich Haas 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 of Europe, Concentus Musicus Wien, Freiburger Barock orchester, Les Musiciens du Louvre·Grenoble, Mozarteumorchester Salzburg, Sinfonieorchester der Univ. Mozarteum, Wiener Philharmoniker Sänger Kurt Azesberger, Thomas Bauer, Daniel Behle, Florian Boesch, 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, 4

5 Jeremy Ovenden, Anna Prohaska, Thomas Quasthoff, Christine 1

3 Schäfer, Daniel Schmutzhard, Toby Spence, Lydia Teuscher, Burcu 7 Uyar, Rolando Villazón, Kai Wessel Solisten Piotr Anderszewski, 8

2 Teodoro Anzellotti, Florian Birsak, Helmut Deutsch, David Greil- 6

6 sammer, Marie-Elisabeth Hecker, Heinz Holliger, Gidon Kremer,

3 Robert Levin, Alexander Lonquich, Johannes Nied, Jerca Novak, 4

. Maurizio Pollini, Fazil Say, András Schiff, Elmar Schmid, Eric l

e Schneider, Christian Tetzlaff, Hanna Weinmeister, Antje Weithaas, T

: Jörg Widmann, Tabea Zimmermann Ensembles & Chöre Hagen s t . m o z a r t e u Quartett, oesterreichisches ensemble für neue musik, Arnold e

k Schoenberg Chor, RIAS Kammerchor, Salzburger Bachchor, Neue c i T t i c k e s @ m o z a r u . w Vocal solisten Stuttgart, St. Florianer Sängerknaben K o n z e r t M a w c h W i s e n c h a f t M u s e n InseratUE120x225_Layout 1 11.10.10 14:29 Seite 1

haas Close ties

with the detailed composition of MOZART At least since the 1998 the scales of harmonics and the world première of String resulting oscillating effects, the Quartet No. 2, close ties mixtures in the second piece, have existed between Georg Frie- which reveal the influence of Oliver WOCHE Messiaen’s music, and the complex drich Haas and the Hagen Quar- tet. The quartet themselves talk of layers of chords, which repeatedly their experiences with intonation, return to the ‘Vyshnegradsky chord’ 2011 which are helpful when perform- and its variants. The work is set to ing the classical and romantic rep- receive its world première in the 21. – 30. JÄNNER ertoire as well. To celebrate their version for soprano and piano (27 25th anniversary, the Hagen Quartet Nov, Luxembourg), again with Sa- will also be performing the world rah Wegener as the soloist. première of String Quartet No. 6 in www.bit.ly/wiestilleE Salzburg on 23 Jan – a piece commissioned by Salzburg’s Mozarte- um Foundation, KölnMusik and the So, 23.1.2011, 15.00 Stiftung Mozarteum, Großer Saal Wigmore Hall. Hagen Quartett, Jörg Widmann Klarinette Georg Friedrich Haas 6. Streichquartett The US première of in vain on 6 Feb UA. Auftragswerk der Stiftung Mozarteum Salzburg, 2009 brought Haas enormous pub- KölnMusik und Wigmore Hall London lic success, as well as great reviews sowie Werke von Heinz Holliger und Mozart from the New York Times, among 14.00 Uhr Künstlergespräch Georg Friedrich Haas others. The critics expressed sur- Dirigenten Giovanni Antonini, Ivor Bolton, Dennis Russell prise that such exciting and evoca- Davies, Gottfried von der Goltz, Nikolaus Harnoncourt, Heinz tive sounds could be produced by Holliger, René Jacobs, Louis Langrée, Marc Minkowski, conventional instruments without Yannick Nézet-Séguin, Jonathan Nott, András Schiff, Jörg Widmann Orchester Akademie für Alte Musik Berlin, electronic manipulation. Argento Camerata Salzburg, Cappella Andrea Barca, Chamber Orchestra of Chamber Ensemble will perform in Europe, Concentus Musicus Wien, Freiburger Barock orchester, Les Musiciens du Louvre·Grenoble, Mozarteumorchester Salzburg, vain again in New York (12 Nov and Sinfonieorchester der Univ. Mozarteum, Wiener Philharmoniker 18 Feb). Sänger Kurt Azesberger, Thomas Bauer, Daniel Behle, Florian www.bit.ly/invain Boesch, Markus Brutscher, Joachim Buhrmann, Annette Dasch, Marcos Fink, Anna Grevelius, Sunhae Im, Philippe Jaroussky, Inga Kalna, Mika Kares, Julia Kleiter, Christina Landshamer, … wie stille brannte das Licht for Wiebke Lehmkuhl, Elisabeth von Magnus, Hanno Müller-Brachmann, soprano and chamber orchestra, 4

5 Jeremy Ovenden, Anna Prohaska, Thomas Quasthoff, Christine

1 which premièred in Cologne in Georg Friedrich Haas

3 Schäfer, Daniel Schmutzhard, Toby Spence, Lydia Teuscher, Burcu 7 Uyar, Rolando Villazón, Kai Wessel Solisten Piotr Anderszewski, May 2009, impressed the audience 8

2 Teodoro Anzellotti, Florian Birsak, Helmut Deutsch, David Greil- 6

6 sammer, Marie-Elisabeth Hecker, Heinz Holliger, Gidon Kremer,

3 Robert Levin, Alexander Lonquich, Johannes Nied, Jerca Novak, 9 4

. Maurizio Pollini, Fazil Say, András Schiff, Elmar Schmid, Eric l e Schneider, Christian Tetzlaff, Hanna Weinmeister, Antje Weithaas, T

: Jörg Widmann, Tabea Zimmermann Ensembles & Chöre Hagen s t . m o z a r t e u Quartett, oesterreichisches ensemble für neue musik, Arnold e k Schoenberg Chor, RIAS Kammerchor, Salzburger Bachchor, Neue c i T t i c k e s @ m o z a r u . w Vocal solisten Stuttgart, St. Florianer Sängerknaben K o n z e r t M a w c h W i s e n c h a f t M u s e n haas Restagno | Brauneiss | Kareda | Pärt 300

Mit den gesammelten Artikeln dieses Buches wird dem Leser Arvo Pärt UE 26 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. im Gespräch ARVO PÄRT • Arvo Pärts Tintinnabuli-Kompositionstechnik steht im Mittel punkt der musikwissenschaftlichen Annäherung von Leopold Brauneiss. im Gespräch PÄRT ARVO

• 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. Restagno | Brauneiss | Kareda | Pärt Restagno | Brauneiss Kareda

ISMN 979-0-008-08000-5 UPC ISBN 978-3-7024-6643-5 UE 26 300 Universal Edition

Arvo Pärt Im 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 979-0-008-08301-3 Euro 19,90 UPC 8-03452-06674-3 ISBN 978-3-7024-6961-0

PärtBuchInseratE.indd 1 09.11.2010 08:31:49 Restagno | Brauneiss | Kareda | Pärt pärt 300 Read and

Mit den gesammelten Artikeln dieses Buches wird dem Leser Arvo Pärt UE 26 vorgestellt: ein Komponist, der sich in den letzten Jahrzehnten als eine große, eigenständige Persönlichkeit in der Musikszene etabliert hat. rediscover Die ausgewählten Texte wenden sich an unterschiedlich interessierte Lesergruppen:

• In einem ausführlichen Gespräch, das Enzo Restagno mit Arvo Pärt Milestone birthdays are a time process of discovery, one that has führte, erzählt der Komponist auf sehr persönliche Weise von seinen Werken und seinem Leben im sowjetischen Estland, seiner Emigration, to take stock and reflect on one’s come through to some other side seiner künstlerische Odyssee, oeuvre and its reception. The al- yet not lost sight of the stretch that seinem Weltbild. im Gespräch ARVO PÄRT bum Tabula Rasa was released by has been travelled.” (UE 35222, Eng- • Arvo Pärts Tintinnabuli-Kompositionstechnik steht im Mittel punkt ECM in 1984, bringing Arvo Pärt’s lish/German) der musikwissenschaftlichen Annäherung von Leopold Brauneiss. im Gespräch

PÄRT ARVO work to a wider international audi- www.bit.ly/tabula-rasa-ue

• Saale Kareda erläutert in ihrem Essay die spirituellen Aspekte der ence beyond the new music scene. Another publication on the ‘Pärt Annäherung an das Werk Pärts. 26 years on, the album has now phenomenon’ has recently been

• Zwei Dankesreden Arvo Pärts, die er bei besonderen Ehrungen been released as a special edition issued by UE: Arvo Pärt – Im gehalten hat, runden das Porträt ab. (ECM/UE), offering facsimiles of Gespräch. The book offers two the scores of the key works Tabula important theoretical contribu- Rasa and Cantus and study scores tions on Pärt. Its main feature is a of the four works on the album. In written account of an extensive

Restagno | Brauneiss | Kareda | Pärt Restagno | Brauneiss Kareda his introductory note for the spe- interview between Pärt and Enzo cial edition, Paul Griffiths offers a Restagno in 2003. In this highly fitting summary: “… modernism is personal interview, Pärt recalls nu- not denied but understood … This merous periods of his life and the ISMN 979-0-008-08000-5 UPC ISBN 978-3-7024-6643-5 UE 26 300 is not a totally amnesiac simplic- creation of many of his works (UE ity but one that has been struggled 26 300, German only). Both items Universal Edition for, one that implies an immense are available from UE.

Arvo Pärt Im Gespräch

UE 26300 ISMN 979-0-008-08301-3 11 Euro 19,90 UPC 8-03452-06674-3 ISBN 978-3-7024-6961-0 pärt

PärtBuchInseratE.indd 1 09.11.2010 08:31:49 Wolfgang Rihm

rihm on 18 Jan. Rihm is set to take up the post of composer-in-residence More sound at the Casa da Música. A wealth of other concerts are also scheduled. The monodrama Das Gehege ap- When Wolfgang Rihm pears to be finding its way into the was asked to write a new repertoire and will feature in the piece for Ensemble Alarm events calendar of the Hamburg Will Sound, he created Will Sound, Opera again on 12, 13 and 15 Feb (di- which received its world première rector: Matthew Jocelyn). Simone in New York in 2006. He is now Young will conduct; the soloist is composing a sequel. Kristine Jepson. Will Sound More is set to première www. bit.ly/dasgehege in Frankfurt on 15 Jan with Ensem- ble Modern. The Music-Hall-Suite will see 2 per- www.bit.ly/willsoundmore formances by the Ives Ensemble (8 Dec in Amsterdam, 13 Dec in Wa- One of the ‘wild’ works written by geningen/NL). Viola Concerto No. a young Rihm, Fantasia for string 2 can also be heard in Amsterdam orchestra and piano, will receive its (6 Jan) with Aléjo Perez conducting world première on 15 Dec with the the Radio Kamer Filharmonie and Bottroper Kammerorchester under Geneviève Strosser as the soloist. Kai Röhrig. The same concert will also feature Jagden und Formen is becoming 3 Walzer. one of the most frequently performed of Rihm’s works. Stefan Paraphrase for cello, percussion Asbury, a renowned Rihm special- and piano will be performed by ist, will conduct the piece in Tapi- Ensemble Recherche on 22 Jan in ola/FIN on 3 Feb with the Tapiola Freiburg/D. Fremde Szene III can be Sinfonietta. Peter Rundel will also heard twice: on 23 Jan at the Ge- be presenting Jagden und Formen wandhaus in Leipzig and on 3 Feb with Remix-Ensemble in Porto/P at the Lincoln Center in New York.

rihm sotelo tival brochure, Staud spoke of his working methods and self-image, New opera as well as of new projects: “If you think I was lucky to be able to turn my wonderful hobby into a career, The great esteem in I have to say: it’s not a hobby – it’s which Mauricio Sotelo is too tough, too demanding for that.” held in Spain (and beyond) has now Anyone who takes a look at his me- resulted in an opera being commis- ticulous pencil-written scores can sioned by Madrid’s Teatro Real. The see that he is serious. artistic director Gerard Mortier has 2011 will see Staud taking up the post announced that Sotelo is to write of Capell-Compositeur (composer- an opera on a subject by Federico in-residence) at the Staatskapelle García Lorca. The details will follow Dresden, which has commissioned shortly. Sotelo cannot complain Tondo for orchestra (world première about a lack of commissioned works 1 May 2011). He is also working on 2 or interest in other respects either: other pieces for Dresden (solo piece Muerte sin fin was commissioned by for bassoon; narrator with ensem- the Dutch Flamenco Biennale 2011, ble), as well as one for Paris (IRCAM) Nieuw-Ensemble and Spain’s Min- and one for Klangspuren Schwaz istry of Culture. The world première (for 4 bassoons and electronics). will be held in Amsterdam on 30 www.bit.ly/tondo-dresden 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, performed by Ensemble Espai Sonor. staud Behind the scenes

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

sotelo / staud schwartz formance at the Transit Festival in Leuven/B. The composer himself Ungraceful conducted Champs d’Action in Leuven. Further performances of landing Baltakas’ string quartet – b(ell tree) – also took place, with the Chordos Quartet performing in Kaliningrad On Jay Schwartz’ Music for Orches- (RUS), Kaunas and Vilnius (LIT). tra III: “The work began more as a Contact us for scores and record- feeling than as a sound or a sight, ings of all works. as if it were made up less of specific notes as from the results of their interaction, the overtone song of Lentz their combination. You didn’t ‘hear’ it so much with your ears as with New CD of the area between the solar plexus, stomach and heart muscle, first as orchestral works an unendingly slow descent, and then as a polyphonic rising and falling, and at the end an ungrace- The inimitable music of Georges ful but not catastrophic landing.” Lentz will be presented in a com- (Elisabeth Risch, FAZ) prehensive new recording by Listen to an audio excerpt at www. Timpani Records this winter. The universaledition.com/schwartz Orchestre Philharmonique de Luxembourg has made studio re- cordings of three of Lentz’ major baltakas works for orchestra: Mohn (for viola and orchestra), Guyuhmgan and New work for Ngangkar. Emilio Pomàrico conducted the session with Tabea Zim- ensemble mermann as the soloist in Monh. The release date is Spring 2011. Read more at www.bit.ly/lentz-cd 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-

14 schwartz / baltakas / lentz furrer Adventures in sound Cristóbal Halffter

As part of their Adventures in Sound halffter series, the London Sinfonietta is presenting a concert dedicated to Set of three the music of Beat Furrer. Included in the programme is his nuun, for two pianos and orchestra, from After hosting the German première 1996. Bernhard Günther, writing for of Cristóbal Halffter’s opera Don the world première at the Salzburg Quijote (2006) and presenting the Festival, mentions that “the central world première of his second, com- principle is transformation, spe- missioned opera Lázaro (2008), cifically on the rhythmic, harmonic the Kiel Opera has now commis- and tonal planes, as a continuous sioned the composer and a libret- process from the beginning to the tist to write Halffter’s third opera end. nuun is an almost unparal- for 2012–2013. Kiel will host the leled example of Furrer’s breadth world première. Wolfgang Haende- of expression.” ler is writing the libretto based on www.bit.ly/nuunlondon material chosen by Halffter himself: 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.

halffter / furrer Luke Bedford borisova-ollas The first opera Concerto for two pianos Luke Bedford is writing an opera. The première of Seven Angels is on 17 June 2011, and is a cooperation Victoria Borisova-Ollas’ new work between the Opera Group and the for two pianos and orchestra – BCMG. Seven angels have fallen Wunderbare Leiden – was given through space and time for so long, its world première by the Düssel- they have forgotten why. Coming dorf Symphoniker conducted by to rest on a desert landscape, they Andrey Borekyo this October. The imagine the creation of a legend- two pianists – who could possibly ary garden that once flourished be embodying Robert and Clara there and its destruction through Schumann themselves – battle greed and neglect. away at the pianos in front of a Inspired by Paradise Lost, Seven An- deep orchestral background full of gels interprets the themes of John nuances and various quotes from Milton’s masterpiece for a modern the music of both the Schumanns. audience facing up to the urgent The work is one of the most ad- challenges of a changing climate venturous yet from the composer. and ever-depleting resources. Seven Score and recording are available Angels is for 7 singers and 12 instru- on request. Borisova-Ollas is cur- ments. Nicholas Collon conducts a rently working on an opera based production directed by John Full- on Bram Stoker’s Dracula. james. See www.bit.ly/7angels1 and www.bit.ly/7angels2

Luke Bedford

16 bedford / borisova-ollas 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 Harrison Birtwistle from the late 1990s, show the un- failing originality and distinctive- ness of everything David Sawer right now, but I never quite catch composes. The chamber orchestral them. Actually, I hope I don’t. So- Tiroirs is a sequence of razor-sharp metimes it has to do with all sorts images, each perfectly scored and of aleatoric things and sometimes imagined, and shuffled with a with highly formalised things, be- conjuror's virtuosity; The Memory cause I am really interested in wri- of Water, for string orchestra and ting a sort of formal music.” (Harri- a pair of solo violins whose spatial son Birtwistle) relationship steadily shifts through Harrison Birtwistle’s Silbury Air, for the course of the piece, is a compel- chamber ensemble (1977, revised ling musical flux that Sawer likens 2003) is now available in the new to a flowing river from which ideas study score series. In 1977, the Guar- emerge only to be submerged dian wrote “The result is dramatic again. Listen to excerpts and order and immediately exciting, … show- online at the NMC website ing the firmest possible architec- www.bit.ly/nmcsawer tural sense, with each section re- lating naturally and satisfyingly to the rest.” birtwistle Ensemble Recherche performs Pulse Sampler in the snow at Hotel New study score Kristiana in the Voralberg moun- tains of Austria (13 Jan 2011).

“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

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

2010-2011 SEASON: COMPOSER PORTRAITS Oct 21 Matthias Pintscher Miller Theatre’s signature series shines the spotlight on Nov 19 Fred Lerdahl a single contemporary composer in every concert. Get Dec 6 Pierre Boulez to know the most important musical voices of our time, Feb 3 Julia Wolfe from established masters to emerging artists, and Mar 4 Mario Davidovsky discover why New York magazine calls us “one of the best Apr 15 Chaya Czernowin destinations anywhere for contemporary music.” May 5 Joan Tower

Miller Theatre at Columbia University Broadway at 116th Street, New York, NY 212.854.7799 www.millertheatre.com 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 Pierre Boulez Dérive 2 at this year’s musikfest berlin, regards it as one of Pierre Boulez’s masterpieces. boulez Both works are now to receive their US premières. Dérive 1 and Dérive Ingenious 2 (the revised version) will be performed by the Talea Ensemble at derivatives the Miller Theater in New York on 6 Dec. A second performance of Dérive 1 can be heard at Zankel Hall Pierre Boulez’ Dérive means ‘a by- (also in NY) with ensemble eighth product’ – of Répons (1981). blackbird on 31 Jan. As a work evolves, many elements, www.bit.ly/boulez-miller 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 result of “research into periodicity”. “When I reflected on some of

boulez KURTÁG further away until he is in unison with the first performer again. The th 85 birthday piece can be heard in Hanover on 23 Jan and in Stockholm on 26 Jan. www.bit.ly/stevereich “One has to put one’s life into the music – it must have blood in it!”, György Kurtág explained in an gielen interview with Susanne Kübler (2010). To Kurtág, music means far The Star of more than art; each individual note is of vital importance. the Covenant The composer, who was born in Lu- goj (now Romania) in 1926, will celebrate his 85th birthday on 19 Feb. The great conductor Michael Gie- All of us here at UE offer him our len has been awarded this year’s best wishes and are proud to have Ernst von Siemens Music Prize and a number of his exemplary works in is now appearing more and more our catalogue, such as 4 Capriccios as a composer in his own right. In for soprano and chamber orchestra 4 Gedichte (1955–1958) for mixed op. 9 (1970/71/97). choir and 19 instruments, he set www.universaledition.com/kurtag poems by Stefan George (The Star of the Covenant) to music. The unusual instrumentation is striking: Reich 6 clarinets, 4 trombones, 4 cellos, piano, tubular bells, timpani and No instruments 2 glockenspiels. The work lasts around 18 minutes and will be per- needed formed by the composer himself with the RSO Stuttgart on 4 Dec in Freiburg. 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

20 kurtág / reich / gielen berio Berio-Saal for the Vienna Konzerthaus

Luciano Berio’s last visit to Vienna Luciano Berio’. The portrait concert was in Nov 2000 when he attended will feature the soloists Alda Caiel- the Austrian première of Epipha- lo, mezzo-soprano, Mario Caroli, fl, nies (RSO Vienna, conductor Dennis Garth Knox, vla, Krassimir Sterev, Russell Davies) at the Wien Modern acc, Lukas Schiske, perc, Marino For- festival (listen to an extract from menti, pno and Studio Tempo Re- an interview with Berio and Davies ale from Florence. The programme at www.bit.ly/epiphaniesE). includes Quattro canzoni popolari, When the Vienna Konzerthaus was Sequenza I for flute, Momenti, Nat- refurbished, it was equipped with urale su melodie siciliane, Sequenza the latest technology and a fourth XIII for accordion, Altra voce for alto concert hall (sponsored by Kapsch) flute, mezzo-soprano and live elec- which has now been named the tronics, and Sonata. Berio-Saal. The Konzerthaus will officially commemorate the composer, whose music has always played a key role there, in concert on 16 Dec with an ‘Hommage à

Berio-Saal at Vienna Konzerthaus

berio © Barbara Monk-Feldman

Concert in The Netherlands MORTON FELDMAN’S ROTHKO CHAPEL Brice Pauset Kinderszenen mit Robert Schumann (Dutch première) Hanna Kulenty Decimo forte (world première) Asko | Schönberg Nederlands Kamerkoor (NKK) conductor Emilio Pomarico

12 January 2011, Rotterdam, Laurenskerk Reservations: www.dedoelen.nl 13 January 2011, Amsterdam, Muziekgebouw aan ’t IJ Donderdagavondserie-PROMS Reservations: www.muziekgebouw.nl www.askoschoenberg.nl

NIEUWE MUZIEK

ASK 21011009 AD 120x225 Feldman.indd 1 09-11-10 09:02 Feldman Emilio Pomàrico in Rotterdam (12 Jan) and Amsterdam (13 Jan), while Rothko Chapel Da Camera of Houston is to present it at the Rothko Chapel itself on 26 Feb. www.bit.ly/rothkochapel Morton Feldman wrote Rothko Chapel for soprano, alto, mixed choir and instruments for the med- stockhausen itation room of the Menil Founda- tion in Houston/Texas in 1971. The Punctualism room contains 14 large paintings by the American artist Mark Rothko in red, black and purple tones, which In the early 1950s, Karlheinz Stock- vary according to the light and cre- hausen developed punctualism ate an atmosphere of contempla- – a style of composition “whose tion and tranquillity. “To a large structures are predominantly ef- degree, my choice of instruments fected from tone to tone, without (in terms of forces used, balance superordinate formal conceptions and timbre) was affected by the coming to bear”. In Kontra-Punkte space of the chapel as well as the for 10 instruments, which was writ- © Barbara Monk-Feldman paintings. I wanted the music … ten in 1952–1953, the punctualism to permeate the whole octagonal- is overlaid by a process of develop- Concert in The Netherlands shaped room and not be heard ment, which steadily resolves the from a certain distance” (Feld- extreme contrasts of the individual man). Rothko Chapel can be heard points in terms of their timbre, dy- MORTON FELDMAN’S in San Francisco on 23–26 Feb (San namics and length, right through Francisco SO under Michael Tilson to the end. The Nieuwe Ensemble ROTHKO CHAPEL Thomas), Asko|Schönberg Ensem- Amsterdam will perform the piece ble will perform the piece under in the Netherlands on 19–21 Jan. Brice Pauset Kinderszenen mit Robert Schumann (Dutch première) Hanna Kulenty Decimo forte (world première) Asko | Schönberg Nederlands Kamerkoor (NKK) conductor Emilio Pomarico

12 January 2011, Rotterdam, Laurenskerk Reservations: www.dedoelen.nl 13 January 2011, Amsterdam, Michael Tilson Thomas Muziekgebouw aan ’t IJ Donderdagavondserie-PROMS 23 Reservations: www.muziekgebouw.nl www.askoschoenberg.nl NIEUWE MUZIEK feldman / stockhausen

ASK 21011009 AD 120x225 Feldman.indd 1 09-11-10 09:02 Rolf Liebermann L’école des femmes Direction musicale, Jurjen Hempel Mise 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-Théâtre 26 Nov. 20h00 - 28 Nov. 15h00 30 Nov. 20h00 - 01 déc. 20h00 05 56 00 85 95 www.opera-bordeaux.com

Directeur Général Thierry Fouquet de licences : 331559-T1, 331560-T2, 331561-T3 - Novembre 2010 : 331559-T1, 331560-T2, 331561-T3 - Novembre de licences os Photographie : Gaëlle Hamalian-Testud © - Opéra National de Bordeaux - N de Bordeaux National © - Opéra : Gaëlle Hamalian-Testud Photographie

EDFemmesUE.indd 1 05/11/10 17:08 liebermann

School for Wives Nick Economic crisis To celebrate the 100th anniversary of Rolf Liebermann’s birth, a new pro- as a radio play duction of the 3-act opera buffa Die Schule der Frauen (1954–55), based on a libretto by Heinrich Strobel, is On 27 Feb, the Kurt Weill Festival to open at the Opéra National de in Dessau will be presenting Ed- Bordeaux on 26 Nov. The storyline mund Nick’s Leben in dieser Zeit, was inspired by the French theatri- Lyrische Suite in 3 Sätzen (1929) in cal comedy L’école des femmes by the successful 2008 production by Molière. Molière himself (alias Poq- Staatsoperette Dresden (musical Rolf Liebermann uelin) directs the action in this com- director: Ernst Theis). The work was edy, commenting on the modern based on a radio play about the staging of his creation, intervening economic crisis of the time. Erich L’école des where necessary and even slipping Kästner, who was a friend of Nick, into the role of a minor character. interwove poems and dialogue Liebermann’s music has an aston- in verse, while Nick supplied a fit- femmes ishing vitality and fusion of baroque ting colourful composition with Direction musicale, Jurjen Hempel motor rhythms and counterpoint, quotations from classical and folk Mise en scène, Eric Génovèse of expansive late-romantic melodi- music literature. Interspersed with sociétaire de la Comédie française ousness and harmony interwoven montages of sound and music, this with dodecaphony. Eric Génovèse, a exciting record of its time has been NouvELLE productioN member of the Comédie Française transformed into a stage version. Dans le cadre de la célébration du centenaire and Molière enthusiast, will be stag- A CD of Leben in dieser Zeit has de la naissance de Rolf Liebermann ing the piece in Bordeaux. The con- recently been released by cpo (see ductor will be Jurjen Hempel. page 47). www.bit.ly/edmundnickE Grand-Théâtre 26 Nov. 20h00 - 28 Nov. 15h00 30 Nov. 20h00 - 01 déc. 20h00 05 56 00 85 95 www.opera-bordeaux.com

Directeur Général Thierry Fouquet de licences : 331559-T1, 331560-T2, 331561-T3 - Novembre 2010 : 331559-T1, 331560-T2, 331561-T3 - Novembre de licences os Rolf Liebermann Die Schule der Frauen Opéra National de Bordeaux 2010

Photographie : Gaëlle Hamalian-Testud © - Opéra National de Bordeaux - N de Bordeaux National © - Opéra : Gaëlle Hamalian-Testud Photographie liebermann / nick

EDFemmesUE.indd 1 05/11/10 17:08 Martin Adaptable melody

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

of love In 1951, Martin completed the Violin Concerto which he had mentioned in 1948: “There is a problem I would As already announced, Joseph like to resolve: the Violin Concerto. I Marx’s declaration of love to Cas- wish to achieve a contrast between telli Romani, a picturesque area different colours, rather than just near Rome, will be performed in between the solo part and the oth- Istanbul and Graz: Castelli Romani er string parts.” The concerto will (1929–1930), concerto for piano be performed by the Orchestre de and orchestra No. 2, length: 32 min; Dijon-Bourgogne on 22 Jan. Borusan Istanbul Philharmonic Or- www.bit.ly/martin-dijon 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

marx / martin milhaud Iron Foundry from the ballet Steel brought him fame. In the piece, Machines Mosolov transforms the sounds of an iron foundry into music as agricoles in the realistically as possible. This extremely dissonant, penetratingly Platteland region rhythmic machine music is typical of Mosolov’s enthusiasm for ex- perimentation with which he also The Dutch Platteland region, its influenced other young composers farmers and their relationship of the day. with city life are the focus of the After coming into conflict with the musical theatre production Plat- State, he was arrested on suspicion teland als Podium, which will be of being a counterrevolutionary and presented by the Veenfabriek dra- sentenced to 8 years’ hard labour. ma group from 18 Nov to 18 Dec in After his imprisonment, he re- Warmond/NL. Various texts and in- nounced all modernistic tendencies. terviews with local farmers will be Iron Foundry will be performed by accompanied by Darius Milhaud’s the Noord Nederlands Orkest un- Machines agricoles, performed by der Stefan Asbury in the Nether- ASKO|Schönberg. The production lands on 27, 28 and 30 Jan. 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,

milhaud / mosolov 25.2.-13.3.2011 Berlin im Licht Highlights> Kurt Weill: Klingende Stadtportraits von Berlin, „Der Protagonist“ Paris und New York präsentieren „One Touch of Venus“ die Lebens-Arbeits-Stationen Kurt „Zaubernacht“ Weills und geben den Takt der Erich Kästner/ kommenden Kurt Weill Feste vor. Edmund Nick: Berlin, Hotspot der 20er und 30er „Leben in dieser Zeit“ Jahre, steht zuerst Pate für ein hoch karätiges Programm. Georg Kreisler: „Heute Abend: Lola Blau“ Aber schon damals spielte die „Musik“ nicht nur in der Haupt- Lotte Reiniger/ Renaud Garcia-Fons: stadt: Hugo Junkers, die Meister „Die Abenteuer des Bauhaus und einige ebenso des Prinzen Achmed“ visionär wie aufrecht gesinnte Politiker sorgen für bedeutende Ensemble Modern Impulse – auch heute noch erlebbar in der Musik Kurt Weills. Salome Kammer Seien Sie neugierig – machen Sie HK Gruber Ihre Klangreise in die Stadt der Nils Landgren Klassischen Moderne! PhiLlip Boa Staatsoperette Dresden Informationen & Kartenservice MDR Sinfonieorchester 0341 - 14 990 900 Anhaltische Philharmonie www.kurt-weill-fest.de weill Kurt Weill Fest 25.2.-13.3.2011 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 Walter Braunfels Szenen aus of ‘Berlin im Licht’ (Berlin in the dem Leben der Heiligen Johanna Berlin light), the festival will showcase Deutsche Oper Berlin 2008 Berlin’s fascinating musical and cultural variety at the time of the im Licht Weimar Republic. The Anhaltisches Deutsche Oper Berlin on 30 Oct. Theater Dessau is to open the festi- The world première of the staged > val with Weill’s first opera Der Pro- opera was produced in 2008 by the Highlights tagonist. Thanks to his one-act op- dramatist Christoph Schlingensief, Kurt Weill: Klingende Stadtportraits von Berlin, era, which premièred in Dresden in who died recently. The orchestra 1925, Weill achieved a breakthrough and choir of the Deutsche Oper „Der Protagonist“ Paris und New York präsentieren as an operatic composer and be- Berlin will be conducted by Ulf „One Touch of Venus“ die Lebens-Arbeits-Stationen Kurt came a celebrated beacon of hope Schirmer and the eponymous part „Zaubernacht“ Weills und geben den Takt der for the revival of the opera genre. sung by Mary Mills. A selection of Other highlights include a staged press reviews: Erich Kästner/ kommenden Kurt Weill Feste vor. performance of Zaubernacht and “Walter Braunfels tells the tale of Berlin, Hotspot der 20er und 30er Edmund Nick: the return of Edmund Nick’s Le- a miracle against all the odds, the „Leben in dieser Zeit“ Jahre, steht zuerst Pate für ein ben in dieser Zeit by Staatsoperette empowerment of the weak, the hoch karätiges Programm. Dresden (see page 25). manipulation of the masses, the Georg Kreisler: www.bit.ly/weill-festival hope of and doubt in divine sal- „Heute Abend: Lola Blau“ Aber schon damals spielte die vation – all in his expressive, late- „Musik“ nicht nur in der Haupt- Lotte Reiniger/ romantic sound language, with Braunfels echoes of musical neoclassicism, as Renaud Garcia-Fons: stadt: Hugo Junkers, die Meister des Bauhaus und einige ebenso well as chromatic harmonies which „Die Abenteuer Schlingensief's teeter on the edge of tonality with- visionär wie aufrecht gesinnte des Prinzen Achmed“ out ever crossing the line.” (Berliner Politiker sorgen für bedeutende last opera Morgenpost) Ensemble Modern Impulse – auch heute noch erlebbar According to Ulf Schirmer, “Braun- in der Musik Kurt Weills. fels’ music only exudes a great Salome Kammer Walter Braunfels’ opera Szenen sense of peace on the outside – on Seien Sie neugierig – machen Sie aus dem Leben der Heiligen Jo- the inside it is full of strong, con- HK Gruber Ihre Klangreise in die Stadt der hanna, Dichtung nach den Prozes- densed emotions.” (Tagesspiegel) Nils Landgren Klassischen Moderne! sakten von 1431, which was written www.bit.ly/braunfelsE in 1938–1942, will return to the PhiLlip Boa Staatsoperette Dresden Informationen & Kartenservice 29 MDR Sinfonieorchester 0341 - 14 990 900 Anhaltische Philharmonie www.kurt-weill-fest.de weill / braunfels bartók present the work with Staatska- pelle Berlin in Berlin (24–25 Jan), in Pictures of Vienna (1 Feb) and Paris (6 Feb). So- loist: Yefim Bronfman. the soul From 15 Dec, the Israeli Opera will play host to a new production (Dale Chihuly) of Bartók’s one-act opera Piano Concerto No. 2 was written Duke Bluebeard’s Castle alongside in 1930–1931, four years after the Mahler’s Kindertotenlieder (in con- challengingly radical and aggres- cert). Bartók composed his opera sive Piano Concerto No. 1. In 1939, as a symphony in seven pictures Béla Bartók explained: “My second of the soul, framed by a ballad-like piano concerto was composed to prologue. complement the first – with fewer www.bit.ly/blaubart difficulties for the orchestra and more pleasant themes. This inten- tion of mine explains the folk-like, kodály lighter character of most of the themes.” Daniel Barenboim will Hungarian folk music on stage

Zoltán Kodály’s musical comedy 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. Israeli Opera 2010 Opera Israeli Castle Béla Bartók Bluebeard’s Duke

bartók / kodály Karol Szymanowski Hagith Opera Wroclaw 2006 martin� szymanowski Perfecting a Expressive music new style Karol Szymanowski’s one-act opera Hagith (1911–1913) can be Bohuslav Martin� composed his heard again at Poland’s Wroclaw Concerto grosso for chamber or- Opera on 15 Feb. The opera tells of chestra and two pianos in Paris in the beautiful Hagith, who is sup- 1937. By immersing himself in old posed to bring the aged king power music, he developed his own un- and the vitality of youth but is, of mistakable language and broke course, doomed to failure. The char- away from the technical aspects acter sketches of the main parts are of composition, structuring and razor-sharp and the action is driven developing his music in a free forwards with breathtaking sus- style – in his own words, his de- pense, supported by the dynamics sired “perfection of a new style”. of the expressive music. Owing to wartime disruptions, Concerto grosso did not receive its The Wroclaw Opera will also be world première until 1941 with the presenting another performance Boston SO under Sergei A. Koussev- of Szymanowski’s opera King Roger itzky in the USA. The piece can now on 29 Dec, which has been shown be heard in Reno/USA on 22–23 Jan, in an extremely successful staging performed by the Reno Chamber by Mariusz Trelinski since 2007. The Orchestra under Theodore Kuchar. opera offers a blend of Arab culture, www.bit.ly/martinu-reno 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/hagith www.bit.ly/kingroger

31 martinů / szymanowski 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

Christian Thielemann Franz Schmidt’s musical creativity peaked in his last completed work schreker – the oratorio Das Buch mit sieben Siegeln (1935–1937). In setting the Fevered thoughts Revelation of St. John to music, the composer’s most important meth- in music od was a “fundamental antithesis” of good and evil based on varying ranges of tone, as he wrote in his Nachtstück, a symphonic interlude preface. The piece can be heard at from Act 3 of the opera Der ferne the Alte Oper in Frankfurt on 30–31 Klang, premièred in 1909, three Jan with the Figuralchor Frankfurt years before the opera itself, and and Frankfurter Museumsorches- gave rise to Franz Schreker’s first ter. major scandal. It is little wonder www.bit.ly/schmidt-E 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 sudden popularity paved the way for the opera which would make him famous. Nachtstück describes a dreamscape, and its motivic, harmonic and rhythmic layerings, its brilliant and often luxuriant orchestration, mirror the protagonist’s fevered thoughts. It can be

schreker / schmidt zemlinsky tury and only made a triumphant return to concert programmes in The tragedy of 1981, along with A Florentine Trag- edy. Friends and acquaintances the ugly man did not necessarily share Zemlin- sky’s enthusiasm for this “drama of the ugly man”, primarily because On 3 May 1921, Alexander Zem- Georg C. Klaren, the librettist, had linsky received the following tel- depicted the title role – if perhaps egram: “have read your opera the inadvertently – as the composer’s dwarf with great enjoyment co- Doppelgänger. By identifying him- logne is prepared to accept sole self with a figure so closely mod- rights for world premiere would elled on his own physical traits, it you be prepared to entrust your was feared that Zemlinsky would work to us Klemperer.” Der Zwerg expose himself to public ridicule. received its world première one The Munich State Opera will be year later, on 28 May 1922 in Co- presenting a new staging of the logne under Otto Klemperer. Dur- one-act opera from 27 Feb under ing this era of change, audiences the musical direction of Kent Naga- displayed a growing enthusiasm no. The première will be broadcast for ‘Zeitoper’ (opera of the times), live on BR-Klassik with John Daszak neoclassicism and New Objectivity. in the grand role of the dwarf. Apparently exaggerated, late-ro- www.bit.ly/zemlinskyE mantic music like Der Zwerg began to lose popularity. Following a series of performances, the work van- ished from the stage for half a cen-

Alexander Zemlinsky Der Zwerg La Monnaie Brüssel 2003

zemlinsky schönberg just one movement), it has a lively, bright and energetic character. Inspiration Members of the Berlin Philhar- monic will be performing the piece and ecstasy in Berlin on 13 Feb and in London on 20 Feb (conductor: Simon Rattle). www.bit.ly/schoenberg-op9 “The work is a true turning point in my life in this respect – even more Schönberg’s Verklärte Nacht op. 4 so because it was my first attempt is probably the composer’s best- at creating a chamber orchestra,” known and most popular work. wrote Arnold Schönberg, describ- Inspired by his acquaintance with ing his Chamber Symphony No. 1 his wife-to-be, Mathilde, the sister op. 9 for 15 solo instruments, which of his friend and teacher Alexan- he completed in Rottach-Egern on der Zemlinsky, he composed the Lake Tegernsee in 1906. Only half string sextet Verklärte Nacht in the length of the early chamber 1899, based on a poem by Richard music works (and consisting of Dehmel. He later arranged it for string orchestra in 1917 and 1943. The conductor and violinist Chris- toph Poppen said about the orchestral version: “What fascinates me about this orchestration is that he succeeded in using the orchestration 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).

Arnold Schönberg

schönberg 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 conductor Michael Boder and the team led by director Stefan Herheim, which included Alexander Meier-Dörzen- Alban Berg bach (assistant director), Heike Scheele (choreography) and Gesine Völlm (costumes). Sine Bundgaard berg was a convincing Lulu.

Lulu with a A review by Deutschlandradio reads: “Berg can be heard as a con- contemporary temporary of Kurt Weill (Mahago- nny) and Ernst Krenek (Jonny spielt approach auf). This in itself is exciting, but Kloke’s version offers even more: the drafts and scenes do not re- Alban Berg left his opera Lulu un- sult in or force a linear sequence finished. His untimely death in 1935 of events. Individual production prevented him from completing teams can and must choose their the orchestration for Act 3, which own sequence of music and scenes he left as a short score. The first two – a ‘free form’ which gives each pro- acts received their posthumous duction of Berg-Kloke’s Lulu its own world première in 1937 in Zurich. sound … ultimately what the ‘inter- The first performance of the whole active films’ of the future will offer opera took place in Paris in 1979. with their free choice of scenes … In This version, which was completed short, it is an old-style opera with a by Friedrich Cerha, offers perform- contemporary dramatic approach!” ers the choice of two or three acts. www.bit.ly/berg-lulu

Another version joined the repertoire 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

berg satie / Milhaud Circus music

Clytus Gottwald has now tran- Jack in the Box (1899) for piano is a scribed Alma Mahler’s 3 frühe Lied- rather unusual piece in Eric Satie’s er for a cappella choir. The world oeuvre. Consisting of three move- première will be given on 26 Feb ments, it is reminiscent of stylised at Gaisburg protestant church in circus music. The sometimes hectic Stuttgart at a special concert by gaiety in the rhythms and the of- the SWR Vokalensemble Stuttgart ten garish tones with a dissonant under Marcus Creed. and sometimes bi-tonal colouring The programme also features Gott- create a picture of sudden flashes wald’s transcriptions of works by of blinding light in a grey sky. Gustav Mahler, including Ich bin Darius Milhaud arranged the work der Welt abhanden gekommen for orchestra in 1928. Michal Nest- (I have become lost to the world) erowicz will be presenting this ver- www.bit.ly/alma-mahler sion in Barcelona (25–27 Feb).

Alma Mahler / c. gottwald World première of the 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 composing. 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- Alma Mahler py, it was too late.

36 satie / milhaud a. mahler / gottwald 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- Gustav Mahler pleted work, with two orchestras: the Munich Philharmonic (12–16 Jan) and the London Philharmonic terview for our Mahler blog, which Orchestra (25 Feb). is now online: www.universaledi- Symphony No. 9 will also be con- tion.com/mahler ducted by Gustavo Dudamel on the Andris Nelsons will also be con- European tour of the Los Angeles ducting Symphony No. 9, with the Symphony Orchestra – presumably City of Birmingham Symphony Or- from memory again, as in Gothen- chestra in Birmingham (2–3 Feb). 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 symphony, but now feels ready for the challenge, as he said in a video in-

mahler 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 people how to talk to our dear Lord.” And he did so with a self-assurance that is a far cry from Catholic hu- Leo�š Janá�ek mility and contrition. His aim was to write a “joyful mass” because all of the masses composed thus far janá�ek were so sad.

Glagolitic Mass The composer was apparently forced to make major revisions dur- ing rehearsals for the mass’s premi- 1926 was a particularly success- ère (5 Dec 1927) owing to a lack of ful and productive year for Leo�š instrumental resources and the Janá�ek, who composed the opera limited rehearsal time available, The Makropulos Case, as well as and some additional questionable Sinfonietta and the Glagolitic Mass, changes seem to have been made among other works. prior to the second performance in Prague (8 Apr 1928). Some of these Janá�ek wrote his Glagolitic Mass revisions actually constitute cuts in just two and a half months, and of music that ranks amongst the it became one of the most impor- most arresting that Janá�ek ever tant mass compositions. Distanc- wrote. To make matters worse, the ing himself from all of the well- composer died before the full score trodden paths of the traditional could be published. As a result, the

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 public. The original final version was then subsequently revised, taking musicological and practical performance 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 between the two versions, which can both be found in the study score. www.bit.ly/janacekE

janáček puccini Between opera

and operetta Puccini was to attend. Puccini was highly satisfied with his work. He saw his three-act “lyrical comedy” While visiting Vienna for the prem- as a “response to the terrible con- ière of his opera La fanciulla del temporary music, to the World War West, Giacomo Puccini received a music” and as his way of mediating highly tempting offer of the prince- between the worlds of opera and ly sum of 300,000 crowns to write operetta. an operetta. After initially rejecting It is a melodious tale of the roman- the request, he was persuaded, but tic mistress Magda, who finds the called the project a “lyrical come- love of her life only to lose him dy”: “in other words, an opera in the again. style of Rosenkavalier, only more La Rondine is performed in four entertaining and more organic”. versions, which mainly differ with From the librettos suggested in Vi- respect to the positioning of the enna, he chose Die Schwalbe (The Parigi … aria and the third act, Swallow) by Alfred Maria Willner. In which has a more dramatic finale September 1914, Puccini began set- in Lorenzo Ferrero’s reconstructed ting the text to music, ultimately version. The performance materials opting for an Italian version. March for all versions are available from 1917 saw the world première of La Universal Edition and Sonzogno in Rondine at the Opéra de Monte Milan. Carlo – the last world première that

Giacomo Puccini La Rondine Oper Leipzig 2009

puccini 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

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

anniversaries Mauricio Sotelo Muerte sin fin ‚bocetos escénicos’ para bailaora, cantaor, grupo instrumental y electrónica Fuensanta “La Moneta” (Tanz), Arcángel (Cantaor), Nieuw Ensemble, cond. Ed Spanjaard 30 January 2011 · Muziekgebouw Amsterdam/NL

GeoRg friedrich haas String Quartet No. 6 Hagen Quartett 23 January 2011 · Mozartwoche, Stiftung Mozarteum Salzburg/A

Alma Mahler / CLytus gottwald 3 frühe Lieder for 6 – 10-part choir SWR Vokalensemble Stuttgart 26 February 2011 · Gaisburger Kirche Stuttgart/D

Wolfgang Rihm Fantasia for string orchestra and piano Bottroper Kammerorchester, cond. Kai Röhrig 15 December 2010 · Bottrop/D

Wolfgang Rihm Will Sound More for ensemble Ensemble Modern 15 January 2011 · Alte Oper Frankfurt/D

Mauricio Sotelo Arcana ... 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 García 11 December 2010 · Valencia/E

world premières Frédéric Chopin Andante spianato and Grande Polonaise brillante (Urtext) editor: Christian Ubber UT 50266

Helmut hödl (editor) Klezmer Clarinet Duets for 2 clarinets UE 34531

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

Clay McMillan / Jason Freeman / Juan de Dios Magdaleno K 2010 for piano UE 34990

New Karl scheit Guitar Edition santiago de murcia Villanos – Fandango – Gallardas – Cumbees – Marizapálos – La Jotta for guitar, editors: Van Gonnissen, Müller-Pering, Monno UE 34488

maurice ravel Gaspard de la nuit for piano (Urtext) UT 50261

arvo pärt Im 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)

new releases Nicolai Podgornov Nicolai Podgornov's Graded Pieces

Volume 3 – Advanced for piano UE 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 century 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 introduce them to my pupils.” (Music Teacher, March 2010)

new releases 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 93716376 Hans 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 3109 Béla 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 10610 Pierre Boulez Messagesquisse Ensemble Modern, Eva Böcker, vlc · Ensemble Modern Medien SACD003 alfred 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 11060 Beat Furrer Studie 2 - a un moment de terre perdue Klangforum Wien, cond. Beat Furrer · NEOS CD 11060 Georg Friedrich Haas ein Saitenspiel Martin Mallaun, zith · Extraplatte CD EXSP0322 georges Lentz Monh, Guyuhmgan, Ngangkar Orchestre Philharmonique du Luxembourg, cond. Emilio Pomàrico, Tabea Zimmermann, vla · Timpani Records CD 1C1184 (Spring 2011) Rolf Liebermann La Forêt Orchestre de la Suisse Romande, cond. Jeffrey Tate, Regine Raviner, ms, Michal Shamir, s · Musiques Suisses 2CD MGB 6266 Arvo Pärt Stabat Mater, Cantique des degrés RSO Berlin, RIAS Kammerchor, cond. Kristjan Järvi · Sony CD 88697723342 Arvo Pärt Passacaglia Kremerata Baltica Chamber Orchestra, Gidon Kremer, vln Nonesuch Records CD 287228-2 wolfgang Rihm Verwandlung 2, 3 and 4 RSO Stuttgart, cond. Christian Arming, Matthias Pintscher Haenssler Classics CD 093263000 Franz Schmidt Symphony No. 4, Variationen über ein Husarenlied Malmö Symphony Orchestra, cond. Vassily Sinaisky Naxos CD 8572118

new on cd Walter c. Halffter edmund nick w. rihm Braunfels Tres piezas para Leben in dieser String Quartet Szenen aus dem cuarteto, String Zeit Chor u. No. 1 2, Fetzen, Leben der heili- Quartet No. 2, Orchester der Interscriptum gen Johanna Espacio de Staatsoperette Arditti String M. Honeck, J. silencio Dresden, cond. Quartet, Teodoro Banse, Swedish Leipziger Ernst Theis Anzellotti, RSO, G. Missen- Streichquartett Marcus Günzel, Nicolas Hodges hardt, E. Ericson MDG CD Christian Grygas, Winter & Winter / Kammerchor, 30716712 Elke Kottmair WDR media- Decca CD cpo CD group CD 0028947639787 761203754120 9101782

Arnold schönberg Pelleas und Melisande Duisburger Philharmoniker, cond. Jonathan Darlington Acousence ACO CD 21209 Arnold schönberg Pierrot Lunaire Holst-Sinfonietta, cond. Klaus Simon, Clementine Jesdinsky, s Spektral 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. 3 Wiener Philharmoniker, cond. Pierre Boulez, Wiener Singverein, Christian Tetzlaff, vln, Steve Davislim, t · DGG CD 00028947787716GH2 Egon Wellesz Persisches Ballet, Suite für Violin and Chamber Orchestra Ensemble Kontrapunkte, cond. Peter Keuschnig, Josef Hell, vln cpo/ORF CD 777 575-2 Ian wilson Man-o'-War, An Angel Serves a Small Breakfast, Licht/ung RTÉ National Symphony Orchestra, cond. Gerhard Markson, David Porcelijn, Rebecca Hirsch, vln · RTE Lyric FM CD126

new on cd UNIVERSAL EDITION

Austria: Boesendorferstr. 12, A-1010 Vienna, Austria (Musikverein) tel +43-1-337 23 - 0, fax +43-1-337 23 - 400 UK: 48 Great Marlborough Street, London W1F 7BB tel +44-20-7292-9160, fax +44-20-7292-9173 USA: European American Music Distributors LLC 254 West 31st Street, 15th Floor, New York, NY 10001-2813 tel +1-212-461-6940, fax +1-212-810-4565 www.universaledition.com, [email protected] Chief Editors: Angelika Dworak and Eric Marinitsch Contributors: Eric Marinitsch, Wolfgang Schaufler, Jonathan Irons, Angelika Dworak, Daniela Burgstaller and Marion Dürr Design: Egger & Lerch, Vienna/Austria Photo 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