October 2016

Reich 80th birthday celebrations

Events around the world honouring Steve Reich’s 80th include New York first performances of two new works, Pulse and Runner. San Francisco Steve Reich’s 80th is celebrated with over 400 of the all-Reich concert at on Los Angeles performances in more than 20 countries this year. 1 November with the united forces of ICE, Toronto

With the birthday itself falling on 3 October, this Soˉ Percussion and Synergy Vocals conducted Photo: © Newspix/Alan Pryke autumn brings major series in New York, London by David Robertson. London and Paris as well as first performances of his latest Reich describes Pulse as “a calmer more Paris works. One of the leading composers of the past contemplative piece” than his recent Quartet, half century, Reich lays genuine claim to directing Amsterdam employing a fixed pulse and steady harmonies musical history onto an alternative path, opening with varied accentuation coming from hand Cologne composition to influences beyond the central alternation patterns on the . Following Frankfurt classical canon. New York, the European premiere is at the Hannover Reich combined his early experiments on tape Barbican’s Steve Reich at 80 series on loops and phasing patterns with his researches 5 November, followed by an Ensemble Modern Leipzig into African drumming and Balinese gamelan to tour to Paris and Cologne, with further Munich create a radical new style, simple in materials yet performances in Amsterdam’s ZaterdagMatinee complex in its intricate rhythmic patterning. The series and in a Green Budapest scope of his works grew through the 1970s to Umbrella concert in January. Singapore create era-defining scores such as Drumming Taipei and Music for 18 Musicians. In succeeding decades he turned to recorded speech and “...a startlingly original Tokyo documentary media to create Different Trains composer and a trailblazer...” Sydney and his video operas in collaboration with Beryl Stephen Sondheim Korot including Three Tales. All these works are surveyed in the retrospectives Runner is unveiled in a new ballet choreographed athletically, with its five movement sections Cal Performances series in Berkeley in the New mounted by Carnegie Hall in New York, the by Wayne McGregor at The Royal Ballet in each employing different note durations in a Year. For full information on Reich performances Barbican in London and the Philharmonie in Paris. London on 10 November. Scored for a large distinctive Reich arch-form. European concert this year, including details of programmes in New The world premiere of Pulse for winds, strings, ensemble of winds, percussion, piano and performances follow from Ensemble Modern York, London, Paris and beyond, visit piano and electric bass provides the centrepiece strings, the new work opens and closes with the US premiere by Ensemble Signal in the www.boosey.com/reich80.

Award. Choral forces of 250 voices are joined by Turnage Jenkins Sinfonia Cymru as , under the baton of the composer. The Aberfan memorial event in Einojuhani Season premieres Cantata Memoria Cardiff is produced for telecast on S4C by Rondo This season brings five Media. The US premiere of Cantata Memoria is Rautavaara new Mark-Anthony scheduled for Carnegie Hall on 15 January with Turnage works composed Distinguished Concerts International New York (1928–2016) over the past three years conducted by Jonathan Griffith. with premieres on three Jenkins writes of how he “was mindful of the continents. Hibiki was responsibility the commission carried in writing commissioned by Suntory something with integrity and accessibility Photo: © Ondine Records Hall for its 30th anniversary that would connect and move everyone – and is premiered on 12 the bereaved who are still with us, those We pay tribute to , the November with the Little who remember and those who come to this leading Finnish composer of his generation, Singers of Tokyo and the catastrophe anew. Paradoxically, dealing with a who died on 27 July, aged 87. Following

Photo: © Phillip Gatward Metropolitan Symphony subject that lies so deep in the Welsh soul was studies in Helsinki, New York and Tanglewood, Orchestra under Kazushi Ono. The 50-minute both a harrowing and uplifting experience. The he developed a style that combined twelve- work draws its name from the Japanese for work is in two distinct sections but is performed note techniques with Romanticism, becoming ‘beautiful sound’ and is intended as consolation continuously. The first 20 minutes deal with the established as the symphonic successor to after loss – whether from war, earthquake or tragedy and the immediate aftermath, and the Sibelius while contributing works in every genre. tsunami. His six threnodies and a dance combine following 35 minutes move from darkness to light, In the late 1960s he distanced himself from orchestral movements with vocal settings for reliving memories and celebrating childhood, serialism and his mystical character came to the soprano and mezzo soloist plus children’s choir. ending with Lux æterna (everlasting light).” fore with music of richly-coloured lyricism, as First US performances of Shroud, Turnage’s The latest choral work of Karl Jenkins is released heard in the widely performed Cantus Arcticus: new work for the Emerson Quartet, take it to on disc by Deutsche Grammophon this month, for birds and orchestra (1972) and his New York on 23 October for a concert in the tied to its premiere in Cardiff on 8 October. “Aberfan is a subject that lies ‘Angel’ series of orchestral works. His stageworks Chamber Music Society of Cantata Memoria was commissioned by S4C to so deep in the Welsh soul...” often explored issues of creativity and madness, programme, followed by a tour in November commemorate the Aberfan tragedy 50 years ago, Karl Jenkins such as Vincent, Aleksis Kivi and Rasputin, while to the Philharmonie in Berlin and Wigmore Hall when a coal spoil tip enveloped a school and from the 1990s his symphonies and concerti were in London. Also in November is the premiere houses in a South Wales mining village, killing increasingly commissioned by outside The summer saw Karl Jenkins’s The Armed of Maya, part of the Swedish Chamber 116 children and 28 adults. Beyond memorialising his native Finland. Man: A Mass for Peace reach a landmark Orchestra’s Brandenburg Concerto project with the catastrophe itself, Jenkins’s work adopts a 2000th performance, confirming its status as Recent works included the cello concerto Towards Turnage’s work matching the scoring of Bach’s wider focus, mourning the loss of children in more the most frequently programmed new classical the Horizon, Into the Heart of Light for chamber first concerto, featuring cellist Maya Beiser. universal terms. work for choir and orchestra of recent decades. orchestra and the Lorca setting Balada for choir Whereas Shroud remembers two of Turnage’s Cantata Memoria is scored for chorus – Jenkins conducted the performance at the Royal and orchestra. Fantasia for violin and orchestra, closest friends from his early years, his new both mixed adult and young voices – baritone Albert Hall in London on 3 July with the Royal one of his final scores, has been recorded for orchestral work Remembering is a memorial for and soprano vocalists and orchestra with Philharmonic Orchestra and the Royal Choral release by Anne Akiko Meyers, the Philharmonia Evan Scofield, the son of guitarist and long- prominent solos for violin, euphonium and harp. Society, and Warner Classics released a special Orchestra and Kristjan Järvi on the eOne label and term Turnage collaborator John Scofield. First The libretto has been written by poet, academic Limited Edition of the recording which has receives its concert premiere in Kansas City under performances by the London Symphony and linguist Mererid Hopwood, who worked achieved 17 gold and platinum disc awards. Michael Stern in March. Orchestra on 19 January and Berlin Philharmonic closely with the composer on including references on 21 June see Turnage reunited with Simon to contemporary accounts of the tragedy and Rattle, the conductor who according to the the funerals. Jenkins describes how “this work composer “understands my style intimately and is music and a poem. It is not a documentary, Inside this issue… instinctively knows how to approach it”. nor even a dramatisation, but it does include a conflation of ideas and facts that were relevant Spring 2017 unveils Turnage’s Martland and by now part of the legacy.” Memorial for percussion and orchestra, featuring Colin Currie and the Britten-Pears Orchestra The premiere at the Wales Millennium Centre under , including a performance at features leading Welsh soloists, as on the DG the Royal Festival Hall on 7 April. The composer disc (0289 479 6486 5), including singers describes the work as “a quirky set of five Bryn Terfel and Elin Manahan Thomas, euphonist character pieces with marimba and vibes, David Childs and harpist Catrin Finch, together Glanert Andriessen Adams Gruber recalling Colin playing with the Steve Martland with young violinist Joo Yeon Sir, winner of the Interview on new Theatre of the World Celebrating his Berlin staging of Band, plus some exotic toy instruments”. inaugural The Arts Club/Sir Karl Jenkins Music Requiem for in Los Angeles 70th birthday Tales from the Hieronymus Bosch and Amsterdam around the world Vienna Woods

Glanert Bosch Requiem

But, step by step, the large choir and the Detlev Glanert introduces his new Requiem in honour of the 500th orchestra move across to the Requiem side, anniversary of Hieronymus Bosch, premiered in the artist’s home and from the Libera me onwards the soloists join town in November. them, until they are all united in the final section. Before the commission for the Bosch Requiem, What drew you to juxtaposing the Latin The work ends with an In paradisum and how had you discovered the artist’s unique world? Requiem Mass with texts from the Carmina consoling words from Revelation. How do you I’d known Bosch’s paintings for a long time and Burana collection? see this summing up the work? had always been fascinated by his overwhelming The conception of my Requiem is to show the I see the gap between the Libera me and the In imagination, the intriguing details, the darkness, judgement of the soul of Bosch himself (or that paradisum as the turning point of the Requiem: the contrast between holiness and sin, and the of any other person) by accusing him of the seven it is the final decision being made here that ensures sheer apocalyptic impact. He truly sees the evil deadly sins. For that I needed to find texts to the soul will enter into Paradise. Therefore I allowed in humanity very clearly and informs us of man’s complement the Requiem passages and this led myself to give the speaker some words from the spiritual predicament and fall from grace. As a me to the Carmina Burana manuscript. The poems end of Revelation that have resonated strongly contemporary composer I’m also amazed by the chosen by Orff represent only a tiny part of this since medieval times, as if we are passing through sheer modernity in his art, which is often futuristic huge collection and whereas he focused on the a door to eternal life. Although we undertake the with its predictions of the machine age. pagan, I’ve selected more sophisticated poetry, journey with the soul of Bosch, the work can also even if it is describing sinners tempted by demons. be understood without reference to the artist. If Is Bosch’s balancing of wild fantasy and structural we found ourselves in the face of the accuser we craft instructive for a composer? How has your writing for chorus evolved through would similarly respond by saying “Libera me” – we It depends on the composer. Some avoid your operas? are all sinners but we could all cross to Paradise. fantastic elements in their music and others may I’ve gained experience composing for chorus not appreciate the mastery Bosch demonstrates in different ways. The voices are sometimes Glanert in controlling the human chaos, such as in the speaking as one – as in a standard opera – or Requiem für Hieronymus Bosch (2015-16) 75’ crowd scenes. However, his balancing act they might be wordless and disembodied such after the Requiem Mass and medieval poetry (L) perfectly fits with my own approach to creativity, as representing the controlling planet in Solaris. for solo voices, choruses and orchestra composing music which explores the human The new element for me in the Requiem was Commissioned by Jheronimus Bosch 500 Foundation and condition through observation. having to set theological texts, which prompted Royal Concertgebouw Orchestra an alternative style of writing. Rather than How did you approach the sacred history of employing modernist techniques I had to think 4 November 2016 (world premiere) the Requiem? about eternity in the purest and simplest terms. Sint Janskathedraal, ’s-Hertogenbosch The heritage of the Requiem was one of the 5 November 2016 biggest hurdles to overcome. As a believer but How have you divided up the vocal and choral Royal Concertgebouw Hall, Amsterdam not a church-goer I followed Bach’s example elements in the Bosch Requiem? NTR ZaterdagMatinee series of responding as a non-Catholic to these ancient The choral forces as a whole represent the soul texts. He tapped into the power and intrinsic of Bosch, while the speaker is the artist’s accuser David Wilson-Johnson/Aga Mikolaj/ dignity of the words as a devotional act and with – the archangel Michael. There are two choirs, Ursula Hesse von den Steinen/ a human-focused interpretation. Though written small and large. In the beginning the small choir Gerhard Siegel/Christof Fischesser/ in the early centuries of the Church the Biblical and the organ present the traditional Requiem Netherland Radio Choir/ by Hieronymus Bosch/Palazzo Ducale, Venice/Cameraphoto Arte Venezia/Bridgeman Images Arte Venezia/Bridgeman Bosch/Palazzo Ducale, Venice/Cameraphoto The Falling of the Damned into Hell by Hieronymus Panel from Credit: texts remain a central anchor point for our text, and the sins are interpreted by the large Royal Concertgebouw Orchestra/

Hell as painted by Hieronymus Bosch (1500-04) civilisation between the Talmud and Koran. choir, orchestra and especially the soloists. Markus Stenz Photo: Bettina Stöß

Andriessen Theatre of the World from LA to Amsterdam Chin in Seoul Louis Andriessen’ new stagework, Theatre of the Athanasius Kircher, who was once called the ‘last man Though resident in Berlin, Unsuk Chin regularly World, subtitled by the composer as ‘a grotesque who knew everything’… The opera takes the aged Kircher returns to her native city of Seoul, most recently in nine scenes’, received first performances in on a time-travelling journey back through the important for the world premiere of Le Chant des Enfants Los Angeles in May and Amsterdam in June. events of his life, on which he is guided by a boy who des Étoiles. The work was commissioned by Leading Andriessen exponent Reinbert de Leeuw may be an angel or an apprentice devil, even perhaps a the Lotte Group for the inauguration of the new conducted the Los Angeles Philharmonic at reincarnation of the scholar himself as a young man… 2000-seater concert hall in the Lotte World Tower Disney Hall and the Schoenberg|Asko Ensemble complex, and the first performance was a major “…as Andriessen’s gleefully eclectic score underlines, it’s at the Holland Festival, with staging by Pierre event in the musical life of South Korea. all much more than an operatic biopic. There are elements Audi and video by the Quay Brothers. of allusiveness and surreal fantasy to Kircher’s adventures The premiere by the Korean National Chorus and and encounters, which seem to take place in a Bosch-like Academy Boys Choir and the Seoul Philharmonic “Louis Andriessen’s world of grotesques, with a trio of witches, damned Dante- – Chin is the orchestra’s resident composer and music compels from esque lovers and an axe-wielding executioner. This not director of its contemporary music series – was only recalls Andriessen’s exuberant treatment of the Divine under the baton of Myung-Whun Chung, who start to finish.” Comedy in his preceding stage work, La Commedia, but has done much to champion the composer’s Los Angeles Times goes right back in some respects to his first theatre piece, music, at home, on tour and on disc. Chin’s De Materie." Opera 40-minute score ponders man’s relationship with the cosmos, with texts drawn from 20th-century “…a dizzying work that’s vast in its scope yet unnervingly “The intensely committed performances make every poets including Fernando Pessoa, Giuseppe claustrophobic. Musically, it is brilliant and deep… detail of Andriessen’s fabulously assured score count. Ungaretti and Octavio Paz. Andriessen is the great argumentative opera composer of His pungent reedy soundworld is darker than usual, but our day. He argues with every convention of the lyric stage. its striding, jazzy , sweet-sour chorales and “From its opening bars the music pulled the audience into He is, moreover, a master of operatic argument, which is early music vocal writing, as well as the lightning-quick the endless abyss of the cosmos, soon filling the whole the traditional term for plot in not just its narrative sense but references to a range of other musical styles, are as concert hall with magnificent echoes. It was like taking a also its moral, spiritual, political and temporal implications. instantly identifiable and exhilarating as ever.” spacewalk into the infinite universe.” Chuson Ilbo He is a clear-eyed Dutch sceptic and humanist who surfs the alarmingly narrow arteries that separate life from death, “The mystical Mexican poet Sor Juana Inés de la Cruz, “Chin’s mysterious soundworld including the tones of wisdom from belief, the known from the unknown.” who knew Kircher’s work, is here an angelic presence high the magnificent organ was outstanding… The primary above the stage, the object of his long-distance adoration. Los Angeles Times Photo: Ruth Walz colours were provided by string harmonics, the sparkling Sung beautifully by Cristina Zavalloni, she gets the pure, sound of harp, celesta, chimes and glockenspiel, and “Theatre of the World is built around the life and high lines that have long been a fixture of Mr. Andriessen’s Louis Andriessen’s Theatre of the World staged by Dutch miraculous choral writing recalling Gustav Holst’s Neptune multifaceted achievements of the 18th-century Jesuit medieval-flavored writing for voices.” New York Times National Opera at the Holland Festival the Mystic, together with a dynamism akin to Stravinsky’s music.” Yonhap News Further Chin events at the Lotte Concert Hall include the South Korean premiere of the Double with the and Michael Concerto performed this month by the Ensemble Adams at 70 Tilson Thomas’s weeklong focus in February Intercontemporain both in Seoul and Tongyeong, and the Los Angeles Philharmonic’s production and her opera Alice in Wonderland in the Netia This season’s celebrations for the 70th birthday of of in March. The same month Jones concert staging next summer. on 15 February were launched when sees the St Louis Symphony tour The Gospel the composer made his debut on the rostrum According to the Other Mary to Carnegie Hall and of the Berlin Philharmonic last month for the the perform Absolute Jest German premiere of Scheherazade.2. Events in at Lincoln Center before touring it to Europe. this extensive birthday series include 15 concerts and a planned CD edition, with the baton passing Notable Adams opera productions include Peter to the orchestra’s outgoing Artistic Director Simon Sellars’s staging of The Gospel According to Rattle, the incoming Kirill Petrenko, Alan Gilbert the Other Mary in Bonn and Nixon in China at and . Adams is also featured the Royal Swedish Opera and Houston Grand composer with the Orchestre National de Lyon Opera. The grand finale of the Adams 70th year this season with seven works performed. is promised with the world premiere of his Girls of Photo: Vern Evans Photo: Vern the Golden West staged by San Francisco Opera London, Paris and Amsterdam all host Adams including Scheherazade.2, the Saxophone in November 2017. The new two-act opera is set 70th features including concerts conducted by Concerto and both string quartets, while the during the 1850s Gold Rush with libretto the composer. The Barbican’s focus on The ZaterdagMatinee series at the Concertgebouw in and production by Peter Sellars. A tantalising Sounds that Changed America includes a major Amsterdam offers The World According to Adams five-minute orchestral taster, Lola Montez Does Adams strand with highlights including the London throughout this season with five concerts including the Spider Dance, was revealed to acclaim at this Symphony Orchestra in El Niño in December El Niño and Nixon in China. summer’s Cabrillo Festival under Marin Alsop. and the BBC Symphony Orchestra in Doctor Photo: Lotte Concert Hall / Foundation for Arts Atomic in April. The Philharmonie in Paris devotes California, Adams’s home state, reserves its For a full diary of John Adams events visit Unsuk Chin takes a bow after the premiere of a weekend to Adams on 10 and 11 December highest festivities for the birthday period itself, www.boosey.com/adams70. Le Chant des Enfants des Étoiles in Seoul.

Strauss Danae returns to the Salzburg Festival Chapela the story of Midas, the king with the problematic golden Premieres touch. At the start, boisterous creditors heckle King Pollux, Danae’s debt-ridden father, demanding payment. Then This summer has seen Danae has a wondrous dream of being showered in gold Mexican composer – not just a fantasy of wealth, but a hope for emotional Enrico Chapela’s music riches and spiritual rebirth… Does she go for wealth toured by the German and godliness with Jupiter, or for human affection with Youth Orchestra under Midas?... Jupiter learns that the gods, alas, can never Alondra de la Parra, know human love.” New York Times including the German premiere of his electric “This new production imbues the opera with a requisite cello concerto Magnetar splendour and conceptual depth that fully complements with soloist Johannes the surpassing complexities and difficulties of the Moser at the Berlin Strauss score… Die Liebe der Danae is ultimate Strauss Konzerthaus and the demanding ultimate virtuosity and bravura on all levels, world premiere of Photo: Bernd Uhlig most certainly from the singers.” Opera Today Zimmergramm at the BeethovenFest in Bonn. The new 20-minute work, described by the composer as a ‘mini- "...the farewell scene is opera’, was commissioned by Deutsche Welle like a dream from another, and saw the orchestra joined by soloists and the better world." LandesJugendChor NRW. Der Standard Zimmergramm takes its title from the wartime telegram sent by Germany’s Foreign Secretary “Concerning the music, everything in this work is Arthur Zimmermann to its ambassador in

Photo: Salzburg Festival/Forster remarkable: the score is masterful, the musical language Mexico City in 1917, proposing that Mexico is as brilliant as in the composer’s best operas. The last join Germany against its longtime regional rival Die Liebe der Danae at the Salzburg Festival with Krassimira Stoyanova in the title role 20 minutes – an attempt to seek refuge in pure tonality, the USA. The communication was decrypted sound and melody – count among the very best from by British intelligence and the diplomatic fallout This summer’s Salzburg Festival saw a The new production by Latvian stage director Strauss’s pen, and are beguilingly beautiful.” Kurier contributed to America joining the Allies against welcome return of Strauss’s late opera Die Alvis Hermanis provided visual spectacle, replete Germany. The three ‘acts’ of Chapela’s score Liebe der Danae, gracing the same stage as at with gold-clad dancers, a white elephant and Other recent productions of Die Liebe der Danae counterpoint folk music recreations from Mexican its posthumous premiere in 1952, three years outsize turbans, but increasingly focused in upon have included Günter Kramer’s for the Semperoper revolutionary times with the political dialogues in after the composer’s death. Though completed the simple, true love that ultimately wins Danae's in Dresden in 2005 and Kirsten Harms’s for the a contemporary idiom. in 1940, with theatres closed in wartime heart. Franz Welser-Möst conducted the Vienna Deutsche Oper in Berlin, revived last season and Europe, Strauss only heard Danae at a Philharmonic with a cast including Krassimira released on DVD. A staging for Bard SummerScape Two new orchestral works are premiered in private dress rehearsal in Salzburg in 1944, Stoyanova and Tomasz Konieczny. in 2011 prompted a North American reappraisal of Mexico in the coming months. Antikythera, commenting to the Vienna Philharmonic players the opera and concert performances in Garmisch commissioned by the Orquesta Filarmónica “Gentlemen, perhaps we shall meet again in a “This penultimate opera by Strauss conflates two myths: and Frankfurt were mounted to celebrate the Boca del Rio, draws musical inspiration from better world!” Jupiter’s attempted seduction of the lovely Danae, and composer’s 150th anniversary in 2014. the 2000-year-old mechanism discovered in a shipwreck off the Greek island, whose gears could simulate planetary motion. Astronomy is also central to Lunática, commissioned by the UNAM Philharmonic in Mexico City, which explores the spectral data from the 184 moons Willems classic Forsythe ballets in Paris discovered in our solar system, predicting July saw composer Thom Willems join with chemical conditions where organic life might Chin in Seoul choreographer William Forsythe for a triple bill be possible. at the Paris Opéra Ballet including two of their dance collaborations. This was something of a homecoming for both artists to the company that has given over 300 performances of their ballets including the classic In the Middle, Somewhat Elevated commissioned and premiered there. Mackey The Pas-de-deux Of Any If And, joining the Paris Orpheus Unsung company’s repertoire for the first time, is danced Steven Mackey’s to an electronic score by Willems which splits the ‘wordless opera’ high resonances from a piano sound, transposing Orpheus Unsung was them upwards to create harmonies which hint at premiered at the Guthrie Renaissance music, set alongside a spoken text. Theater in Minneapolis Approximate Sonata is thus titled because the in June as part of the dancers correct their steps, as if during rehearsal Saint Paul Chamber they have made an error or improper foot position. Orchestra’s Liquid Music series, featuring the “Of Any If And and Approximate Sonata, were created composer as electric in the mid-1990s. They share a seriousness of purpose, guitarist. Joined by a forensic intensity in their bid to engage with classical Jason Treuting of Soˉ technique while deconstructing its usual framework. Both Percussion and three Photo: Princeton University/Kah Poon have scores by Thom Willems, but the choreography dancers, with staging by Mark DeChiazza, Mackey operates on its own wavelength, not unlike Merce redefined the classic myth without recourse to text Cunningham’s work with John Cage. There is a cold edge or voice. to their impossibly complex phrases… they challenge the Photo: Ann Ray/Opéra National de Paris dancers to new heights…” Financial Times Of Any If And at the Paris Opéra Ballet with music by Thom Willems, danced by Vincent Chaillet and Eléonore Guérineau “…seeing as myths are timeless, why couldn’t Orpheus Last month launched a 20 performance run play a Fender Stratocaster, the electric guitar of choice for of One flat thing, reproduced by the Dresden Middle, Somewhat Elevated joins the repertoire Somewhat Elevated at Sadlers Wells next March, rockers from Buddy Holly to Jimi Hendrix to Eric Clapton? Frankfurt Ballet Company in both cities. Pas./ of Oregon Ballet Theatre. Approximate Sonata is and the Compañia Nacional de Danza de España That’s what composer Steven Mackey is wielding as he Parts returns to San Francisco Ballet this month danced by Royal Ballet of Flanders this autumn, stages Enemy in the Figure in an all-Forsythe premieres Orpheus Unsung… there are a lot of moving following its US premiere last season and In the English National Ballet presents In the Middle, programme in April. parts to this imaginative adaptation of the ancient tale, and they were executed exceptionally well…

“The evening is truly a tour de force for Mackey, who displays a fascinating musical vision and an astounding way with his instrument and effects pedals. (He performs Dean towards Hamlet at Glyndebourne barefoot in order to use as many toes as fingers to make this music)… a great showcase for a unique voice in Brett Dean is completing work on his new opera and Dean’s Gertrude Fragments worked in reverse. American music.” Hamlet, to be premiered at the Glyndebourne The scoring for mezzo and guitar involved stripping Twin Cities Pioneer Press Festival in June 2017 with autumn performances back the operatic music and allowed Dean to come on the Glyndebourne Tour. Vladimir Jurowski to grips with Gertrude’s character, which in turn fed Also premiered in June was Mackey’s 30-minute conducts a starry cast including Allan Clayton, back into Hamlet. A similar process is taking place ensemble work Blue Notes and Other Clashes, Barbara Hannigan, Sarah Connolly and John for Rooms of Elsinore for viola and piano, due for written for the combined forces of PRISM Tomlinson with staging by Neil Armfield, who premiere next April. The work takes the listener on Quartet and Soˉ Percussion and unveiled in directed Dean’s first stagework Bliss for Opera a tour of the castle, providing a sonic snapshot of Philadelphia. This summer has brought first Australia. Dean has collaborated with librettist what happens in each location. European performances of his orchestral score Matthew Jocelyn in distilling the new opera from Mnemosyne’s Pool with Gustavo Dudamel at the Shakespeare’s classic play, drawing partly on the From Melodious Lay for tenor, soprano and helm of the Bavarian Radio Symphony Orchestra early First Quarto to provide some different slants orchestra, described by the composer as a in Munich and Luxembourg. on the familiar text. Hamlet Diffraction, receives its premiere by Photo: Mark Coulsen the BBC Symphony Orchestra under Joshua Håkan Hardenberger and the Swedish Chamber Over the four-year gestation of Hamlet, Dean at Elsinore and this formed the basis of the Weilerstein at the Barbican in London on Orchestra have toured Mackey's Triceros to has been exploring ideas and material for the chamber work. The high soprano is at times in 1 November. Unlike his earlier opera Bliss, Germany and Hungary following its premiere last stagework through a series of satellite works. combat with the forces around her, at times lulled, Hamlet doesn’t have set-piece arias or substantial December. Composed as a coupling for Bach's Composing And now I played Ophelia for string accompanied, even defeated by them. interludes that could be easily extracted. So the Brandenburg Concerto No.2 and named after quartet with soprano acted as a kick-starter for new suite required its own dramaturgy as a stand- a three-horned chameleon, the 20-minute work the opera. Examining the pivotal role of Ophelia, Music from the quartet provided a resource for the alone work and Jocelyn shaped the material into sees the soloist playing flugelhorn, in C Dean and Jocelyn concluded that she was Ophelia scenes as composition of Hamlet began, seven sections, adding in texts that don’t appear and piccolo trumpet, taking as its starting point shaped by her relations with the other characters whereas the relationship between the stagework in the opera to provide essential links. Bach's final high C. Gruber Vienna Woods in Berlin New publications

“With this German premiere, the Komische Oper “Gruber has created a score from the best that new music Béla Bartók Michael Daugherty demonstrates the fact that Gruber’s Tales from can offer… The work is a portrait of how people, although Duos & Trios Strut the Vienna Woods belongs in the repertoire…” they put up a superhuman fi ght, can break down forlorn. Romanian Folk Dances for string orchestra So wrote the Berlin Morgenpost reviewing the It is thanks to this most original of Austrian composers, Latest releases in the new Boosey Full score fi rst German staging of HK Gruber’s opera, that an opera has been created out of the play, and one & Hawkes Bartók Edition showcase 979-0-051-09682-4 £12.99 based on Horváth’s classic bitter-sweet drama of such impressiveness that it deserves to be performed stylish and idiomatic arrangements UFO of social turmoil in the late-1920s. The new on every operatic stage from New York to Tokyo…” of Bartók classics by Hywel Davies. Reduction for percussion Berlin production by Michal Zadara followed the Neues Deutschland Three collections of Duos & Trios and piano premiere staging seen at the Bregenz Festival for , violin and fl ute are joined by fi ve albums “Here are the old-established inhabitants who 979-0-051-10582-3 £22.99 and Theater an der Wien and a second of Romanian Folk Dances for alto saxophone, cello, fear for their standard of living and their view German production is already scheduled clarinet, fl ute, trumpet and each with piano. For full Alberto Ginastera of the world, and there are the outsiders or at the Theater Hagen next June. details visit www.boosey.com/bartokedition. Bomarzo newcomers who rock the boat... The audience Vocal Score understood and applauded loud and hard Dominick Argento “Gruber has created a musically multicoloured, 979-0-051-93454-6 £37.99 at the end, especially for the magnifi cent The Vision shimmering opera, and enriched it with Cornelia Zink as Marianne, the production for choir and Steven Mackey quotations echoing Viennese music, Alban Berg team who also earned tremendous applause, (or organ) Beautiful Passing and , songs and cabaret of the and the composer who was present and was Full score and parts Reduction for violin and piano 1920s. The premiere at the Bregenz 979-0-051-10504-5 Photo: Lucerne Festival cheered…” Der Neue Merker £11.99 979-0-051-10764-3 £17.99 Festival was a huge success, and this was repeated at the Komische Oper Berlin.” Opernnetz The soundworld created for Tales from the Walden Pond Astor Piazzolla Vienna Woods fi nds a new context in Gruber’s Nocturnes and Barcarolles 25 Piazzolla Tangos “Gruber can do everything from fugue to cluster – and new Piano Concerto for Emmanuel Ax, which for choir, 3 cellos and harp Flute part and piano score uses it for works which are without parallel in their variety takes soloist and orchestra through a series of Full score 979-0-051-10808-4 £17.99 and their wit. But above all he dares to write great 979-0-051-26170-3 £14.99 colourful tableaux. The world premiere is at Lincoln Steve Reich melodies to match great feelings. Such as for Marianne, Center on 5 January with Ax joining the New York Elliott Carter Proverb whose cantilenas of longing and despair tug right at our Philharmonic under Alan Gilbert. The European Tempo e Tempi for voices and ensemble heartstrings… It is terrifi c how the blissful Straussian waltz premiere follows on 16 March with Simon for soprano and ensemble Study Score dissolves into fragments and wanders, ghost-like, through Rattle and the Berlin Philharmonic with future Score and parts 979-0-051-21443-3 £14.99 the parts, how coldly the prepared piano tinkles and how performances by the Stockholm Philharmonic 979-0-051-10769-8 £33.99 the cabaret band quotes the spirit of Weill.” Morgenpost and the Tonhalle Orchester in Zürich.

Magnus Lindberg New recordings Era Royal Concertgebouw Orchestra/ John Adams David Robertson Scheherazade.2 RCO Live 16003 Leila Josefowicz/ James MacMillan St Louis Symphony/ /Symphony No.4 David Robertson Vadim Repin/BBC Scottish Nonesuch 557170 Symphony Orchestra/ Brett Dean Donald Runnicles Shadow Music/Testament/ Onyx Classics 4157 Etüdenfest/Short Stories Since it was the day of Preparation Magnus Sköld/ Brindley Sherratt/Synergy Vocals/ Swedish Chamber Orchestra/ Hebrides Ensemble Brett Dean Delphian DCD34168 BIS 2194 Steve Reich Alberto Ginastera Double Sextet/Radio Rewrite Bomarzo Ensemble Signal/Brad Lubman Salvador Novoa/Brent Ellis/ Harmonia Mundi HMU907671 Isabel Penagos/Richard Torigi/ Photo: © Iko Freese/drama-berlin.de Chorus and Orchestra of the Sextet The new Komische Oper production of HK Gruber’s Tales from the Vienna Woods Opera Society of Washington/ LSO Percussion Ensemble Julius Rudel LSO Live 5073 Sony Classical 88985350882 from Mass feature solo cello. Clarinet is in the Concerto per Corde/Glosses/ Threni/Requiem Canticles spotlight for Prelude, Fugue & Riffs written for Estudios Sinfonicos/Iubilum Collegium Vocale Gent/ Benny Goodman and in the Sonata for Clarinet Deutsches Symphonie-Orchester Berlin/ Royal Flemish Philharmonic/ and Orchestra. The Concerto for Orchestra is a Arturo Tamayo Philippe Herreweghe showpiece for all sections, with gamesmanship Capriccio C5271 Outhere LPH020 from composer and performers leading to a orchestral closing benediction. Bernstein’s theatre music is equally at home in the concert hall, with much on offer beyond the ubiquitous Candide Overture and Symphonic Copland Appalachian Spring anew Dances from West Side Story. His evergreen Photo: © Alfred Eisenstaedt Photo: © Alfred musical is also distilled into two suites, one with ballet and did not deploy the music in the same The centenary of in 2018 soprano and tenor, and the other with soloists order, so could not be performed alongside the offers the opportunity to explore his orchestral and chorus. The New York theme continues with celebrated choreography. This led the Aaron works, from witty overtures, through theatrical the Overture and Three Dance Episodes from On Copland Fund to commission composer David suites, to full symphonic statements. All three of the Town and selections from Wonderful Town. Newman to create the new orchestral edition that Bernstein’s symphonies employ programmatic Orchestral suites have also been drawn from his aligns exactly with the original ballet. elements, drawing upon additional musical forces operetta Candide, the musical 1600 Pennsylvania The complete 35-minute orchestral ballet score following the Mahlerian model. Symphony No.1 Avenue and the opera A Quiet Place. ‘Jeremiah’ was the composer’s fi rst large-scale was given its fi rst performance in Dallas in In collaboration with Jerome Robbins (who shares work, completed in 1942 when he was still May with student musicians and dancers from the 2018 centennial), Bernstein created three in his early twenties. The wartime situation in Southern Methodist University. A second outing dance scores that provide attractive concert fare. Europe prompted parallels with the destruction came in June with Marin Alsop conducting the Music from Fancy Free, a pre-cursor of the high- of the temple in Jerusalem, lamented in the fi nal Baltimore Symphony, sharing the stage with the spirited On the Town, is available in Three Dance movement by the mezzo soprano soloist. small cast of dancers from Baltimore School of Variations as well as the complete ballet, while The Age of Anxiety (Symphony No.2) – inspired Arts and providing a highlight alongside the 2016 the choreographic essay Facsimile offers a more by Auden’s dramatic poem – fuses symphony, League of American Orchestras conference.

psychological examination of romantic relations. Photo: Martha Graham Dance Company concerto and tone poem and features a prominent The new edition is now available for rental In The Dybbuk Bernstein and Robbins explored jazzy role for piano. ‘Kaddish’ Symphony No.3 Aaron Copland’s Appalachian Spring achieved from Boosey & Hawkes, providing performing Yiddish folk drama, heard in Suite No.2 as well combines the Hebrew-Aramaic prayer for classic status with the Martha Graham ballet opportunities both for dance companies in as the complete ballet. soprano, mixed and boys’ choirs with English premiered in 1944, depicting a young farming large theatres and for orchestras preferring texts for a speaker exploring the relationship On the Waterfront was Bernstein’s only fi lm score couple setting up home in the American to present the complete ballet rather than the between man and God. but is rightly regarded as a twentieth century wilderness. Dance companies have only been suite, or wanting to perform with dancers on the classic, with Marlon Brando as a once-promising able to perform the Graham choreography until Although there are no traditionally titled , concert platform. The Aaron Copland Fund has boxer held back by corruption and violence in now using the original 13 instrument scoring that Bernstein composed a wealth of music for solo also collaborated with Boosey & Hawkes on a the New Jersey dockyards. As well as the familiar Copland created for the premiere but this is set to instrument and orchestra. Other than The Age new engraving of the Appalachian Spring suite, suite, it can now be presented with live orchestra change with a new version for full orchestra. of Anxiety, all his concertante works are readily correcting a number of errors and inconsistencies accompanying a screening of the fi lm, offering performable with small orchestra. The Serenade Copland himself condensed the ballet music into to provide a high quality edition. audiences the complete score in the concert is Bernstein’s violin concerto as well as a hymn to the familiar 25-minute orchestral suite in 1945, The second release in John Wilson’s new Copland hall. Bernstein in a lighter vein is provided by his love, preserving its place in the repertoire thanks omitting some 10 minutes of music from the series for Chandos with the BBC Philharmonic Divertimento and Slava! A Political Overture as to leading violinists including Joshua Bell, Hilary original score, and later orchestrated much from turns to relative orchestral rarities with welcome lively alternatives to the Candide Overture. Hahn, Midori and Anne Akiko Meyers. Halil is a the missing sections at the request of Eugene recordings of the Short Symphony (No.2) and the nocturne with solo fl ute mourning the death of a For information including licensing contacts view Ormandy in 1954. However this expanded Organ Symphony together with the Symphonic young Israeli musician and the Three Meditations www.boosey.com/bernstein100brochure. version was still missing 50 bars from the original Ode and the Orchestral Variations (CHSA 5171).

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