Zoltán Béla Jenö Kurtág Ligeti Franz
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NEWS AND INFORMATION FROM UNIVERSAL EDITION 6 ZOLTÁN A patriot, not a nationalist KODÁLY BÉLA “This is truly wonderful” BARTÓK JENÖ Memories of Bartók TAKÁCS György Ligeti on GYÖRGY KURTÁG György Kurtág on GYÖRGY LIGETI FRANZ Two new compositions LISZT 210x280_dialoge13_Layout 1 24.10.13 17:12 Seite 1 DIALOGE LICHT 27.11.–01.12.2013 MOZART CHARLES IVES GEORG FRIEDRICH HAAS t a SA 30.11 19.30 UHR . INS LICHT m FR 29.11 19.30 UHR SALOME KAMMER, MICHAEL u e SCHATTENSPIEL BARENBOIM, ALEXANDER t r DO 28.11 19.30 UHR SARAH WEGENER MELNIKOV, STADLER a z DE TERRAE FINE MARINO FORMENTI QUARTETT, DAAN o MI 27.11 18.00 UHR CAROLIN WIDMANN ARDITTI QUARTET VANDEWALLE, IVETA m ATELIERGESPRÄCH MIT CÉDRIC TIBERGHIEN EXPERIMENTALSTUDIO APKALNA, LETIZIA RENZINI @ GEORG FRIEDRICH HAAS QUATUOR DIOTIMA FOLKERT UHDE s DES SWR t BRIGITTE KOWANZ U. A. GEORG FRIEDRICH HAAS GEORG FRIEDRICH HAAS CHRISTIAN WEISSKIRCHER SO 01.12 15.00 UHR e k „DE TERRAE FINE“ FÜR „EIN SCHATTENSPIEL“ FÜR GEORG FRIEDRICH HAAS REFLEXIONEN – 2X HÖREN c i 19.30 UHR CENTRAL PARK VIOLINE SOLO, QUARTETT KLAVIER UND LIVE- „INS LICHT“ TRIO FÜR VIOLINE, BOULANGER TRIO t , IN THE DARK NR. 6 FÜR ZWEI VIOLINEN, ELEKTRONIK, „DIDO“ FÜR VIOLONCELLO UND KLAVIER, MARKUS FEIN 4 KLANGFORUM WIEN VIOLA UND VIOLONCELLO STREICHQUARTETT UND 3. STREICHQUARTETT „IN IIJ. 5 SALZBURGER BACHCHOR SOPRAN, „HOMMAGE À NOCT.“, „TOMBEAU“ 18.00 UHR 1 3 CLEMENT POWER FR 29.11 16.00 UHR LIGETI“ FÜR 2 KLAVIERE FRAGMENTE AUS DEM MOZART REQUIEM KV 626 7 JOANNA MACGREGOR DAS ZERSTÖREN VON (IM VIERTELTONABSTAND FRAGMENT KV 616 FÜR MOZARTEUMORCHESTER t f 8 - CHRISTA SCHÖNFELDINGER HÖRERWARTUNGEN GESTIMMT) ZU 2 HÄNDEN, VIOLINE, VIOLONCELLO UND SALZBURG a 2 GEORG FRIEDRICH HAAS SARAH WEGENER 7. STREICHQUARTETT FÜR KLAVIER AUFTRAGSWERK DER SALZBURGER BACHCHOR h 6 e c „WOHIN BIST DU GEGANGEN” EUM SALZBURG t STIFTUNG MOZART LAURENCE EQUILBEY s 6 CORNELIS WITTHOEFFT STREICHQUARTETT UND r - n n FÜR CHOR UND ENSEMBLE GEORG FRIEDRICH HAAS ELEKTRONIK URAUFFÜHRUNG LYDIA TEUSCHER e e 3 e z e 4 AUFTRAGSWERK DER STIFTUNG GEORG FRIEDRICH HAAS KATRIN WUNDSAM s s n s + i u MOZARTEUM SALZBURG „…WIE STILLE BRANNTE 21.30 UHR LOUNGE 21.30 UHR LOUNGE COLIN BALZER o . K W M T URAUFFÜHRUNG DAS LICHT“ IM WIENER SAAL IM WIENER SAAL THOMAS TATZL November 2013 Musikblätter 6 Dear Music Lovers, “This is truly wonderful,” wrote Béla Bartók, full of enthusiasm, in May 1918 to his friend, the Romanian professor Ioan Busitia. Universal- Edition (then still written with a hyphen) had made him an offer in January. He wrote: “After prolonged negotiations we finally agreed on all points and I signed the contract only a few days ago; all my works that are still unpublished or yet to be written will be published over the next few years.” His Hungarian publisher had not printed any of his works since 1912. In UE he had now found a new artistic home, which led Denijs Dille, founder of the Bartók archive in Budapest, to remark that Vienna was almost more important for Bartók than Budapest. Bartók’s youth was characterised by frequent moves to different towns in a multi-ethnic country that was rapidly disintegrating. This is presumably what made the ideas of “home” and “home country” difficult for Bartók to grasp from a young age, and this vulnerability is something that affected him throughout his entire life. The political situation eventually forced Bartók to emigrate to America and then end his contract with UE in 1939, six years before his death. Jenö Takács, another UE composer (at this point we would specifically like to mention his Tarantella for piano and orchestra), recounts some highly personal memories from this time. Zoltán Kodály, whose works “embody the Hungarian spirit in their heart and soul” (Bartók), remained in Hungary, but as a patriot rather than as a nationalist, as Mihály Ittzés clearly explains. For him, Kodály’s perspective was primarily a historical one, and it was in fact Kodály who told György Ligeti that he had to perfect his skills in transcribing Romanian folk 1 music: “If you don’t do it, you will never become a composer.” As well as the Bartók-Kodály relationship, Ligeti and Kurtág are two more composers from Hungary who remained closely connected as both friends and artists for their entire lives. Ligeti’s relationship with UE was sadly only short-lived and yet it was incredibly fruitful. With Atmosphères (1961), he wrote a modern classic. We have a longer tradition of cooperation with György Kurtág and would like to draw your attention specifically to The Sayings of Péter Bornemisza (1963– 1968), one of the most original pieces of music in existence. To conclude, we are proud to present some astonishing, rare works by Franz Liszt. We hope you will enjoy this issue. The UE Promotion Team [email protected] PS: In June, the Musikblätter fought off stiff competition in Hamburg to receive an award in the Media/Entertainment/Culture category from Best of Corporate Publishing, Europe’s largest Corporate Publishing Congress. In the words of Bartók, we can say that this is truly wonderful... Wolfgang SCH T Schaufler RINI A (Chief Editor), Angelika Dworak RIC M E / (Service Pages, N IO Advertising, T DI Photos) and E AL Sabine Peter (Graphic Design) © UNIVERS Contents Béla Bartók 4 Jenö Takács 12 Zoltán Kodály 20 1 Editorial FOCUS HUNGARY BÉLA BARTÓK 6 Béla Bartók and Universal Edition by Bálint András Varga 2 9 “This is truly wonderful” by Jenö Takács 10 “Webern depicts the soul, but there is still something physical about Bartók” Peter Eötvös in an interview with Wolfgang Schaufler 12 Béla Bartók as I knew him by Jenö Takács 16 “Every phrase is imbued with a vivid shape” by Zoltán Kodály 18 Race purity in music by Béla Bartók ZOLTÁN KODÁLY 22 A patriot, not a nationalist by Mihály Ittzés November 2013 Musikblätter 6 Franz Liszt 28 György Kurtág 30 György Ligeti 34 ; E APP FRANZ LISZT T T ORS H 28 Liszt rediscovered ; Martin Haselböck in an interview ION at with Eric Marinitsch ND U ÁCS FO AK GYÖRGY KURTÁG 3 JENÖ T 31 Encountering Kurtág in post-war Budapest ; by György Ligeti CIENCES S F Y O M GYÖRGY LIGETI DE A 35 Kylwyria – Kálvária. On György Ligeti N AC A ER by György Kurtág RI alt GA N 38 Atmosphères, a classic work of modernism HU RION K A by George Benjamin IES, T ; M NI G Á 39 A piece of music history T R U HUMA by Constanze Wimmer K T HE T DI U /J OR T F ES RE T AP LISTINGS D EN U C B A 42 UE Update RCH SIC A U 58 New CDs, DVDs and Books ESE R IO M 62 New Releases T Y, Y, G DI E O 64 Birthdays and Anniversaries L G SICO U ISHIN M F UBL E O SIC P U TUT I T M UNIVERSAL EDITION “Musikblätter 6” (November 2013–May 2014) NS AL I Universal Edition ∙ Austria: 1010 Vienna, Boesendorferstrasse 12, Tel +43-1-337 23-0, Fax +43-1-337 23-400 UK: 48 Great Marlborough Street, London W1F 7BB, Tel +44-20-7292-9168, Fax +44-20-7292-9165 USA: European American Music Distributors LLC, 254 West 31st Street, 15th Floor, New York, NY 10001-2813 UNIVERS ; Tel +1-212-461-6940, Fax +1-212-870-4565 ∙ www.universaledition.com ∙ [email protected] R ARCHIVES, A Chief Editor: Wolfgang Schaufler ∙ Coordination (service pages, advertising, photos): Angelika Dworak ∙ K D Ó Contributions: Eric Marinitsch, Pia Toifl, Bettina Tiefenbrunner, Jana Gajdosikova, Johannes Feigl, Sarah Laila Standke, T NA R Bálint András Varga, Kerstin Schwager, Aygün Lausch and Christina Meglitsch-Kopacek ∙ A IX L Translation and Proofreading: Rosemary Bridger-Lippe ∙ Corporate Publishing: Egger & Lerch, 1030 Vienna, FÉ © B www.egger-lerch.at ∙ Printing: REMAprint, 1160 Vienna ∙ DVR: 0836702 ∙ ISSN: 2306-7837 4 Profile This discovery, or rediscovery, of Hungarian peasant ofHungarianpeasant orrediscovery, This discovery, If you are looking for an alternative to major-minor If youarelookingforanalternativetomajor-minor Béla Bartók This is what I did. But I don’t want anything to This iswhatIdid.Butdon’twantanythingto music signified a rebellion against the primacy music signifiedarebellionagainsttheprimacy of German music, despite the fact that Bartók of Germanmusic,despitethefactthatBartók do with folklore! Folklore in serious music is a do withfolklore!Folkloreinseriousmusicisa falsehood. Yet with Bartók it was different. withBartókitwasdifferent. falsehood. Yet tonality, you can only turn to folk music. youcanonlyturntofolkmusic. tonality, was incrediblyanti-nationalistic! György LigetiinconversationwithEckhardRoelcke GYÖR G By courtesy of Paul Zsolnay Verlag, Vienna By courtesyofPaulZsolnayVerlag, Y Excerpt from: L © Paul Zsolnay Verlag, Vienna © PaulZsolnayVerlag, I G ETI O N “ Träumen SieinFarbe? Träumen BÉLA BARTÓ 2003 K ” © BARTÓK ARCHIVES, INSTITUTE OF MUSICOLOGY, RESEARCH CENTRE FOR THE HUMANITIES, HUNGARIAN ACADEMY OF SCIENCES November 2013 Musikblätter 6 5 Profile Béla Bartók “I have been hard at work during the summer” Béla Bartók and Universal Edition BÁLINT ANDRÁS VARGA It seems to be sheer coincidence that Béla Bartók has Hungarian art music was stuck in a deadlock. Bartók and become the Hungarian composer we are familiar with Kodály saw research into genuine Hungarian folk music today. Following the premature death of his father, who as the only way forward and explored it at an academic had been the principal of a small school in Nagyszent- level so that it could be used as a foundation for a new miklós (now in Romania), his mother was forced to care kind of art music. for their two children (Béla had a sister, Elza) on her own. They were following the example of Béla Vikár The family lived in various cities ruled by the Austro- (1859–1945), who had already begun to collect folk 6 Hungarian monarchy, including Bratislava (Bratislava is songs in 1896 and was probably the first person in Europe the Slovakian name; the Hungarians called it Pozsony).