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Newsletter 02/07 • Spring 2007 Contents FESTIVAL Musiktriennale Köln — 4 - 6

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Newsletter 02/07 • Spring 2007 Contents FESTIVAL Musiktriennale Köln — 4 - 6 05 MusikTriennale Köln. A celebration of Luciano Berio 07 Georg Friedrich Haas. Bruchstück in Munich 25 Zoltán Kodály. World première in Budapest 29 Leos Janácek. Boulez and Chéreau present From the House of the Dead in Vienna Ernst Krenek Festival in Linz ‘Ernst Krenek - Musician of Speech’ newsletter 02/07 • spring 2007 Contents FESTIVAL MusikTriennale Köln — 4 - 6 COMPOSERS Berio — 5 Haas — 7 Baltakas — 8 Sotelo — 9 Schwartz — 9 Staud — 10 Borisova-Ollas — 11 Panufnik — 11 Halffter — 12 Lentz — 12 Kurtág — 13 Boulez — 13 Rihm — 14 Pärt — 15 Sawer — 15 Cerha — 16 Ligeti — 16 Reich — 17 Bennett — 17 Feldman— 18 Krenek — 19 Schreker — 21 Weill — 23 Eisler — 24 Vladiguerov — 24 Kodály — 25 Bartók — 26 Szymanowski — 27 Schmidt — 27 Janácek — 29 Mahler — 30 Zemlinsky — 31 Milhaud — 31 Berg — 32 2 contents 02/2007 Schoenberg — 33 Dear Readers, Marx — 33 Martin — 34 Liebermann — 34 Do you know that tingling feeling Einem — 35 you get when you hold a freshly Haydn — 35 written manuscript copy of a score in your hand? We do, and we love it. We make every effort to turn com- posers’ often enigmatic ciphers, to the best of our abilities, into legible, clearly performable playing instruc- ANNIVERSARIES — 36 - 37 tions – sheet music, scores and or- chestral materials. This is an impor- WORLD PREMIÈRES — 38 - 39 tant step, but at the end of the day a pointless one if no-one engages NEW RELEASES — 40 - 41 with the work and responds to the composer’s yearning for its realisa- NEW ON CD — 42 - 43 tion. Only the curiosity of musi- cians, singers, conductors, produ- WORKLIST cers and choreographers such as Kodály — 44 - 46 you can breathe life into scores, and only then is the work revealed and ACKNOWLEDGEMENTS — 48 ‘outed’.Without your passion to dis- cover new sound worlds, all our eff- orts would be in vain and remain ‘unheard of’. The Editorial Team 3 27. April – 20. Mai 2007 MusikTriennale Köln Während der MusikTriennale Köln 2007 werden über 50 Werke von Luciano Berio in einem umfassenden Werkportrait aufgeführt. Accordo Air A-Ronne Calmo Chamber Music Chemins II & VI Corale (über Sequenza VIII) Cries of London Divertimento Due Pezzi Erdenklavier Feuerklavier Folk Songs Formazioni Kol od (Chemins VI) Laborintus II Luftklavier O King Opus Number Zoo Points on the curve to find... 4 canzoni popolari Récit (Chemins VII) Ritorno degli snovidenia Sequenze I – XIV Sinfonia SOLO für Posaune und Orchester und viele weitere MusikTriennale.de »Luciano Berio: Komponist« wird gefördert durch die Récit and Corale; the concertante works “points on the curve to find…” for piano and 22 instru- ments, SOLO for trombone and or- chestra and Ritorno degli snovide- nia for cello and 30 instruments; the music theatre pieces Laborin- tus II, Naturale and a-ronne; his ar- BERIO rangements of Mahler Lieder and Boccherini’s Quattro versioni origi- A celebration nali della Ritirata Notturna di Ma- drid; plus numerous chamber of Luciano works such as Linea, 4 Canzoni po- polari, Cries of London, Opus Num- ber Zoo, O King, 6 Encores, etc. It was no anniversary as such, but rather the unchanging contempo- ‘Berio – Music and Language’is fur- rary relevance of Luciano Berio’s thermore the central theme of work which gave Cologne’s Musik- events running in parallel with the Triennale 2007 the impetus to ho- festival in local schools, which have nour the composer with a compre- even been made part of gradua- hensive portrait of his output over tion examinations in North Rhine- a series of concerts from 27 April to Westphalia. 20 May. The timelessness of his work and the expressive strength Dates and performers can be of his music will be showcased in found on the UE Website or at: around 25 events which the festival www.musiktriennalekoeln.de has dedicated to the composer, who would have been 82 years old in 2007. The programme offers a cross-sec- tion of the most important land- marks of Berio's composing career: Sinfonia, Folk Songs, Formazioni for orchestra; all the Sequenze and their derivatives Chemins II and IV, 5 berio HAAS piece. Here, too, overtone harmony plays its role – changing sound- Drifting, chang- scapes drift into one another.As liste- ners slowly get into the spirit of ing soundscapes the work, they gradually discover a wealth of new acoustic experien- ces. The microtonality and harmo- A newly commissioned orchestral nic richness of Haas’ works present work, Bruchstück, by Georg a (rewarding) challenge for any Friedrich Haas is receiving its first ensemble. The expansion of the performance at the Philharmonie sound spectrum attained here, and in Munich on 13 May 2007, with the Haas' involvement with extremely Munich Philharmonic under the di- precise differentiations of pitch, rection of Markus Stenz. This is the promise both performer and liste- first time the orchestra has com- ner a rare and highly musical expe- missioned a composition from rience. Haas. Two further performances will follow on 14 and 15 May. The Meanwhile at MaerzMusik – the new work forms part of the same Berlin Festival’s contemporary series as the previous orchestral music section – Peter Hirsch is to works natures mortes and Hype- perform Monodie (1998) for 18 in- rion (premièred respectively in struments with the Collegium 2003 and 2006, both in Donaue- Novum Zurich (22 March). schingen): compositional ele- ments, contents and experiences from these earlier works have been further developed in the new 7 haas BALTAKAS receives Siemens Grants-in-Aid The young Lithuanian composer Electronics can transcend the limi- Vykintas Baltakas has received one tations of the actual voice – harmo- of the most prestigious distinc- nically, polyphonically, timbrally … . tions awarded to exceptionally Imaginatively handled, the voice of- talented artists of the new genera- fers infinite possibilities for trans- tion, the Ernst von Siemens Grants- formation, and can develop in limit- in-Aid. As part of the award cere- less directions.’ mony on 3 May in Munich’s Kam- merspiele a new version of his RiRo In Witten the Arditti String Quartet for soprano and tape (originally is giving the first performance of soprano and trumpet) will be the string quartet bell tree, compo- heard. ‘I’m now focusing on the sed in response to a commission voice,’ writes Baltakas,‘and see elec- from Harry Vogt (West German tronics as a means of extending it. Radio). The idea for the music ap- parently came from ‘a rhythmic as- semblage of Swiss cowbell sounds’. Finally, Ouroboros for ensemble will have its Spanish première on 9 May in Valencia by the Espai Sonor Ensemble under Voro García. 8 baltakas SOTELO Spectral SCHWARTZ flamenco 8 double basses A friend of Mauricio Sotelo once ‘music for 8 double basses is an described his music as ‘spectral fla- 8-part canon, in which the basses menco’. In Sotelo’s own words, his are stationed round the audience so music contains ‘the pulsating beat that the circulation of the canon is of memory’ – and indeed, at the transformed into a spatial circula- heart of his Muros de dolor III lies tion. The number 8 inspired me to the echo of a musical memory use diatonic scales, which ‘form a which recalls the ancient, dramatic circle’, so to speak, with their eighth song of Andalucia. Anne Manson is note. The musicians play not only to give the première of the orche- double basses but also bass drums, stral work on 4 May in Las Palmas / which gives the listening experience Gran Canaria. a spatial, percussive dimension’ (Jay Green Aurora dancing over the Schwartz). First peformance: Frank- night side of the earth is the name furt, 12 May, with the bassists of given by NASA to a spectacular the HR Symphony Orchestra. photograph of the aurora borealis, which provided Sotelo with the title for his set piece for the Clara Schumann Piano Competition – since Clara can (figuratively, at least) also be translated as ‘aurora’(dawn). Inspired by flamen- co, Green Aurora ends with a para- phrase of Scarlatti (K.184 in F minor); its first performance is in Düsseldorf on 5 May. Jay Schwartz 9 sotelo / schwartz STAUD Self-contained sound worlds One Movement and Five Minia- Break up? Shorten? Which scenes tures for harpsichord, live electronics should I join together? Where and spatially distributed ensemble should I write something extra? by Johannes Maria Staud – com- How can I compensate for the ab- missioned by the Birmingham sence of singers?’ First performan- Contemporary Music Group – has ce: Hamburg, 31 May, Ensemble its première on 22 April under Ilan Modern/Franck Ollu. Volkov. The soloist will be Clive Wil- The day after Alejo Perez conducts liams (duration 12–15 min). the NDR Symphony Orchestra in Staud says of it: ‘Placing the “early the German première of A Map is music” instrument (harpsichord) in not the Territory in Hamburg, a context with the “new music” while Ars Musica in Brussels has instrument (computer) is a very invited Carolin Widmann to play stimulating exercise. It is by no Towards a Brighter Hue for solo means a question of incompatible violin (18 March). sound worlds mutually agreeing their own borders, but rather of a symbiosis, whose goal is the total absorption of both spheres into a new, self-contained sound world.’ The chamber opera Berenice, first performed in 2004 at the Munich Biennale, now also exists as a two- part suite, jointly commissioned by das neue werk Hamburg, Ensem- ble Modern and Porto’s Remix En- semble. ‘In both these ensemble works … music from Berenice has been reassembled from totally inde- pendent dramatic viewpoints, often in radically re-orchestrated form. Here the most difficult questions were: What should I leave out? 10 staud PANUFNIK US and UK Victoria Borisova-Ollas Premières BORISOVA-OLLAS Even before her 40th birthday year in 2008, Roxanna Panufnik already Opera or has a great deal to celebrate in 2007.
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