05 MusikTriennale Köln. A celebration of

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 Chemins II & VI Corale (über VIII) Divertimento Erdenklavier Feuerklavier 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 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. The composer has three musical? premières between March and May this year, two of which are in the USA. Christ Church Cathedral As we’ve already reported, Victoria Choir in Indianapolis will perform Borisova-Ollas is currently working the US première of A Kind of on a music-dramatic setting of a Otherness on 11 March, under the love story derived from a Salman direction of Frederick Burgomaster, Rushdie novel. and on 24 March, The Choral Arts The Ground Beneath Her Feet Society of Philadelphia will give the appeared in 2000 and is a modern world première of Love Abide – a version of the Orpheus myth. The substantial, 20’ work for two libretto concentrates on the two soloists, mixed choir, harp, organ central characters of the novel, the and string orchestra. lovers Vina and Ormus (mezzo so- Meantime, back in the UK, the prano and baritone, suitable for choir of St Edmundsbury Cathedral operatic or musical voices), and a will première Declair the Wonders speaking role.The first performance for choir on 6 May; interestingly, will take place in summer 2007. this commission is to commemorate Where? To be announced shortly. the 400th anniversary of the found- ing of Jamestown, Virginia, by Bartholomew Gosnold (who came from Bury St Edmunds), and as such will have an American theme.

11 borisova-ollas / panufnik HALFFTER When Halffter wrote his Dortmund Variations he didn’t have a conven- Fifty years tional variation form in mind. His intention was rather to allow the bear fruit individual groups of the orchestra to take part in a slightly humurous competition. The closing D major Palimsesto means writing or paint- chord refers to the ‘D’of Dortmund. ing something new on a page or The composer is conducting the canvas on which something already work on 24 May in Madrid with the exists. Cristóbal Halffter became Orquesta Sinfónica de Madrid. interested in this practice when he started work on his orchestral work of the same name, which reflects LENTZ the experience of the last fifty years of his creative life. After its Monh tours successful première in Dresden it is now to enjoy its first Spanish per- Germany formance in Madrid on 29 March.

Monh, written by Georges Lentz between 2001–05, will feature greatly in the concert houses of Germany in March. The work, which is written for solo viola, orchestra and electronics, is being performed three times by the Bochumer Symphoniker, in Bochum and Mülheim from 8–10 March, and then a further three times by the Düsseldorfer Symphoniker (in Düsseldorf) on 23, 25 and 26 March. The soloist for all six performances will be the critically acclaimed viola player Tabea Zimmerman, and the conductor Steven Sloane.

12 halffter / lentz KURTÁG A kind of ritual

The full title of György Kurtág’s Boulez is also touring Spain in concert-length compilation of his March with Ensemble Intercon- own music, first heard in Berlin in temporain, in a programme featu- 1993, is: Rückblick. Old and new for ring sur Incises (Zaragoza, Barcelona four players. Homage to Stockhau- and Grenoble, 10–13 March). sen. The oldest of the works assem- bled from different creative periods Mémoriale can be heard twice: in and arranged for trumpet, double Paris (a concert celebrating Ensem- bass and keyboard instruments – ble Intercontemporain’s 30th anni- the 8 Piano Pieces Op. 3 – is used versary, 17 March under Peter unaltered. All the other short Eötvös) and London (12 April, LSO / movements appear in the most Daniel Harding). diverse combinations and result in Simone Young is conducting Nota- a kind of ritual (Cantus Ensemble, tions I–IV and VII on 20 and 21 May Zagreb 5 March). in Hamburg, and Jörg Widmann is to play Dialogue de l’ombre double in Munich (19 April). BOULEZ Brussels portrait

This March Ars Musica is presen- ting a small portrait of Pierre Boulez. Tino Haenen has invited musikFabrik from Cologne to per- form Dérive 2 under former chief conductor Peter Rundel (24 March), Le Marteau sans Maître can be heard at the Palais des Beaux-Arts (18 March), and Ensemble Recher- che are playing Improvisé – pour le Dr. K. (1969/2005) at the Théâtre Pierre Boulez Marni (10 March).

13 kurtág / boulez RIHM Hamburg is also the venue for the opening concert of ‘Ostertöne’ con- Messages ducted by Simone Young on 6 April, at which Rihm’s Das Lesen der in bottles Schrift shares the bill with Brahms’ German Requiem. The bottle containing Abschieds- Compositions are rather like mes- stücke (1993) for soprano and 15 sages in bottles which, after com- players went missing for pletion, embark on a long voyage 5 years, and has now resurfaced in across the seas of music, in order Portugal (Rosemary Hardy, Remix perhaps here or there to reach a Ensemble / Peter Rundel, 12 and 13 shore. Sometimes these messages May, Lisbon and Porto). This pro- find numerous listeners – for example gramme also features Gejagte Ernster Gesang, one of Wolfgang Form (1995/2002), which two Rihm’s most performed works, months earlier (9 March) can also which is to enjoy its 61st perfor- be heard at the Oberlin Conserva- mance on 12 April with the Leipzig tory of Music under Timothy Weiss. Gewandhaus Orchestra under Neeme Järvi. Elswhere, Jonathan Nott conducts A unique case is Deus Passus, which “CONCERTO”, dithyramb for string is sung every second year at quartet and orchestra in Lucerne St Michael’s Church in Hamburg (Arditti Quartet / Lucerne SO, 21 (conductor: Christoph Schoener); and 22 March) and Daniel Harding this year, on 6 April, it can be heard has chosen IN-SCHRIFT for his Lon- together with a light installation don concert with the LSO (9 May). by artist Michael Batz.

14 rihm Da Pacem under Tõnu Kaljuste on 19–20 May, and Lamentate with Alexei Lubimov as soloist under Arvo Pärt Pier Carlo Orizio on 4–5 June.

PÄRT SAWER Honorary doctor- Music of Today ate in theology

David Sawer’s Take Off and Holly- For his services to sacred music, the wood Extra will be featured by the Faculty of Catholic Theology at the Philharmonia Orchestra in its Albert Ludwig University of ‘Music of Today’ series on 26 April. Freiburg is to award Arvo Pärt an The concert will also feature an honorary doctorate in theology on interview with the composer, and 4 May. The celebrations reach their takes place at the Queen Elizabeth climax on 6 May with a papal mass Hall in London, with Edward Gardner in Freiburg Cathedral, during which conducting. the Berliner Messe and The Beatitudes On 12 February, a CD of four sub- will be performed. stantial works by Sawer, performed ‘Beethoven, Pärt: Sounds of the by the BBCSO and BCMG (conduc- Soul’ is the motto of the 44th Festi- tors Martyn Brabbins and Susanna val Pianistico Internazionale Arturo Mälkki) and featuring the new Benedetti Michelangeli, which is From Morning to Midnight: Sym- taking place between 14 April– phonic Suite was released on the 12 June in Bergamo and Brescia. NMC label. The list of works performed in- cludes Credo and Festina Lente on 22–23 April under Neville Marriner, Magnificat on 6–7 May, Te Deum, Mein Weg, Orient & Occident, L’Ab- bé Agathon, Wallfahrtslied and

15 pärt / sawer On 3 March Klangforum Wien are playing the string sextet Eight Movements after Fragments by Friedrich Cerha Hölderlin in Vienna, and the SWR Symphony Orchestra of Stuttgart under Brad Ludman performs Lang- CERHA egger Nachtmusik III (16 March). Golden Moments LIGETI

Friedrich Cerha’s Momente, com- Musical missioned by the Munich musica viva, was successfully premièred labyrinths under Arturo Tamayo on 1 Decem- ber 2006. Both audience and critics were clearly highly impressed by Several of the ideas for his orches- the wealth of ideas and freshness tral work Apparitions – composed of this score. ‘Fantastically thought between 1958–9 – already occupied out,’ wrote Egbert Tholl in the Süd- György Ligeti while in Budapest: deutsche Zeitung: ‘this is pure music a first version was already in his of ideas, utterly remorseless at every luggage as he fled to Austria, bea- turning.’ Tobias Hell in the Münche- ring the title Viziók (Visions). For ner Merkur thought that ‘here the the Cologne première under Ernest listener … is at once thrown into the Bour on 19 June 1960 Ligeti wrote: thick of things with little beating ‘My initial idea was a vision of wide- about the bush, and is threatened branching musical labyrinths filled with being overwhelmed almost with sounds and gentle noises’. from the first outburst of the entire Toshiyuki Shimada conducted the string section …’ work on 3 February with the Yale Symphony orchestra in New Haven/USA.

16 cerha / ligeti REICH Bruges, and continuing on to Essen, Brussels, Cavaillon, Paris, Granada, Polar Music Seville, Antwerp, Utrecht and Char- leroi (until 9 June). Information: Prize www.rosas.be

The Polar Music Prize, one of the BENNETT most internationally known music awards, will this year be given to Grammy nomination Steve Reich. King Gustav of Swe- den will present the award on 21 May 2007 in Stockholm.‘The award The superlative recent recording on recognises Reich's unique ability to Chandos of Richard R. Bennett's use repeats, canon technique and masterful opera, The Mines of minimal variation of patterns to de- Sulphur, was nominated for the velop an entire universe of evocative 49th Annual Grammy Awards in music, endowed with immediate the USA. tonal beauty.’ In October 2006, his children’s Continuing its spectacular tribute opera All the Kings Men was to Reich during the celebrations of successfully produced in Alde- his 70th birthday last year, the Bel- burgh by the Jubilee Opera Group. gian dance company rosas is now This exciting musical pageant for taking its 'Steve Reich Evening' on a young people is beautifully tour of no less than 26 dates, involv- written, perfectly idiomatic and a ing performances which started on natural choice for school perfor- 15 February in Luxembourg and mances.

rosas

17 reich / bennett FELDMAN

Still in demand Centre Pompidou in Paris (29 March, conducted by Susanna Mälkki) respectively. The music of Morton Feldman still Shortly after this, on 10 April, the proves to be as much in demand in Moscow Forum Festival has invited 2007 as it has ever been. Ensem- Ensemble Recherche to play Instru- bles Recherche and Intercontem- ments 3. porain will perform Samuel Bek- On 20 April the Vlaams Radio kett, Words and Music in Basle, Orkest, with cellist Arne Deforce, Switzerland (17 March) and at the will perform Cello and Orchestra at the deSingel Theater in Antwerp under the guidance of Thierry Fischer.

There are then two performances at the Mozarteum in Salzburg. The first features the Österreichisches Ensemble für Neue Musik with Johannes Kalitzke performing Rothko Chapel on 11 May, and the second, on 13 May, features the Minguet Quartett playing String Quartet No. 2. Twenty years after his death, the fascination with the oeuvre of Feldman shows absolutely no sign of abating.

18 feldman KRENEK his veneration of poets and writers. The accompanying programme of All-round genius concert and stage performances includes three highlights being under the spot- heard for the first time in Austria: the ballet Eight Column Line Op. 85 light (1939) choreographed by Rose Breuss, the chamber opera Tarquin Op. 90 (1940) in co-operation with Between 12–22 April 2007 the the Linz Landestheater, and Festival ‘Ernst Krenek – Musician of Marlborough s’en va-t-en guerre Speech’ is taking place in Linz/A. Op. 52 (1927), a marionette play A symposium with top-class parti- reconstructed and adapted from cipants will illuminate Krenek’s Marcel Achard.The Festival is round- musical rhetoric, the grammar of ed off by a workshop on song inter- his expressivity and ‘Krenek as mu- pretation with Axel Bauni and an sician of speech’ – in other words exhibition of Krenek’s water- colours in Linz’s LENTOS Museum.

‘ProjectTJO’(youth theatre orchestra) in Münster/D enables talented young instrumentalists, under the guidance of players from the Münster SO, to take part in a production under professional con- ditions. This year’s production is Krenek’s tragic opera Der Diktator, in which he paints a bleakly ironic picture of the approach of fascism and which he himself called ‘a bloody murder story from the private life of a contemporary dictator’. First night: Städtischen Bühnen Münster 29 April; subsequent per- formances until 19 May.

And – out now: Krenek Studies Vol. 2: Krenek’s Music Theatre; more in- Ernst Krenek formation at: www.krenek.com Marlborough s’en va t’en guerre

19 krenek Franz Schreker 1878 -1934 Die Gezeichneten Director Martin Kusˇej

Conductor Ingo Metzmacher

Royal Concertgebouw Orchestra

18 20• 23 26 30May 3• 6 9 June2007 Het Muziektheater Amsterdam 19.30/ •13.30

Box Office T + 31 20 625 5455 www.dno.nl

Het MUZIEKTHEATER AMSTERDAM SCHREKER Psycho-thriller Parts of Die Gezeichneten, Jonny in Amsterdam spielt auf by Ernst Krenek and Alexander Zemlinsky’s A Florentine Tragedy are being performed. In 1915, with World War I raging all round him, 27-year old Franz Der ferne Klang can be heard for Schreker – exempted from call-up the first time in the USA (15 April) on health grounds – wrote his at a concert in the Avery Fisher opera Die Gezeichneten. Only three Hall, New York, with the American years earlier the première of Der SO under Leon Botstein. ferne Klang in Frankfurt had turned him overnight into one of the most important operatic com- posers of his time, but Die Gezeich- neten, on account of its modernity and social criticism, could not ini- tially secure a performance. Over eighty years later it was to achieve renewed fame thanks to the new production by Martin Kusej in Stuttgart. Back then in 2002 the press was unanimous: operatic history had been written. This ‘war work’, according to the Tagesspie- gel, returned to the stage with force and refinement. Die Welt spoke of a ‘psycho-thriller’ with a ‘film-music-like score’. The Stuttgart production is now to be revived at Het Muziektheater in Amsterdam under the direction of Ingo Metz- macher from 18 May.

In Los Angeles, James Conlon is to conduct the LA Opera Orchestra on 7 and 10 March in a concert of ‘re- Franz Schreker Die Gezeichneten discovered voices’ – music which was Staatsoper Stuttgart 2002 suppressed during the Third Reich.

21 schreker

WEILL The Kurt Weill Festival 2007 (Dessau, 2–11 March) is highlight- An Irish ing the mutual inspiration of con- temporary dance and Kurt Weill’s Winter’s Tale music. In over 35 events listeners can make the acquaintance of this both popular and, at the same The Wexford Opera Festival is no time, unknown oeuvre. The Festival longer an insider’s tip. In terms of opens with Tango Palace perfor- quality, performances there can med by the Gregor Seyffert Com- confidently stand up to internation- pany of Dessau; the three-part al comparison, and the Irish festival show is a passionate, quirky and has also shown great skill at restor- witty defence of the tango and its ing rediscovered, less familiar triumphal march across cultures. works to the repertory. The 2007 Festival is taking place for the first The oldest dance troupe in the UK, time at picturesque Johnstown the Rambert Dance Company, is to Castle. Its inaugural event – and at present Anthony Tudor’s (1940) the same time highpoint – is the ballet The Judgement of Paris to new production of Kurt Weill’s music from The Threepenny Opera. winter’s tale Der Silbersee in a new Finally there is a guest appearance English translation, produced by of Ensemble Modern under HK Keith Warner. Timothy Redmond is Gruber, and a revival of The Rise musical director, and there are per- and Fall of the City of Mahagonny formances from 31 May–15 Jun; see at the Anhaltisches Theater. www.wexfordopera.com www.kurt-weill-fest.de

Johnstown Castle, Ireland

23 weill Hanns Eisler Die Massnahme Berlin 1997

EISLER Now the path has been cleared for the controversial work again: on Fierce 30 May Eberhard Kloke conducts the Norwegian première as part of controversies the Bergen Festival.

PANTCHO VLADIGUEROV Since Brecht’s heirs removed the embargo on Die Massnahme, di- Vardar dactic piece in 8 numbers (1930), at the end of the 1990s nearly 50 per- formances have taken place – not Only two weeks after Bulgaria’s only in Europe but in Australia as entry into the EU Rossen Milanov well. At its first performance on 13 conducted Pancho Vladiguerov’s December 1930 the ideological Bulgarian rhapsody Vardar Op. 16 content of the work led to fierce at Rutgers University in New Jersey controversies. For the right Die (13 January). Massnahme was a ‘shameful Bols- Vladiguerov was born in Zurich in hevistic piece’, for liberals a ‘long- 1899, but spent the greater part of range Bolshevistic artillery piece’, his life in his Bulgarian homeland. for the communists a ‘travesty Vardar appeared in 1922 in a piece’. The Communist Party purges version for violin and piano, and in in the Soviet Union made Die Mass- 1928 the composer produced the nahme look like a prophetic apolo- orchestral version. The patriotic gy for Stalin’s terror, and after symbol of the river Vardar is emble- World War II Brecht and Eisler decided matic of the work’s Bulgarian to forbid further performances. character.

24 eisler / vladiguerov KODÁLY Háry János to visit Vienna

One of the most important events avoided those compositions which of this Zoltán Kodály anniversary can already be found in Kodály’s year (on 16 December 2007 the stage works in his own instrumen- music world commemorates his tation, these twenty arrangements 125th birthday) is to take place at are by no means to be regarded as a the Vienna Konzerthaus on 28 May: cycle in the strict sense of the word. General Secretary Christoph This naturally means that the Lieben-Seutter has invited the RSO performer can, if necessary, make a Budapest to give a concert perfor- selection from the pieces or link mance of Kodály’s opera Háry them together to form little gar- János under Adam Fischer. lands.’ In recent years this Singspiel has been performed in French in Stras- bourg and Montpellier, but its fairy- tale world, rooted in Hungarian folk music, has more often found a home in the concert hall than on the operatic stage: the Suite is to enjoy 14 performances in the next three months, in Vienna, Berne, Stockholm, London and Stuttgart. The Dances from Galánta are being performed 17 times, in venues ex- tending from Vienna to Tübingen via Dresden. The memorial year also offers a first performance: Zoltán Kocsis has arranged the 20 Hungarian Folk Songs for voice and orchestra, and after a preview of four songs will present the entire cycle for the first time in Budapest (16 March). Kocsis writes in his preface to the score: ‘Since in the course of my reworking I deliberately

25 kodály BARTÓK perform Bartók’s first two Piano Concertos. The soloist is Hungarian- Elementary born András Schiff, one of the most profoundly knowledgeable experts opposition on his compatriot’s piano works, with an unmistakable feeling for the music’s nuances (7–15 March). Opera is kept alive by constantly questioning its social relevance Only a week later another Hungarian and comparing different interpre- pianist, Dezsö Ránki, will perform tations. Now, shortly after the Paris Piano Concerto No. 2 again in Zurich production of Belá Bartók’s Blue- (Orchestra de Sao Paulo / John beard’s Castle, French music lovers Nesling) – a rare opportunity to also have the opportunity to expe- make a direct comparison of the rience this central work of Bartók’s way two Hungarian pianists oeuvre in Lyon (première: 19 April, approach their great legacy. Bartók’s conductor Juraj Valcuha). It will cer- virtuoso Piano Concerto No. 2 can tainly be exciting to see how pro- also be heard in Israel: Lang Lang, ducer Laurent Pelly deals with its the 24-year old Chinese piano pro- elementary opposition between digy, will perform the work with his the male role’s impenetrable soul mentor Zubin Mehta and the Israel and his wife’s curiosity. Philharmonic Orchestra (Tel Aviv 1 March, Haifa 6 March). In March Bartók also comes under the spotlight in Zurich: the Tonhalle Orchestra, under their principal conductor David Zinman, are to

Béla Bartók Bluebeard’s Castle Opéra Nancy 2002

26 bartók Opera Wroclaw

SZYMANOWSKI completely destroys his world-view and leads him to total destruction. Beauty and This strange act of God has a deeper meaning: the man dies, but is born sensual delight again.’

From 30 March Wroclaw’s newly SCHMIDT renovated opera house is playing host to Karol Szymanowski’s King The ‘Second’ Roger, in a production by Polish film and opera director Mariusz makes a comeback Trelinski. Ewa Michnik conducts the Orchestra of the Wroclaw Two works of Franz Schmidt reap- Opera,and Andrzej Dobber sings the pear over and over in contempora- title role: further performances will ry concert programmes: his orato- take place on 31 March and 1 April. rio The Book with Seven Seals and In a mix of opera, oratorio and Symphony No. 4. By contrast his mystery play, King Roger uses the Symphony No. 2 has disappeared historical figure of Norman king from the concert hall, even though Roger II, who ruled over Sicily in the it developed into one of Schmidt’s 12th century, to explore the conflict biggest public successes in the between the established Christian years after World War II. Fabio Luisi order and a pagan cult of freedom, conducts the ‘Second’ on 20 May in beauty and sensual delight. ‘My Leipzig (MDR SO) and on 31 May in production depicts a man’s encoun- Vienna (RSO Vienna), and re-opens ter with God,’ says Mariusz Trelinksi. the Book with Seven Seals on 13, 15 ‘The man meets a person who and 16 April in Vienna.

27 szymanowski / schmidt 11. Mai bis 19. Juni 2007

Hauptsponsoren der Wiener Festwochen Festwochen Service Telefon 01-589 22 22 www.festwochen.at JANÁCEK Amsterdam (June 2007), at the Fe- stival d’Aix-en-Provence (July), in Genius in New York and in Milan. Of his House of the Dead, Janácek wrote collaboration to Kamila Stösslová in 1927: ‘What I am now completing is perhaps my greatest work – this new opera. I am The event has long since entered so excited, it is as though my blood operatic lore as the ‘Ring of the wanted to gush forth.’ century’: when French duo Pierre Boulez (conductor) and Patrice Paris, too, is offering a very promi- Chéreau (director) produced Wag- sing new Janácek production in ner’s tetralogy at Bayreuth in 1976, collaboration with Madrid’s Teatro they divided the audience as seldom Real: The Makropulos Case (conduc- before. Today their reading counts tor: Tomas Hanus, producer Krzy- as one of the milestones of Wagner stof Warlikowski, 27 Apr). Janácek’s reception, theatrically and musically. most-performed opera, Jenufa, is also enjoying several premières, 31 years later Boulez and Chéreau including Cologne (under Markus are teaming up again to realise Stenz, 28 April), Nantes (Mark Leos Janácek’s From the House of Shanahan, 2 March), Washington the Dead with the Mahler Chamber (Jiri Behohlávek, 5 May) and Milan Orchestra for the Wiener Festwo- (Lothar Koenig, 29 April). Katya chen (première: Vienna, 12 May). Kabanova can be heard in a new The set designer is also the same production at the Kassel Opern- as at Bayreuth: Richard Peduzzi. haus (23 March). The production will also be seen in

Leos Janácek From the House of the Death Theater Bonn 2004

29 janácek orchestras, cyclic performances still remain rare, on account of the Gustav Mahler Das Lied von demands they place on conductors, der Erde Stuttgart Ballet soloists and orchestras. Daniel Barenboim and Pierre Boulez have now taken up challenge and are MAHLER presenting the Symphonies 1–9 plus Das Lied von der Erde, with Scarcity value Thomas Quasthoff and Christine Schäfer as soloists.

In 1965 the Scottish choreographer While the Berlin performers are Kenneth MacMillan created his content with the nine completed ballet Romeo and Juliet for the symphonies, in the Netherlands Royal Ballet in London, later to be Mahler’s Symphony No. 10 is being filmed with Rudolf Nureyev and performed for the first time in the Margot Fonteyn in the lead roles. reconstructed version by conductor Less well known is his ballet of the Rudolf Barshai. Barshai himself same year based on Gustav will direct the Orkest van het Mahler’s Lied von der Erde, which Oosten in Zwolle (15 March) and he produced in Stuttgart. This ver- Enschede (16 and 17 March). sion is to be performed at the Bavarian State Opera from 28 April. Ryusuke Numajiri conducts the Bavarian State Orchestra, with Daniela Sindram and Kevin Conners as vocal soloists.

The ‘Festtage 2007’ at Berlin’s Staatsoper Unter den Linden is entirely devoted to Mahler’s works between 1–12 April. Even though his symphonies belong to the standard repertoire of all leading

30 mahler ZEMLINSKY Jonathan Stockhammer with Georges Lavaudant producing; and Enthralling on 15 April in Frankfurt under Paul Daniel’s direction, produced by Udo music theatre Samel. In Frankfurt the opera is to be cou- pled with The Dwarf; dates of sub- Both of the one-act works A Floren- sequent performances and precise tine Tragedy and The Dwarf be- details of forces required can be long without a doubt to the high found at: www.universaledition.com points of Alexander Zemlinsky’s output for the theatre. Both works are based on stories by Oscar Wilde MILHAUD and their theatrical power and charm have been rediscovered by The joy of numerous opera houses in recent years. Thus the Florentine Tragedy music making can be seen on 2 and 4 March in Montpellier under Bernhard Kontarsky’s direction and in René Darius Milhaud’s Viola Concerto Koenig’s staging; on 17 April at the Op. 108 (1929) has seldom attracted Opéra National de Lyon under much attention from viola players. All the more welcome, then, is the upcoming performance in Amster- dam (20 May), with Suzanne van Els, vla, and the Symfonie Orkest Con Brio under Peter Biloen. ‘This work delights with its unaffected joy in music making’ wrote a 1937 critic; ‘it is a true concerto in the good, old-fashioned sense, giving the soloist the opportunity to display his technical and musical abilities, yet its effect is new and unique.’

Alexander Zemlinsky A Florentine Tragedy

31 zemlinsky / milhaud BERG conductor Peter Keuschnig, pro- duction Olivier Tambosi). Tradition The 2-act version of Lulu is in reper- toire at Regensburg’s Stadttheater of modernism am Bismarckplatz from 3 March, while the Bremerhaven Stadttheater is producing the 3-act version com- As Music Director of the Teatro pleted by Friedrich Cerha (19 May). Colón, Erich Kleiber – conductor of the première of Alban Berg’s Wozzeck Berg’s Violin Concerto is receiving a – was a key figure in the musical performance at the Wiener Fest- life of Buenos Aires, where as wochen with Gidon Kremer and uncompromising champion of mo- the Vienna Philharmonic under dern music he had been forced to Nikolaus Harnoncourt (5&7 May). emigrate, and where he gave sev- The same team first performed eral works of the Second Viennese this work exactly ten years ago, and School their South American pre- the critics of the time spoke of a mières. So when, as now, the Teatro ‘reference performance’. Colòn in Buenos Aires stages The 15-minute concert aria Der Wozzeck (under Marcelo Lombar- Wein (1929) is a perfect demonstra- dero, 23 March) they are continuing tion of Alban Berg’s instrumental a great tradition which Kleiber mastery. Ingo Metzmacher is helped establish. Meanwhile Eber- performing the work with the hard Kloke’s version of Wozzeck for Concertgebouworkest in Amster- small orchestra (2004) is receiving dam, with Anne Schwanewilms as its Austrian première at the Klagen- soloist (25 and 31 May). furt Stadttheater (from 5 April,

Nikolaus Harnoncourt

32 berg MARX SCHOENBERG A masterpiece Monumental sounds rediscovered On 17 March, at the Cité de la musi- que in Paris, Pierre Boulez and EIC Joseph Marx’s Autumn Symphony are presenting the Song of the was first performed by Felix Wein- Wood Dove from Arnold Schoen- gartner and the Vienna Philharmo- berg’s Gurre-Lieder. The complete nic in 1922. A critic of the première version of the work, with soloists, wrote of a ‘gigantic work, which chorus and orchestra, can be heard surpassed all expectations and over- on 25 March in Monaco, with the came all misgivings and presented OP de Monte-Carlo under Marek new, unheard-of challenges for the Janowski and Eva-Maria Westbroek conductor as well as the performers and Alfons Eberz as soloists. The of the world’s best orchestra … In choral parts will be contributed by this four-movement symphony a the Berlin Radio Chorus and the monument was erected to autumn, MDR Chorus Leipzig. of a splendour of coloration and fer- In 1902 – the year Debussy’s opera vour of feeling unique in music appeared – Schoenberg began history.’ (Duration ca. 75’) composing Pelleas und Melisande, Thanks to the efforts of the newly but early on decided against a dra- founded Joseph Marx Society, this matic realisation in favour of a major score has once again aroused symphonic poem. The work can be the interest of numerous conduc- heard on 15 May in the Vienna Mu- tors. sikverein, with Boulez conducting the Webern Symphony Orchestra.

33 marx / schoenberg MARTIN From the Repertoire

Ever since Frank Martin’s full- length oratorio Golgotha appeared in the 1940s, conductors have glad- ly fallen back on this exceptionally dramatic work whenever a digni- fied church celebration of Easter LIEBERMANN was needed. Martin had reserva- tions about being able to create some- Rousing effect thing to stand alongside Bach’s Passions, but was so fascinated by the three versions of Rembrandt’s A Berliner Philharmoniker pro- Three Crosses that he found the gramme booklet of 1965 says of courage to begin. Golgotha is being Rolf Liebermann’s orchestral work performed at Easter (31 March– Furioso (1947): ‘Even today Lieber- 1 April) in Hamburg and Potsdam. mann’s Furioso exercises its rousing effect on the audience. The piece Martin’s Die Weise von Liebe und owes its widespread and enduring Tod des Cornets Christoph Rilke success … to the stormy élan which has been in repertoire since pervades it.’ Roman Brogli-Sacher is 17 February at the Thüringer Lan- taking this work to Lübeck (18 and destheater, Rudolstadt in Christian 19 March) with the Philharmonic Marten-Molnár’s successful pro- Orchestra. duction (further performances 16, 23 and 24 Mar). On 29 April the parable Ferdinand for speaker, slideshow and ensem- Fabio Lusi is conducting the 6 ble will entertain the children of Monologues from Everyman – rem- Basel (Ensemble les muséiques). nants of an abandoned opera – with the Dresden Staatskapelle and soloist René Pape, in Dresden (6–8 May) and Vienna (14 May).

34 martin / liebermann EINEM Prince Chocolat

Theatre and concert promoters on HAYDN the lookout for children’s pieces might find what they seek Lo Speziale amongst Gottfried von Einem’s music. The musical fairy tale in 5 in Munich episodes Prince Chocolat (1982–3, libretto Lotte Ingrisch) for speaker and chamber orchestra (1 1 1 1 – 1 1 0 Universal Edition publish six 0 – timp., perc. – str.) is a charming Joseph Haydn stage works, edited 35-minute tale of a lonely little boy by H. C. Robbins Landon and Eva who one night sees a chocolate- Badura-Skoda. In preparation for brown prince standing before his the 200th anniversary of his death bed, with whom he shares extraor- (May 2009), we have recently is- dinary adventures. Coming soon to sued a booklet about the Haydn the Vienna Musikverein (26 March). operas in our catalogue. Of course the works of this great composer are always being pro- grammed regardless of any anni- versary – even his operas, which at- tract relatively little interest. Ulf Schirmer is conducting Lo Spe- ziale (The Apothecary), a dramma giocosa after Carlo Goldoni, on 18 March at Munich’s Prinz-regent- entheater, with Mario Bayo, Moni- ca Groop, Jeremy Ovenden, Steve Davislim, Franz Tscherne and the Munich Radio Orchestra. Haydn wrote the opera to a com- mission from his employer Prince Nikolaus Esterházy for the conse- cration of what has become known as the ‘Hungarian Versailles’, the Palace of Eszterháza. Joseph Haydn

35 einem / haydn 2007

75th Anniv. of Death Eugen d'Albert † 03 March 1932 70th Birthday David Bedford * 04 August 1937 125th Anniversary Walter Braunfels * 19 December 1882 20th Anniv. of Death Morton Feldman † 03 September 1987 80th Birthday Michael Gielen * 20 July 1927 125th Anniversary Zoltán Kodály * 16 December 1882 125th Anniversary Gian Francesco Malipiero * 18 March 1882 125th Anniversary Joseph Marx * 11 May 1882 75th Birthday Richard Meale * 24 August 1932 70th Birthday Gösta Neuwirth * 06 January 1937 60th Birthday Paul Patterson * 15 June 1947 50th Birthday Thomas Daniel Schlee * 26 October 1957 50th Anniv. of Death Othmar Schoeck † 08 March 1957 125th Anniversary Karol Szymanowski * 06 October 1882 70th Anniv. of Death Karol Szymanowski † 29 March 1937 50th Birthday Julian Yu * 02 September 1957

2008

25th Anniv. of Death Cathy Berberian † 06 March 1983 90th Anniversary Gottfried von Einem * 24 January 1918 70th Birthday Zygmunt Krauze * 19 September 1938 80th Anniversary Gerhard Lampersberg * 05 July 1928 100th Anniversary Olivier Messiaen * 10 December 1908 60th Birthday Nigel Osborne * 23 June 1948 60th Birthday Peter Ruzicka * 03 July 1948 75th Birthday R. Murray Schafer * 31 October 1933 70th Birthday Tona Scherchen * 12 March 1938 75th Anniv. of Death Max von Schillings † 24 July 1933 80th Birthday Karlheinz Stockhausen * 22 August 1928 100th Anniversary Eugen Suchon * 25 September 1908

36 anniversaries 2009

50th Anniv. of Death George Antheil † 12 February 1959 75th Birthday Harrison Birtwistle * 15 July 1934 75th Anniv. of Death Frederick Delius † 10 June 1934 80th Birthday Edison W. Denisow * 06 April 1929 150th Anniversary Joseph Bohuslav Foerster * 30 Dec 1859 90th Anniversary Roman Haubenstock-Ramati * 27 Feb 1919 50th Anniv. of Death Josef Matthias Hauer † 22 September 1959 200th Anniv. of Death Joseph Haydn † 31 May 1809 50th Anniv. of Death Bohuslav Martinu † 28 August 1959 80th Birthday Henri Pousseur * 23 June 1929 75th Birthday Bernard Rands * 02 March 1934 100th Anniversary Karl Scheit * 21 April 1909 75th Anniversary Alfred Schnittke * 24 November 1934 75th Anniv. of Death Franz Schreker † 21 March 1934 100th Anniversary Alfred Uhl * 05 June 1909 90th Anniversary Roman Vlad * 29 December 1919 50th Anniv. of Death Eric Zeisl † 18 February 1959

2010

50th Anniv. of Death Hugo Alfvén † 08 May 1960 75th Anniv. of Death Alban Berg * 24 December 1935 80th Birthday Paul-Heinz Dittrich * 04 December 1930 80th Birthday Cristóbal Halffter * 24 March 1930 100th Anniversary Rolf Liebermann * 14 September 1910 150th Anniversary Gustav Mahler * 07 July 1860 75th Birthday Arvo Pärt * 11 September 1935 80th Anniversary Toru Takemitsu * 08 October 1930 125th Anniv. of Death Egon Wellesz * 21 October 1885

37 anniversaries VYKINTAS BALTAKAS Piece for soprano and tape on the occasion of the award ceremony of the Ernst von Siemens Grants-in-Aid, Rita Balta, S 03 May 2007 · Münchner Kammerspiele/D

bell tree for string quartet Arditti String Quartet 21 April 2007 · Witten Days for New Chamber Music/D

GEORG FRIEDRICH HAAS Bruchstück for large orchestra Munich Philharmonic, c. Markus Stenz 13 May 2007 · Philharmonie Munich/D

ZOLTÁN KODÁLY Hungarian Folk Music for voice and orchestra Hungarian National Philharmonic, c. Zoltán Kocsis Eszter Sümegi, S, Bernadette Wiedemann, A, Szabolcs Brickner, T, Bence Asztalos, B 16 March 2007 · Budapest Spring Festival/H

ROXANNA PANUFNIK Love Abide for alto, bass, mixed choir, harp, organ and string orchestra c. Matthew Glandorf, Choral Arts Society of Philadelphia 24 March 2007 · Philadelphia/USA

Declair the Wonders for choir c. James Thomas, St Edmundsbury Cathedral Choir 06 May 2007 · Cathedral Bury St Edmunds/UK

JAY SCHWARTZ Music for Eight Double Basses Bassists of the Hessen Radio Orchestra Frankfurt 12 May 2007 · Frankfurt/D

38 world premières MAURICIO SOTELO Muros de dolor III for orchestra Orquesta Filarmónica de Gran Canaria c. Anne Manson 04 May 2007 · Auditorio Alfredo Kraus, Las Palmas, Gran Canaria/E

MAURICIO SOTELO Green Aurora dancing over the night side of the earth for piano Concours Clara Schumann, sol. participants 05 May 2007 · Düsseldorf/D

JOHANNES MARIA STAUD One Movement and Five Miniatures for harpsicord, live-electronics and ensemble Birmingham Contemporary Music Group, c. Ilan Volkov 22 April 2007 · Birmingham/UK

Berenice. Suite 1 and 2 for orchestra Ensemble Modern, c. Franck Ollu 31 May 2007 · Rolf-Liebermann-Studio Hamburg/D

39 world premières PIERRE BOULEZ Anthèmes 2 for violin and live-electronics UE 31160

MIKE CORNICK Blue Baroque Cello for cello and piano UE 21381

MIKE CORNICK Charleston for Two for piano for four hands UE 21368

MORTON FELDMAN Trio for 3 flutes UE 21379

RICHARD FILZ Rhythm Coach 2 with CD Rhythm Workshop for instrumentalists, singers & dancers UE 32348

FRANZ LISZT 12 Etüden op. 1 for piano Vienna Urtext Edition ed. by Christian Ubber UT 50232

ARVO PÄRT Für Anna Maria for piano UE 33363

JAMES RAE Easy Blue Saxophone Duets for 2 saxophone (A,T) UE 21371

DAVID SAWER Mutability for female choir SSA choral score UE 21289

DANIEL SCHNYDER Trumpet Concerto for trumpets and orchestra version for trumpet (B, C) and piano UE 70029

RICHARD STRAUSS Sonate op. 18 in Es-Dur for violin and piano arr. for flute and piano by Emmanuel Pahud UE 33383

40 new releases ALEKSEY IGUDESMAN Style Workout

Studies in classical, rock, world and folk music for violin

UE 33338

Music has several ‘strings’ to its ‘bow’!

If you already know Aleksey Igu- desman’s Catscratchbook, you can guess that extraordinary things await young violinists in his ne- west work as well. For Western classical music has far from exhau- sted the sound possibilities of the violin. The diverse styles of today’s music have something to offer too, and any fears of approaching them are quickly dispelled by Igudes- man’s helpful tips. Little tricks to acquire the right rhythmic sense, phrasing or technique – and al- ready you’re on a fascinating trip through the entire musical world. And then it might even happen that you bump into Mozart in a dream, your violin turns into a dis- torted American rock guitar or, while playing, you develop a cra- ving for a Chinese spring roll. Inter- ested already?

41 new releases BÉLA BARTÓK Der wunderbare Mandarin Los Angeles Philharmonic, c. Esa-Pekka Salonen DGG SACD Hybrid 4776198 BÉLA BARTÓK Musik für Saiteninstrumente, Schlagzeug und Celesta SWR SO Baden-Baden and Freiburg, c. Michael Gielen hänssler CLASSIC CD 93127 BÉLA BARTÓK Der holzgeschnitzte Prinz SWR SO Baden-Baden and Freiburg, c. Michael Gielen hänssler CLASSIC CD 93 184 LUCIANO BERIO Ritirata notturna, and VIIa RSO Frankfurt, c. Luciano Berio, Severino Gazzelloni, fl, Matthias Arter, oboe Col Legno WWE CD 20513 LUCIANO BERIO Complete Piano Works Francesco Tristano Schlimé, pn Sisyphe CD SISYPHE005 LUCIANO BERIO Complete various artists NAXOS 3 CD 8557661-63 MORTON FELDMAN Three Voices Marianne Schuppe, voc Col Legno WWE CD 20249 MORTON FELDMAN Neither SO of the Bavarian Radio, c. Kwamé Ryan, Petra Hoffmann, S Col Legno WWE CD 20081 CRISTÓBAL HALFFTER Ricercare para organo ALFRED SCHNITTKE Zwei kleine Stücke für Orgel Martin Haselböck, org NCA CD/SACD 60160 OLIVIER MESSIAEN Oiseaux exotiques Cleveland Chamber Symphony, c. John McLaughlin Williams, Angelin Chang, pn NCA CD/SACD 60160 (GRAMMY AWARD 2007) ARVO PÄRT Da Pacem Domine, Salve Regina, Magnificat o. a. Estonian Philharmonic Chamber Choir, Paul Hillier harmonia mundi CD HMU 907401 (GRAMMY AWARD 2007) ARVO PÄRT Zwei Beter Hjo Kyrkas Ungdomskör, c. Mats Bertilsson Caprice CD CAP 21751 WOLFGANG RIHM Dis-Kontur, Sub-Kontur, Unbenannt IV SO of the Bavarian Radio, c. Leif Segerstam, Sian Edwards, Lothar Zagrosek Col Legno WWE CD 20093

42 new on cd LUCIANO BERIO EDUARD DAVID SAWER JOSEF SUK Sequenza VIII, ERDMANN From Morning Ein Sommer- Duetti per due Ständchen to Midnight: märchen violini Brandenburgi- Symphonic Suite, Orchestra of the Irvine Arditti, sches Staats- Tiroirs a. o. Komische Oper Rüdiger Lotter orchester, BBC SO, BCMG, Berlin, c. Kirill Oehms Classic c. Israel Yinon c. Martyn Brab- Petrenko SACD OC 611 CPO / JPC CD bins, Susanna CPO / JPC CS 777 175-2 Mälkki 777 174-2 NMC CD 116

WOLFGANG RIHM Ende der Handschrift, Nebendraußen, Rilke: Vier Gedichte Christoph Prégardien, T, Siegfried Mauser, pn Caprice CD CAP 21751 WOLFGANG RIHM La musique creuse le ciel, Über-Schrift DSO Berlin, c. Peter Rundel, Andreas Grau, Götz Schumacher, pn Col Legno WWE CD 20226 WOLFGANG RIHM Klangbeschreibung 1 - 3 SWR SO Baden-Baden and Freiburg, c. Michael Gielen, Ingrid Ade-Jesemann, Monika Bair-Jvenz, Christa Muckenheim, Christine Whittlesey hänssler CLASSIC 2 CD 93 010 EGON WELLESZ The Complete Piano Work Margarete Babinsky, pn Capriccio 3 CD 67181

43 new on cd ZOLTÁN KODÁLY Worklist

Abend — Evening for mixed choir a cappella 1904 Die Alten — The Aged for mixed choir a cappella 7’ 1933 Ode to Franz Liszt for mixed choir a cappella (SATB) 8’ 1936 Ave Maria for female choir a cappella (SSA) 1’30” 1935 Ballet Music for orchestra 5’ 1925 Ballet Music for piano 5’ 1936 Mátra Pictures for mixed choir a cappella (SATB) 1931 Dreikönigstag — Epiphany for female choir a cappella (SSA) 1933 Duo op. 7 for violin and cello 25’ 1914 Die Engel und die Hirten — The Angels and the Shepherds 3’30’’ 1935 for female choir a cappella (SSA) 5 Gesänge high or medium voice & orchestra arr. Paul Angerer 15’ 1957 Das Häschen — The Leveret for female choir a cappella (SS) 1’30’’ 1934 Das Häschen — The Leveret for 2 descant recorders 1’30’’ 1958 ed. by Carl Dolmetsch and Layton Ring Jesus kündet sich — The Voice of Jesus for female choir (SmezzoSA) 1927 traditional from the Zobor region Jesus und die Krämer — Jesus and the Traders 6’30’’ 1934 for mixed choir a cappella (SATB) Kádár Kata for alto and chamber orchestra 9’ 1943 Transsylvanian Folk-Ballad Die kaiserlichen Abenteuer des Háry János op.15 150’ 1925-1926 comic opera, authorised revised version by Ernst Hartmann 1962 Háry János-Suite for large orchestra 23’ 1927 Háry János-Suite for wind orchestra arr. by Glenn Cliff Bainum 23’ 1996 Háry János for ensemble arr. by Kurt Schwertsik 2000 Háry János for 2 clarinets and piano arr. by Kurt Schwertsik Duo from “Háry János” 4’ 1925-1926/1962 for mezzo-soprano, baritone and chamber ochestra Intermezzo from “Háry János” for large orchestra 4’ 1927 Intermezzo from “Háry János” for salonorchester arr. Emil Bauer 4’ 1929 Intermezzo from “Háry János” for violin and piano arr. by Joseph Szigeti 3 Pieces from “Háry János” for piano 10’ 1998 arr. by Andor Foldes, ed. by Peter Roggenkamp Theater-Ouverture for orchestra 12’ 1927 This overture was composed after the Budapest performances of the singspiel “Háry János”.

44 kodály worklist 2 Männerchöre for male choir (TTBB) 1913-1917 Marosszéker Tänze — Dances of Marossék for piano 12’ 1927 Marosszéker Tänze — Dances of Marossék for orchestra 12’ 1927/1930 Méditation sur un Motif de Claude Debussy for piano 6’ 1907 Meghalok, Meghalok — Woe is me... 1957 for soprano solo, 3–4 altos and female choir (SSAA) Monár Anna — Annie Miller 9’ 1925/1956 for medium voice and chamber orchestra Molnár Anna — Annie Miller 9’ 1936 Transylvanian Magyar Folk-Ballad for mixed choir a cappella (SATB) Morgengruß for mixed choir a cappella (SATB) 1’10’’ 1931 Traditional Hungarian Folksong from Nagyszalonta Pange lingua for mixed choir (SATB) and organ 1929 7 Piano pieces op. 11 for piano 22’ 1910-1918 Praeludium from “Pange Lingua” for organ 1929 Psalmus Hungaricus op. 13 23’ 1923 for , mixed choir, (SATB), boys’ choir ad lib. and orchestra Die Ruine — The Ruins for male choir a cappella (TBarB) 2’30’’ 1936 Serenade op. 12 for 2 violins and viola 1919-1920 Sommerabend — Summer Evening for orchestra 18’ 1906 Sonate op. 4 for cello and piano 17’30’’ 1909/1910 Sonate op. 8 for cello 32’ 1915 Spinnstube — Spinnery A scene from Transylvanian village 70’ 1924/1932 for 6 solo voices (SATB), female and male choir and orchestra String Quartet No. 2 op. 10 1916-1918 Strohhans Hungarian Children’s Folksong 1971 for female and children’s choir a cappella (SSAA) Székler Klage — Transylvanian Lament 3’30’’ 1934 for mixed choir a cappella (SATB) Tantum ergo I–V for female choir (SSA) and organ or reed organ 1928

45 kodály worklist Tänze aus Galánta — Dances of Galánta for orchestra 13’ 1933 Tänze aus Galánta — Dances of Galánta for symphonic band 13’ 1978 arr. by R. Mark Rogers Te Deum for soli, mixed choir (SATB) and orchestra 20’ 1936 Topfen der Zigeuner kaut Hungarian Children’s Folksong for female and children’s choir a cappella (SSAA) 1925 for mixed choir a cappella (SATB) 1950 Ungarische Volksmusik — Hungarian Folk Music 1925 for medium voice and piano Ungarische Volksmusik — Hungarian Folk Music 1931-1932 for high voice and piano Ungarische Volksmusik — Hungarian Folk Music 2004 for voice and orchestra arr. by Zoltán Kocsis 2 Volkslieder — 2 Hungarian Folks Songs from the Zobor region 6’ 1908 for 3 sopranos, 3 altos and female choir Weihnachtstanz der Hirten — Christmas Dance of the Shepards 1927 - 1935 after a Hungarian Christmas Song for female choir and wind instrument Zu Spät — Too late for mixed choir a cappella (SATB) 2’20’’ 1934

ARRANGEMENTS

Bach Johann Sebastian (1685-1750) 3 Choralvorspiele BWV 743, 762, 747 for cello and piano arr. by Zoltán Kodály 1924

Bartók Béla (1881-1945) 5 Lieder — Five Songs op. 15 17’ 1916 for medium voice and orchestra arr. by Zoltán Kodály 1962

The complete worklist, with more specific details, can be found at: www.universaledition.com

46 kodály worklist DAVID SAWER

From Morning to Mi night: Symphonic Suite The Greatest Happiness Principle · Tiroirs · The Memory of Water NMC D116 (1 CD) This release represents an important first full-length CD of the work of the highly acclaime young composer Davi Sawer. Having stu ie with Mauricio Kagel an been the recipient of numerous awar s an scholarships, Sawer has consistently respon e to a string of major commissions since the 1990s. The isc inclu es a specially-arrange orchestral suite taken from Sawer’s opera From Morning to Mi night—commissione by English National Opera an première at the Lon on Coliseum in 2001—for which he receive a Laurence Olivier Awar nomination for Outstan ing Achievement in Opera. BBC SYMPHONY ORCHESTRA · MARTYN BRABBINS BIRMINGHAM CONTEMPORARY MUSIC GROUP · SUSANNA MÄLKKI

NMC’S NEW ONLINE SHOP IS NOW OPEN Visit http://nmc.gree bag.com for the new one-stop shop for both physical an igital NMC recor ings. Here you can or er our CDs which will be elivere irect to your oor, or purchase music through our igital facility an explore the catalogue.

NMC Recor ings Lt · 18-20 Southwark Street · Lon on SE1 1TJ Tel: +44 (0)20 7403 9445 · Fax: +44 (0)20 7403 9446 www.nmcrec.co.uk UNIVERSAL EDITION

Austria: PO Box 3, A-1015 Vienna, Austria tel +43-1-337 23 - 0, fax +43-1-337 23 - 400 UK: 48 Great Marlborough Street, London W1F 7BB tel +44-20-7437-6880, fax +44-20-7292-9173. USA: European American Music Distributors LLC 254 West 31st Street, 15th Floor, New York, NY 10001-2813 tel +1-212-358-4999, fax +1-212-871-0237. Web: www.universaledition.com Chief Editors: Angelika Dworak and Eric Marinitsch Contributors: Bálint András Varga, Angelika Dworak, Eric Marinitsch, Wolfgang Schaufler, Jonathan Irons, Rebecca Dawson, Marion Hermann and Nick Cutts Design: Egger & Lerch, Vienna Photo Credits: O. Pfeifer, Eric Marinitsch (8), Yasuko Haas, Tobias Schneider, Manon Praetorius, UE-Archive (5), Frank Helmrich, rosas, Internationales Musikinstitut Darmstadt, Staatstheater Stuttgart / Gabriel Sadé, Johnstown Castle, Berliner Ensemble / Ute Eichel, Opéra de Nancy, Oper Wroclaw, Theater Bonn, Hannes Kilian, naive records, Christian Jungwirth, A. Henndorf, Reading Railroad Books, Auditorio Alfredo Kraus, Hagaselamusica, Hunnia Filmstudio / Gyula Kertész; CDs: Oehms Classic, CPO / JPC (2), NMC. DVR: 0836702

48