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02/11 SIKORSKI MUSIC PUBLISHERS • WWW.SIKORSKI.DE • [email protected] magazine On the Death of RUDOLF BARSCHAI The Grande Dame of New Music: SOFIA GUBAIDULINA TURNS 80 Two New Operas: “KRYOS” and “SNOW WHITE” editorial Dear Readers, It can happen that musical works in their respective adaptations become almost On the Death of more famous than in their original versi- ons. Dmitri Shostakovich himself once created a truly world-famous hit with his orchestral adaptation “Tahiti-Trot” based RUDOLF on “Tea for Two” by Vincent Youmans. But his own works were also adapted. In November 2010, the Russian composer and violist Rudolf Barschai died; he crea- BARSCHAI ted congenial orchestrations of selected string quartets of Shostakovich and THE RENOWNED RUSSIAN CONDUCTOR Beethoven that become world famous. AND VIOLIST RUDOLF BARSCHAI DIED His oeuvre is being honoured in this issue. ON 2 NOVEMBER 2010 AT THE AGE OF 86. The Grande Dame of New Music, Sofia Gubaidulina, is also world renowned; she arschai was born in Russia on 28 September 1924 and studied viola and will be celebrating her 80th birthday in Bcomposition, with Dmitri Shostakovich among others, at the Moscow October of this year. We have compiled Conservatory. After first performing in concerts as a violist, forming a string trio for you the most important events in the with Mstislav Rostropovich and Leonid Kogan and serving as a member of the jubilee year as well as information on two Borodin Quartet from 1945 until 1953, he founded the Moscow Chamber orchestra brand-new operas by our young composers in 1955, whose conductor and leader he was until emigrating to Israel in 1977. He Jörn Arnecke and Marius Felix Lange. then conducted numerous international orchestras including the Bournemouth Alongside these two, another highly gifted Symphony Orchestra, whose music director he was from 1982 until 1986. He lived new up-and-coming composer is Johannes in Switzerland from the late 1980s onwards. X. Schachtner, whose catalogue of works Barschai's most notable exterior characteristic was his closely cropped black mou- we are representing as of now. stache that stood in stark contrast to his white hair at the end of his life. Whoever encountered him was immediately fascinated by his elegance on the one hand and After last year, which was completely by his incomparable liveliness when narrating. Jan Brachmann remembered such dominated by the 150th birthday of an encounter in his obituary in the Frankfurter Allgemeine Zeitung: “(...) A fine Gustav Mahler, the Mahler Euphoria is smile played around his lips, and in cheerfully colourful German, this Russian from continuing without a break in 2011 in the North Caucasus then told all the gripping stories of the way the pianist of the memory of the 100th anniversary of his century, Sviatoslav Richter, was eternally dissatisfied with himself, or of the unex- death. We have selected and compiled pected spontaneity of the composer Dmitri Shostakovich, his teacher, whom “Music of Mourning” (works dealing with Barschai loved above all others.” the subject of death) not for this reason, Barschai's emigration to Israel in 1977 had many reasons, some of which had to do however, but on the occasion of a highly with his admired Shostakovich. Against the strongest political resistance of the interesting premiere of a work by political powers on the time, the conductor Barschai had succeeded in gaining a Alexander Raskatov. performance of Shostakovich's Symphony No. 14, Op. 135, written for him and his Moscow Chamber Orchestra. Jan Brachmann added the following in his newspaper We wish you many new discoveries and article: “If (Barschai's violin teacher) Leo Zeitlin was a member of the 'Society for fascinating reading Jewish Folk Music' founded in 1908 in St. Petersburg during the late Tsarist period, his pupil saw himself warned by a political anti-Semitism, at the latest since the Dagmar Sikorski murder of the Jewish actor Solomon Michoels by Stalin's henchmen in 1948. After Dr. Axel Sikorski the death of Shostakovich, Barschai emigrated to Israel, conducting the Israeli Chamber Orchestra there (...) and appearing as a guest conductor all over the world.” At the International Shostakovich Days in Gohrisch, newly founded in 2010, the contents Gohrisch Shostakovich Prize was actually to have been presented to him perso- 02 On the Death of Rudolf Barschai nally. This was prevented by his sudden death, so that the award was presented posthumously. 04 The Grande Dame of New Music Rudolf Barschai became especially famous for his sensitive and authentic adaptations Sofia Gubaidulina Turns 80 of chamber music works of Dmitri Shostakovich and Sergei Prokofiev. His ingenious adaptation of the 8th String Quartet, Op. 110 of Dmitri Shostakovich is 06 Two New Operas: considered to be particularly successful; it attained great worldwide popularity “Kryos” and “Snow White” under the name of Chamber Symphony, Op. 110a. Shortly before his death, he crowned his life's work with an orchestral adaptation of the “Art of Fugue” by Johannnes X. Schachtner 07 Johann Sebastian Bach. The adaptations of Rudolf Barschai are, with few exceptions, Young Composer at Sikorski published by Hans Sikorski Music Publishers. 08 100th Anniversary Barschai was closely bound to Shostakovich up until the latter's death in 1975. When of the Death of Gustav Mahler Barschai asked the composer for permission to adapt the Eighth String Quartet, Shostakovich immediately declared his consent and finally had the work entered in 09 Alphabet of Death his catalogue of works as Op. 110a. “Shostakovich was a god to us,” Barschai once Music of Mourning said. “He was so clever and such a great musician.” 2|SIKORSKI magazine Cover NEWS “Beatitudes” by Alexander Knaifel in The Art of the Amsterdam Adaptation Alexander Knaifel has composed a Barschai's method of handling original gripping sacred vocal work - compositions was very subtle indeed. Not “Beatitudes” for soloists, choir and string with a single note did he falsify the sound of orchestra. The performers at the Dutch the original, but gained completely new premiere of the work on 14 May 2011 in perspectives from it. Amsterdam will be Ilse Eerens (soprano), Barschai's Chamber Symphony, Op. 74a is Henk Neven (baritone), Michael Müller based on the String Quartet, Op. 74 in E-flat (violoncello), the Cappella Amsterdam major of Beethoven. In 1809, this work and the Radio Chamber Philharmonic formed temporary conclusion to under the direction of Ed Spanjaard Beethoven's string quartet production, which he only resumed with the late quar- Raskatov's Opera tets in the years 1822 to 1825. The E-flat “A Dog's Heart” major Quartet also bears the somewhat con- now also in Russia fusing nickname “Harp Quartet” or, refer- ring to Beethoven's patron Prince Franz Joseph von Lobkowitz, the “Lobkowitz Quartet.” The other Chamber Symphony , Op. 59, 1a is based on the String Quartet No. 7 in F major, Op. 59/1. This Quartet was composed during 1806, a very productive phase for the Ludwig van Beethoven / composer, and belongs to the series of Rudolf Barschai so-called Rasumovsky Quartets. The - Chamber Symphony for Russian diplomat Andrei Kirillovich Chamber Orchestra, Op. 59, 1a The Maryinsky Theatre in St. Petersburg Rasumovsky commissioned this series from - Chamber Symphony for String has announced the Russian premiere of Beethoven. Orchestra, Op. 74a Alexander Raskatov's new opera Sergei Prokofiev designated a cycle of twenty “A Dog's Heart” based on Bulgakov in short piano pieces “Visions fugitives”. They Sergei Prokofiev / Russian for 27 May 2011. The perfor- were composed between 1915 and 1917 Rudolf Barschai mance is part of the festival “White and apparently conceived for the compo- - Visions fugitives. 15 Pieces for Nights” and the St. Petersburg Municipal ser's own use as a pianist. The title “Fleeting String Orchestra, Op. 22a Festival. Valery Gergiev will direct the Visions” refers to a work by the symbolist - ”Romeo and Juliet:” Scenes Orchestra of the Maryinsky Theatre St. Konstantin Balmont, who wrote the follo- from the Ballet for Petersburg, with direction by Simon wing in a poem: “In each fleeting vision I Orchestra. Suite in 12 Parts McBurney, who has already directed the glimpsed worlds, fulfilled with the interaction work in Amsterdam and London. of the colours of the rainbow.” Dmitri Shostakovich / The Suite in 12 Parts from Prokofiev's ballet Rudolf Barschai Important Concerts in music to “Romeo and Juliet” was arranged - Chamber Symphony for String China with Music by by Rudolf Barschai not for string orchestra like Orchestra, Op. 118a Xiaoyong Chen the “Visions fugitives,” but for large orchestra. based on the String Quartet With his famous Shostakovich adaptations, No. 10, Op. 118 too, Barschai sometimes chose a string - Chamber Symphony for String orchestra and then again a chamber orche- Orchestra, Op. 110a stral combination. The best-known piece of based on the String Quartet the series is the Chamber Symphony, Op. No. 8, Op. 110 110a based on the String Quartet No.8, Op. - Chamber Symphony for 110 of Shostakovich, that the composer had Chamber Orchestra, Op. 83a dedicated to the victims of Fascism and war. - Chamber Symphony for The work was composed during the summer Chamber Orchestra, Op. 73a of 1960 during a stay at a health resort in based on the String Quartet Gohrisch near Dresden, which not only gave No. 3, Op. 73 The new Concerto for Violoncello and this town reason to erect a Shostakovich - Chamber Symphony for String Orchestra by Xiaoyong Chen will receive memorial, but also to found an annual Orchestra and Celesta, its world premiere in Taipei on 21 May Shostakovich Festival. Op. 49a based on the String 2011. A few days later, on 28 May, there The Chamber Symphony, Op.

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