Newsletter 03/10 • Summerthema 2010 Content News New UE Website — 4 Mahler Blog — 5

11 Arvo Pärt World Première of Adam's Lament in Istanbul's Hagia Irene

15 Jay Schwartz The Night of Jay Schwartz in Salzburg

33 Alban Berg Wozzeck and Lulu at the Vienna and Salzburg Festivals

37 Leoš Janáček Complete Critical Edition of The Cunning Little Vixen

Wolfgang Rihm

World Première of Dionysos at the Salzburg Festval

1 newsletter 03/10 • summerthema 2010 Content News New UE Website — 4 Mahler Blog — 5

Composers Rihm — 7 Staud — 9 Pärt — 11 Luke Bedford — 12 Cerha — 13 Haas — 13 Halffter — 14 Sotelo — 14 Schwartz — 15 Baltakas — 16 Lentz — 16 Borisova-Ollas — 16 Boulez — 17 Sawer — 18 Birtwistle — 18 Berio — 19 Stockhausen — 20 Bennett — 20 Weill — 21 Kagel — 21 Krenek — 22 Martin — 22 Gurlitt — 23 Opera suites — 24 Boris Blacher — 26 Ulvi Cemâl Erkin — 26 Lars-Erik Larsson — 26 Feldman — 27 Bartók — 28 Kodály — 28 Martin� — 29 Szymanowski — 29 Schmidt — 30 Rott — 30 = World Première

content 03/2010 Dear Readers, Schreker — 31 Webern — 31 Zemlinsky — 32 Have opera suites lost their status Berg — 33 as independent concert pieces? Schönberg — 34 Unlike overtures, they do not at- Mahler — 35 tempt to summarise the main Janá�ek — 36 -39 themes. Suites allow themselves to be expansive. Orchestral suites also prepare listeners, awaken their curiosity and attune their ears to anniversaries — 40 - 41 complex, orchestral contexts, but without having to compete with world prmières — 42 the voice.

New releases — 44 - 45 Aside from the real historical ne- cessity of trying out new operas New on CD & DVD — 46 - 47 in concert halls, today’s composers still put instrumental ideas from Acknowledgements — 48 their operas to the test in concert now and then. UE has extended its series of opera suites considerably over the years. Like precious jewels, they are just waiting to be discovered. An overview – from Alban Berg to Kurt Weill – can be found on page 24 and 25.

The Editorial Team

3 universal edition New Website

Have you seen our new website? Thank you for the many compli- ments from those who have. We hope you too find the new site fast- er and easier to use. Let us know if you have any comments or suggestions. The new site is organised in five main sections: News; Compos- ers and Works; Sheet Music and more; Performances and Calendar; and Film | TV | Advertising. At the top of every page is our new search box. Just type a few letters and see which results are suggested (just like Google). Our composers’ pages have been completely redesigned. Now you can see all details about biography, works, available scores, performances, audio excerpts and news on the same page. www.universaledition.com/haas is a good example. At the bottom of each composer and each work page is a new feature, showing which other works ensembles have performed, in ad- page lets you sit back and listen to dition to the ones shown – it can a selection of works. come up with some interesting results. Another new feature is the ex- We have also been busy behind the panded Calendar section, which scenes, adding extra information now includes a list of forthcoming about our music, and we now have radio broadcasts of UE works, and a over 500 audio excerpts online much more powerful search func- (you can find them on our com- tion. Have a look at www.univer- poser and work pages). The new saledition.com audio player on each composer’s

news universal edition Mahler Blog

The activities celebrating the anniversaries of Gustav Mahler’s birth (150th this year) and death (100th next year) are rapidly gaining momentum, with performances across the world. Highlights include the complete cycle of orchestral works performed by the Concertgebouworkest in Amsterdam, and the BBC Philharmonic Orchestra’s Symphony cycle in Manchester, adding world premières of works by composers including Friedrich Cerha and Luke Bedford. In Vienna, an extensive Mahler exhibition has just opened at the Theatre Museum, under the title of the sardonic Mahler quote “Alas I remain Viennese through and through”. Visit our Mahler Blog at www.universaledition.com/mahler for further news and video interviews with 15 of the world’s greatest conductors,now including Antonio Pappano and Lorin Maazel..

Antonio Pappano: “All Mahler symphonies are some- how about struggle. So is the sonata-form, but I think Mahler made it more personal. The struggle and the resolution of the struggle – and how it ends; this makes a symphonic argument. I don’t think there is any difference to Mozart, Haydn or Beethoven. Mahler found a more modern way of showing whats really going on underneath Antonio Pappano the skin.” Lorin Maazel: “Mahler, and this was my problem as a young musician, came out of nowhere and was saying things that nobody had said before. It was shocking. (...) Many conductors go on ego-trips when they conduct and they eventually think that they wrote the music. Mahler was a marvellous conductor and he knew exactly what he was doing." Lorin Maazel

news UE Newsletter_120x225mm 06.05.2010 9:39 Uhr Seite 1

SALZBURGER FESTSPIELE 2010

Kontinent Rihm Zehnteiliger Konzertzyklus Uraufführung von Wolfgang Rihms Dionysos

sponsored by

TICKETS Tel: +43-662-8045-500

Foto: Barbara Klemm www.salzburgfestival.at UE Newsletter_120x225mm 06.05.2010 9:39 Uhr Seite 1

SALZBURGER FESTSPIELE 2010

Kontinent Rihm Rihm

Zehnteiliger Konzertzyklus God of intoxication (13 Aug, ensemble recherche) and Ernster Gesang (21 and 22 Aug, con- Uraufführung von Wolfgang Rihms Dionysos ducted by Christoph Eschenbach). It is some time since the There is also a series of events enti- Salzburg Festival last tled “the exegesis of Rihm”, provid- sponsored by opened with the première ing further information and discus- of a new opera. Wolfgang Rihm sion. www.bit.ly/rihmsalzburg was inspired to compose Dionysos The monodrama Proserpina (in- by Friedrich Nietszche’s late poem spired by Goethe) has its American cycle Dionysos-Dithyramben, al- première at the Spoleto festival (30 though the philosopher’s take on May, 4 and 9 Jun, Memminger Au- the god of intoxication is only one ditorium, Charleston, conducted by aspect of the work. John Kennedy, with soprano Heath- Ingo Metzmacher presents the er Buck). Deploration for flute, cello work on 27 Jul (further perform- and percussion is performed in ances: 30 Jul, 5 and 8 Aug, director Baden-Baden on 12 and 13 Jun. Pierre Audi; stage design, Jonathan Meese). The première is complemented by a journey across the “continent of Rihm”, a series of concerts featuring 15 works by Rihm programmed by concert director Markus Hinter- häuser between 29 Jul and 22 Aug. The revival of the Poème dansé Tutuguri at the Felsenreitschule on the 29 Jul has already attracted considerable attention. Other highlights: Quid est Deus (2 Aug, conducted by Sylvain Cam- breling), ET LUX (7 Aug, the Hilliard Ensemble, Arditti Quartet), Gesun- gene Zeit (8 and 10 Aug, conductor Riccardo Chailly, Anne-Sophie Mut- ter, violin), Séraphin-Sphäre (9 Aug, Klangforum Wien), Jagden und For- men (10 and 11 Aug, choreographed by Sasha Waltz with Ensemble Wolfgang Rihm TICKETS Modern), Musik für 3 Streicher Tel: +43-662-8045-500

Foto: Barbara Klemm www.salzburgfestival.at 7

rihm Juli 28 – August 8 St.Gallen/Gesäuse, Austria www.arcanafestival.at

Cerha Cho Feldman Furrer ensemble recherche Gander Klangforum Wien Grisey KNM Berlin Jarrell Neue Vocalsolisten Ligeti Schlagquartett Köln Neuwirth Arnold Schoenberg Chor Parra Trio Zebra Rihm Dierksen Ronchetti Flury Saariaho Formenti Scelsi Hodges Sciarrino Kovacic Sotelo Molinari Staud Schulkowsky Varèse Weiss Xenakis Zender uvm.

REGIONALE10 | WWW.REGIONALE10.AT staud

Big sound On Comparative Meteorology is returning to Cleveland. The Cleve- land Orchestra, which premièred Tondo, Preludio für Or- the work under Franz Welser-Möst, chester (2009–2010) by will perform it again on 5 June un- Johannes Maria Staud der Matthias Pintscher. was commissioned by the Säch- The Bregenz Festival will be pre- sische Staatskapelle Dresden and senting an overview of Staud’s will receive its world première at chamber music works, with a por- the Semperoper under Paavo Järvi trait concert showcasing Syden- on 22 Aug (other performances on ham Music, Lagrein, Für Bálint 23–24 Aug in Dresden and 25 Aug in András Varga and Configurations/ Görlitz). It is the first of three works Reflet on 11 Aug, performed by the that Staud is to compose for the Wiener Concert-Verein. Staatskapelle Dresden during his www.bit.ly/staudbregenz tenure as “Capell-Compositeur” for Porto will play host to the Portu- the 2010–2011 season. guese première of Berenice. Suite Lasting some 11 minutes, the 4-part 1 (25 May, Remix Ensemble). The piece is grouped around the central new Arcana festival in St. Gallen/A, sound of the 4 horns and is character- launched by Peter Oswald, will also ised by a big and compact, yet highly in- be featuring Staud, with Portugal tricate sound. Composed with a cir- for percussion on 31 July (soloist: cular structure, the work can finish Robyn Schulkowsky) and Black after one run-through or can be re- Moon on 5 Aug (soloist: Ernesto peated da capo, as long as required Molinari). www.arcanafestival.at or as external conditions permit. Johannes Maria Staud

staud 16 JULY – 11 SEPTEMBER 2010 • ROYAL ALBERT HALL The world’s greatest classical music festival BOOKING NOW OPEN Book at bbc.co.uk/proms or call +44 845 401 5040*

* Calls cost up to 4p/min from a BT landline (plus a one-off connection charge of up to 8p). Charges from mobiles and other networks may be considerably higher. Calls may be monitored and recorded for training and quality-control purposes. Pärt Pärt on the Bosporus

Following Arvo Pärt’s and the Vox Clamantis are con- lifetime achievement ducted by Tõnu Kaljuste. The In- prize at the 38th Internati- ternational Istanbul Music Festival onal Istanbul Music Festival, a con- also features the Turkish première cert paying tribute to the compo- of the Symphony No. 4 on 11 Jun. ser features the première of a new Cem Manur, who gave the Finnish work: Adam’s Lament for choir and première, conducts the expanded orchestra. The work emerged from Akbank Chamber Orchestra. www. a co-commission by two European bit.ly/paertistanbul Capitals of Culture – Istanbul 2010 and Tallinn 2011. Pärt based his new The Symphony No. 4 can also be work on the writings of Siluan of heard at the BBC Proms in London, Athos, in which the monk laments where it has its British première the pain of Adam after the loss of under Esa-Pekka Salonen on 22 paradise. The text is sung in Rus- Aug. The live recording of the pre- sian. Also on the programme are mière of the symphony – with the Te Deum, Orient & Occident, Most Los Angeles Philharmonic, also un- Holy Mother of God, Alleluia Tropus der Esa-Pekka Salonen – is released and Da Pacem Domine. The Boru- on CD in August (ECM New Series). san Philharmonic Orchestra, the Es- tonian Philharmonic Chamber Choir

Hagia Irene Istanbul

pärt Bedford Debut at the BBC Proms

This summer, Luke Bed- ford makes his debut at the BBC Proms in London. Luke Bedford Oliver Knussen conducts Outblaze the Sky with the BBC Symphony Or- chestra (28 July, Royal Albert Hall). “Piano Book – a project for the pres- As the composer writes, he “imag- entation of contemporary piano ined the piece to have a warmth music”. Composers including Luke and a certain haziness, and the re- Bedford have been invited to write sult is that virtually every new pitch two works – one for solo piano and is scored with glissandi, harmonics, one for four hands, with a hard part flutter-tonguing, tremolandi and (played by a teacher) and an easy molto vibrato. But the music is very part (played by a pupil). Bedford’s slow throughout, and only properly results, Give Him His Hat, can be ‘blazes’ in the final section.” heard on 12 July at the Folkwang On 6 Aug, also at the BBC Proms, Hochschule in Essen-Werden. Aim- George Benjamin conducts the ard and Stefanovich are joined by Birmingham Contemporary Music students from the Cologne College Group in a performance of Or voit of Music. tout en aventure, with Claire Booth www.bit.ly/klavierruhr singing the soprano solo. www.bit.ly/bedfordproms1 www.bit.ly/bedfordproms2

Bedford’s new string quartet, Of the Air, will be premièred at the Wigmore Hall, where Bedford is the current composer in residence, by the Belcea Quartet (25 June). www.bit.ly/belcea

As part of the Klavier Festival Ruhr 2010, Pierre-Laurent Aimard and Tamara Stefanovich are presenting

luke bedford Cerha anniversary of Klangforum Wien, and takes the term “solo ensemble” For virtuosos literally. Each of the ten individual parts is also a solo piece, which means that the ensemble piece is When Friedrich Cerha’s woven together out of ten fully in- Concerto for percussion dependent works which can each be and orchestra was per- performed on their own. The Tiroler formed in Salzburg last autumn, Ensemble für Neue Musik performs there was almost unanimous agree- the 1996 version of the piece on ment that Cerha had written a virtu- 29 June in Innsbruck. Smaller sub- osic concerto full of substance that ensembles are also possible; these would soon take its place in the rep- versions for one to four instruments ertoire. Now the piece is to receive its have been published under the ti- German première at the Schleswig- tle „… aus freier Lust … verbunden“ Holstein Music Festival. Eivind Gull- (with the addition of the relevant berg Jensen conducts the NDR Radi- instrumentation in each case). ophilharmonie. The soloist is Martin Monodie is performed in Graz by Grubinger (7 Aug, Flensburg). Klangforum Wien under Emilio 9 Bagatellen for string trio will be Pomàrico on 30 June. premièred at the styriarte Festival (Ze- bra Trio, 27 June, Schloss Eggenberg/A). Bruchstück, geträumt, a piece commissioned by the Wittener Tage für neue Kammermusik, can now be heard in Vienna (18 June, Klangforum). The new Arcana Festival is also paying tribute to Cerha with Verzeich- nis for 16 vocalists or 16-voice mixed choir. It will be sung by the Arnold Schoenberg Choir on 31 July and 2 Aug at the Monastery of Admont/A, while 9 Bagatelles will be played on 7 Aug at Burg Gallenstein/A. haas Individual parts

„... Einklang freier Wesen ...“ for 10 instruments was written for the 10th Georg Friedrich Haas

cerha / haas Halffter

Variations – combine with those of the hori- zon, the edge or the intersection of vibrating fields of colour that come Cristóbal Halffters Planto por las together to create a wall of sound victimas de la violencia for chamber (Muro Sonoro)”. The Kammer- ensemble and electronics, which ensemble Neue Musik performs premièred in Donaueschingen in the opiece under Beat Furrer (6 1971, was immediately praised for Aug, St Gallen/A). its “haunting new tonality”, which Como llora el agua ..., with the phe- lifts the work above the “many nomenal flamenco guitarist Juan standard effects”. Manuel Cañizares, demonstrates an José Ramón Encinar is dedicat- “electrifying presence” and a “per- ing himself to the long-forgotten fectly composed piece of flamenco “electronic” Halffter, performing with progressive undertones”, the his Variaciones sobre la resonancia work of an “immensely musical de un grito for 11 instruments, tape composer” – according to the Neue and live electronics with the Or- Zeitschrift für Musik in May 2008 questa de la Comunidad de Madrid (7 Aug St Gallen/A). (18–20 June). Following the world première in Donaueschingen in 1977, the music was described as being of “absolutely extraordinary beauty”. These are reasons enough to allow justice to be done to this music, which transcends its time.

sotelo Weeping water

Klang-Muro... I for flute, double bass and ensemble is Mauricio Sotelo’s poetic exploration of the Moorish roots of Spanish music. “The melodic lines of the solo instruments – ‘voz de dolor, i canto Mauricio Sotelo de gemido’ (F. De Herrera, Canto I)

halffter / sotelo Jay Schwartz schwartz summer (12 Jun). Alongside the music of Ligeti and Sibelius, the world A new new work première of Schwartz’ Music for Or- chestra II will be given. Leo Hussain conducts the Mozarteum Orches- In a last minute change tra Salzburg in the Kollegienkirche. to the planned concert, Music for Five String Instruments II the RSO Frankfurt re- will also be performed. placed Jay Schwartz’ Music for www.bit.ly/schwartzsalzburg Eight Double Basses with his new work for string orchestra, Music Of Schwartz’ last major piece for for Orchestra III. The work, scored orchestra, Music for Voices and Or- for strings only, employs massive chestra, the Stuttgarter Zeitung funnel effects, with giant chords wrote, “it is a clearly conceived and sliding unrelentingly downwards, effectively composed work with before intertwining in a thicket of mesmerising moments especially polyphony to form new constella- where the vocal elements merge tions. Lucas Vis stood in for Mat- seemingly unnoticed with the in- thias Pintscher and conducted the strumental activity.” hr-sinfonieorchester on 23 April. For more information on the composer and his works, with audio “His style is unmistakable – an or- excerpts and performance dates, ganic tremor and weaving of col- see www.universaledition.com/ ourful sounds, the expression of schwartz background forces, a long breath.” This is how the Landestheater in Salzburg introduces the music of Jay Schwartz, which it presents this

schwartz Baltakas my having read about Pythagoras’ poetic concept of a musica univer- Elektronic salis.” This is how Georges Lentz describes his compositional work of invention the past years. Included in Mysteri- um are the orchestral works Monh (with solo viola), Ngangkar and In Vykintas Baltakas’ recent work Guyuhmgan (recently performed in for Ensemble Modern – Lift to Du- Graz). For details, see www.univer- bai – the composer uses electronics saledition.com/lentz to create an other-worldly sound environment, surrounding the listener in a plenitude of real and borisova-ollas electronically created sounds. You hear voices talking, mixed with the Egyptian dances automatic announcements by a lift, all set against a murky, jumbled background of … is it Dubai or isn’t Victoria Borisova-Ollas’ latest work it? – a concerto for clarinet and orches- Baltakas’ latest work with electron- tra – is the composer’s own way of ics was premièred in Kassel by the reflecting on the life of the ancient Kantorei Kassel conducted by Eck- Egyptians. We know so much about hard Manz on 29 May. It is based their life and their society, but we on the Missa sexti toni by Josquin have no idea of the music they cre- des Près. ated, sang, played and heard. Gold- en Dances of Pharaohs is Borisova- Ollas’ modern day answer. It was lentz premièred in Stockholm by Martin Fröst and the Royal Stockholm Phil- Musica harmonic Orchestra conducted by Sakari Oramo (6 May). See www. universalis bit.ly/borisova for details.

“Caeli enarrant ... is a cycle of works which I have been working on since 1989 and which reflects my fas- cination for astronomy as well as my spiritual thoughts and doubts. Mysterium, the last and largest part of the cycle, is influenced by

16 baltakas / lentz / borisova-ollas boulez Modernist classic

To mark Pierre Boulez' 85th birth- “derivative” is also a sequence of day the Viennese Philharmonic variations “on the name Sacher”. performed Notation I–IV and VII Six chords build a circular rota- under the baton of the composer, tion, which mimic the structure with a perfect musicality of the of the piece, but also soften it. En- kind one might expect to hear in semble recherche performs Dérive 1 a waltz by Strauss. They perform on 28 Aug in San Sebastian. They the Notations again under Daniel also perform ...explosante fixe... Barenboim at the operning of the for flute with live electronics, two Salzburg Festival (26 and 27 Jul). flutes and ensemble. Dérive translates roughly as “deriv- Dérive 2, dedicated to Elliott Carter ative”; the piece is derived from the on his 80th birthday, on the other two compositions Répons (1981) hand, is a “research project into pe- and Messagesquisse (1976/77). The riodicity”. Boulez himself conducts Ensemble InterContemporain at the Aldeburgh Festival (26 Jun). The ensemble, founded by Boulez, takes Dérive 1 with it on the road (7 Aug, Briançon). There they will also perform the classic Le Marteau sans Maître (7 Aug). Ensemble Mod- ern performs Dérive 1 in Frankfurt (15 and 16 Jun). Mémoriale (… explosante-fixe … Originel) for flute and 8 instruments is performed again in Vien- na after its recent performance by the Viennese Philharmonic at a cer- emony in honour of Boulez (7 Jun, Ensemble Kontrapunkte).

Pierre Boulez

boulez Harrison Birtwistle

Sawer trancing. Exquisitely scored for 13 players, it is dark, lean and jagged, Defying embracing both eerie menace and seductive charm.” categorisation

birtwistle “Sawer calls it a ballet on the print- ed score, but in reality what he and Director’s cut Jones have devised defies accurate categorisation, vividly unfolding the sinister story through music, Cortege is Harrison Birtwistle's mime and movement across its completely new reworking of the 70-minute span.” This is how An- earlier work Ritual Fragment. The drew Clements described the world composer wanted to revise and première of David Sawer’s Rumpel- correct the original, but soon dis- stiltskin in The Guardian. The pro- covered that his intentions went duction, produced by the BCMG much further than a mere revision. with a stage design by Stewart La- What resulted is what you might ing and directed by Richard Jones, call the final director’s cut of the is built to tour and is continues to piece. The next performance of the do so, with a further two perform- work, which is for 14 musicians, is ances at the Spitalfields Festival on in Innsbruck, where the Tiroler En- 11 June. Martyn Brabbins conducts semble für Neue Musik perfoms on the BCMG at Shoreditch Church in 29 June. The musikFabrik presents London. See www.bit.ly/rumpel for the work in September in Cologne. details. As Rupert Christiansen wrote in the Telegraph, “Sawer’s score is en-

sawer / birtwistle Berio Timeless “unearthed”, it is being discovered masterpieces by many conductors. Amsterdam’s Concertgebouworkest will be performing Quatre dédicaces under 24 October 2010 would have been conductor Mariss Jansons in Am- Luciano Berio’s 85th birthday. Many sterdam on 18–19 June. of his works already became time- The 63rd Aldeburgh Festival is to less masterpieces of the 20th centu- open on 11 June with a new stag- ry during his lifetime. His Sinfonia, ing of Berio’s Recital for Cathy Folk Songs, Rendering, Sequenze (London Sinfonietta, c. Franck Ollu, and the Chemins cycle, his tran- Susan Bickley, ms). Recital for Cathy scriptions of Weill, Verdi, Boccherini is also one of the most important and de Falla are mainstays of in- rediscoveries of recent years. Be- ternational concert programmes. rio wrote this highly entertaining, However, Berio’s oeuvre is highly 35-minute piece of musical theatre extensive and multifaceted, and for his then-wife, Cathy Berberian, therefore still offers new discover- including numerous quotations ies now and then. The four brilliant from musical history in a tragic- orchestral miniatures, Fanfara, En- comic style. A list of the quotations trata, Festum and Encore, remained and references can be found on undiscovered until, in 2007, Pierre Wikipedia. Boulez brought them together as www.bit.ly/recitalforcathy one group, entitled Quatre dédicac- www.bit.ly/recitalaldeburgh es, and performed them together. Now that this treasure has been

Luciano Berio

berio stockhausen bennett Individual tones Enchanting melodies Karlheinz Stockhausen’s 1952/1953 piece Kontra-Punkte for 10 instruments is one of the key works of se- The Buxton Festival will feature rial composition. “One of the basic performances of Richard Rodney ideas behind the piece is that all Bennett’s moving 45-minute chil- 10 instruments are initially intro- dren’s opera, All the King’s Men, duced on an equal footing – with on 9, 12–13 July – a piece commis- ‘punctiform’ individual tones. But sioned by the Coventry Schools’ during the piece individual instru- Music Association. The libretto was ments drop out one by one, while written by Beverley Cross, based on the remaining instrumental parts the popular nursery rhyme Humpty become progressively more contin- Dumpty. The rhyme tells of a can- uous with one another, culminat- non that was mounted on the top ing in an enormously challenging of a church tower in Gloucester in piano solo” (Richard Toop). Pierre 1648, during the English Civil War, Boulez studied his great compan- and that “had a great fall” when ion’s work in 1990 and presents it the tower was hit by the besieging anew with Ensemble InterContem- Roundheads. Bennett’s opera de- porain at the Vienna Festival (16 lights listeners with its enchanting Jun) and the Holland Festival (17 melodies, exhilarating orchestra- Jun). www.bit.ly/stockhausen tion and subtle rendering of the characters. Director: Michael Barry. www.bit.ly/allthekings

stockhausen / bennett Kagel Propping up the sky

Mauricio Kagel's 15-minute composition with stage sets, Die Him- melsmechanik (subtitle: Presenta- tion of various natural events), was considered one of the strictest Kurt Weill attempts at experimental instrumental theatre in 1965. Accompa- nied by barely concrete sounds, a Weill playful, visionary setting is created, with the sun, moon and stars mov- Berlin in Light ing across the sky, the sound of the wind, the patter of the rain and the mist rising. Kagel depicts a broken As part of the Berlin Fesetival of natural world out of a test tube, “a September 1928, the gas and elec- propped-up sky”, as he put it. tricity companies of the city staged “These days, music is only ever pre- a huge festival of light under the ti- sented as a cosmic play of stars tle “Berlin in Light”. This advertise- under a steady flood of sunlight, in ment for modern technology, and the frame of a puppet theatre, in for modernity itself, was designed a naively fantastic manner,” wrote to demonstrate Berlin’s economic Karlheinz Roschitz, following the and cultural vitality, only ten years world première of the piece at the after the defeat and humiliations Venice Biennale in 1969. of 1918. Kurt Weill wrote Berlin im The work will be performed by Das Licht for voice and jazz instruments Neue Ensemble in a semi-staged for the occasion. On 22 Jun the concert at Musik 21 Niedersachsen song can be heard performed by in Hanover on 20–21 June. HK Gruber at the Happy New Ears festival in Frankfurt. Also on the programme: Ölmusik, Die Moritat von Mackie Messer, Kleine Dreigro- schenmusik and Klopslied. www.bit.ly/weillmodern

weill / kagel krenek Martin Journey through New ballad Austria

In mid-2008, Maria Martin found “I'm setting out to discover my a previously unnoticed handwrit- homeland” – so begins Ernst ten manuscript by Frank Martin, Krenek’s song cycle from 1929. In entitled Deuxième Ballade for flute the twenty songs of the Reisebuch and piano or flute, string orches- aus den österreichischen Alpen he tra, piano and percussion. This was describes with affection and irony the composer’s own arrangement his impressions of the individual of the Ballade for saxophone and stations of his trip through Aus- string orchestra, piano and percus- tria. As part of the styriarte Festi- sion, which he had composed for val, taking place this year under Sigurd Rascher in 1938. the title “You Are The Homeland”, Both versions of the Deuxième Bal- the orchestral version of eight of lade for flute have been produced the songs will be performed by the by UE and are now available: flute Recreation orchestra under the di- and piano (for sale, UE 34699); rection of Andrés Orozco-Estrada flute, string orchestra, piano and (15 Jul, Helmut-List-Halle, Graz/A). percussion (for hire). The Stübing Open Air Museum also The reduced version premièred in explores Krenek’s idea and invites The Hague on 31 Aug 2009 with the audience to follow the same Thies Roorda (flute) and Nata Tsver- path through Austrian history two eli (piano). See also New on CD & days later. DVD on page 46. www.bit.ly/krenekreisen

Freilichtmuseum Stübing/A

krenek / martin thesis of accessible melodies with a novel ruthless harmony and bold rhythms is something completely new that you bring to the opera stage. And I believe in the victory of the new, if it is moved by a new Manfred Gurlittt Nana Erfurt spirit.” After a long absence from the stage, the Theater Erfurt has now ‘re- gurlitt discovered’ this Gurlitt opera again (others include Wozzeck and Sol- Novel ruthless daten) and presented it in a new production by Michael Schulz this harmony April, with Ilia Papandreou in the lead role. Enrico Calesso conducts the Philharmonic Orchestra of the When Manfred Gurlitt’s opera Theater Erfurt. Further performan- Nana, with a libretto by Max Brod ces take place on 6 and 12 June. See based on Émile Zola’s original novel, www.bit.ly/nanaerfurt for more was eventually given its world pre- on this production, and www.bit. mière in 1958, the librettist took the ly/gurlitt2 for more on Manfred opportunity to write to the compo- Gurlitt and his works ser. “My participation in your, in our opera ‘Nana’ has lost none of its vitality or joyous youth in the twenty years since we last met. What a stroke of luck it was when this text flashed before our eyes, the novel by Zola, whose main tenor showed itself so clearly to our souls as we set to work. A stroke of luck; as it al- lowed your tempestuous, inventive musical invention – flying in the face of the prevailing conventions – to amalgamate seemingly effort- lessly with the melodic form of the Offenbach milieu and by doing so to create a new entity. … The syn-

gurlitt Opera suites

Alban Berg (1885–1935) 3 Bruchstücke from Wozzeck for soprano, orchestra 1923 and children's choir ad lib. 20’ Lulu-Suite symphonic pieces from the opera Lulu 1934 for coloratura soprano ad lib. and orchestra 35’

gottfried von einem (1918–1996) Dantons Tod 1944 Suite for orchestra (1946) 17’

cristóbal halffter (*1930) La del alba sería ... fragments from the opera Don Quijote 1997/1999 for soloists, mixed choir and orchestra (1997) 35–40’

LEO� JANá�EK (1854–1928) Suite from the opera The Cunning Little Vixen 1922/1923 for orchestra by Charles Mackerras (2006) 22’ Suite from the opera The Excursions of Mr Broucek 1920 for orchestra by Jaroslav Smolka (1997) 23’ Suite from the opera From the House of the Dead 1927/1928 for orchestra by Harold Byrns 25’ Jen�fa-Rhapsodie 1894/1903 for orchestra by Max Schönherr (1940) 25’ Suite from the opera Katja Kabanowa 1921 for orchestra by Jaroslav Smolka (2007) 23’ The Makropulos Case symphonic synthesis 1925 for orchestra by José Serebrier (1995) 31’ Suite from the opera �árka 1888 for orchestra by Jaromir Dlouhýýy (2008) 17’

zoltán kodály (1882–1967) Háry János-Suite 1927 for large orchestra 23’ Háry János-Suite 1927 for wind orchestra by Glenn Cliff Bainum (1996) 23’

ernst krenek (1900–1991) Suite Triumph der Einsamkeit 1926 for soprano and small orchestra 17’

opera suites Opera suites cont. rolf liebermann (1910–1999) Opernsuite 6 pieces from Leonore 40/45 1952 for orchestra and soprano aria ad. lib. 16’ frank martin (1890–1974) Suite from the opera Der Sturm 1952 for baritone and orchestra (1955) 25’ darius milhaud (1892–1974) Suite from the opera Maximilian 1930 for orchestra 20’ david sawer (*1961) From Morning to Midnight symphonic suite 2005 for orchestra 30’ max von schillings (1868–1933) Suite from the opera Mona Lisa 1915 for orchestra 18’ dmitri schostakowitsch (1906–1975) Suite from the opera Die Nase 1928 for tenor, baritone and orchestra 22’

JohANnes Maria Staud (*1974) Berenice. Suite 1 2003 for ensemble and tape (2004–2006) 20’ Berenice. Suite 2 2003 for ensemble (2004–2006) 10’

Kurt Weill (1900–1950) Suite from the opera Rise and Fall of the City of Mahagonny 1929 for orchestra by Wilhelm Brückner-Rüggeberg (1959) 25’ Suite from the winter's tale The Silver Lake 1933 for orchestra by Karel Salomon (1952) 23’ Suite from The Threepenny Opera 1928 for orchestra by Max Schönherr (1956) 16’

opera suites Boris Blacher (1903–1975) Economy of the characteristic harmonies, material melodies and rhythms of Turk- ish music. The Dresdner Philhar- monie will be performing it un- In 1943, at UE’s request, Boris Blacher der Kristjan Järvi on 19–20 June. composed Romeo and Juliet, a chamber opera in 3 parts, freely adapted from Shakespeare. Blacher Lars-Erik Larsson (1908–1986) took excerpts of text from the play, which are essential to the storyline Elegant and – producing a concentrated version of Romeo and Juliet, which, sensitive through the music, aimed more at allegory than pity. Blacher’s music is characterised by an economy The Kammerorchester Flawil will of material, transparency and a be tackling two works for string draughtsman’s clarity. On 19 June, orchestra by the Swedish composer the Sinfonietta Dresden will be Lars Erik-Larsson under Paul K. performing the work in concert Haug in Flawil/CH on 6 June: Sin- under Ekkehard Klemm in Dresden. fonietta (1932; 20 min) and Kleine Serenade (1934; 10 min). In 1936, the German newspaper, Essener Ulvi Cemâl Erkin (1906–1972) Volkszeitung, wrote on Sinfonietta: “The greatest merit of this work Turkish rhythms is the wonderful clarity and the clear arrangement of its structure. Bright and colourful in style, highly The Turkish composer Ulvi Cemâl refreshing and yet totally unprob- Erkin was one of The Turkish Five, lematic, it captivates listeners from the first professional composers the first to the last bar.” to want to reform Turkish music in The Dortmunder Zeitung newspa- the early 20th century in line with per wrote the following on Kleine western role models. The suite for Serenade in 1937: “The attractive, orchestra, Köçekce, a dance rhap- musically elegant and sensitive sody composed in 1943, is one of work uses simple means to make his best-known works. It refers to profound statements.” the music accompanying a tradi- tional men’s dance and reflects

26 blacher / erkin / larsson feldman Island of psychological abyss

The suggestive power of the music position. The Süddeutsche Zeitung of Morton Feldman is increasingly described the work at its première attracting the interest not only of as “a balancing act on the thin- the programmers of unusual con- nest possible line between soloist certs, but also of artists of other and orchestra”. Piano and Orches- genres. Martin Scorsese scored his tra is performed at the BBC Proms recent success Shutter Island – a in London on 20 Aug by the BBC disturbingly intense film about Scottish Symphony Orchestra un- an island of psychological abysses der Ilan Volkov. The soloist is John – with Feldman’s Rothko Chapel, Tilbury. along with works by Mahler, Ligeti and Penderecki. This is virtuosic cinema of the highest level. The soundtrack was hailed by the press as the true star of the film. The Arnold Schoenberg Choir under Erwin Ortner can be heard performing Rothko Chapel on 2 Aug at the newly founded Arcana Festival. The Arcana Festival/A is described as an annual twelve-day stream of energy between composers, per- formers, academics and audience. www.arcanafestival.at

Piano and Orchestra from 1975 is one of a series of pieces by Feldman whose title merely describes its instrumentation. Feldman hoped thus to direct the audience’s attention to the colour of the work, rather than to the process of com-

feldman bartók The Ludwigsburger Schlossfest- spiele perform the work on 3 Jun. Multi-facetted www.bit.ly/bartokschloss contrast Kodály

The second set in our new study Fiery gypsy score series includes Béla Bartók’s Cantata profana (UE 34300), along- sounds side works by Berg, Boulez, Mes- siaen, Weill and Pärt. This large-scale work for tenor, Folk music has long been a source baritone, double mixed choir and of inspiration for many compos- orchestra tells the story of a fa- ers, including Zoltán Kodály. In his ther and his nine sons, who go out Dances of Galánta he plays with to hunt a stag but are themselves the simultaneously tempestuous transformed into deer in the proc- and melancholic strains of the gyp- ess. The Cantata, subtitled “The sy bands of the village of Galánta, Magical Deer”, was written in 1930 where he spent seven years of his and inspired by Romanian Christ- childhood. This summer, the Danc- mas stories, using pagan and myth- es are performed by the Graz Phil- ological motifs to combine natural, harmonic Orchestra (27 Jun), the didactic and symbolic elements in Philharmonic Orchestra Heidelberg the story. The strictly rhythmic nar- (27 Jun) and the Niederrheinische ration of the choir and the sharp, Sinfoniker (29/30 Jun, 1/2 Jul). melismatic statements of the soloists form a multi-facetted contrast.

Forum at Schlosspark Ludwigsburg

bartók / kodály szymanowski A miraculous

Piero della Francesca world of sound Leggenda della Croce Arezzo

The Wiener Zeitung recently wrote martin� of Karol Szymanowski’s Violin Concerto No. 1 (1916) that it was Mysterious “... an orchestral work in the deli- cate no-man’s-land between Ro- atmosphere manticism and Modernism; with colour effects as if it had been dipped in rainbows; ... a miraculous In the 1950s, Bohuslav Martinu was world of sound, combining folklore, deeply impressed by Piero della wit and passion. The violins sing as Francesca’s cycle of frescoes in 8 if full of light”. scenes, depicting the Legend of Ten years ago it was barely per- the True Cross in the choir of San formed at all, but now it can be Francesco in Arezzo. In his orches- heard around thirty times a year, all tral work, Les Fresques de Piero della over the world. The National Sym- Francesca (1955, 19 min), he wanted phony Orchestra under Juraj Val- to give voice to the majestic, icy si- cuha perform the work from 17–19 lence, as well as the strange, peace- Jun at the Kennedy Centre in Wash- ful poetry of the paintings, and to ington with soloist Jennifer Koh. express the colourful, mysterious The Sydney Symphony Orchestra atmosphere in music. The world performs the work at the Sydney première at the Salzburg Festival Opera House on 5–7 Aug. Arabella in 1956 was conducted by Rafael Steinbacher is the soloist; Simone Kubelik. Young conducts. The Orchestre de Paris will perform the work under Paavo Järvi on 2–3 June at the Salle Pleyel in Paris.

29 martinu / szymanowski schmidt teresting musical discoveries of the 1990s. Rott died at the age of 26 Confession-box in a psychiatric hospital. For Gus- tav Mahler, his fellow student, two honesty years above him at the Viennese Conservatory, was the “founder of the new symphony”. The uncom- On 15 July, Andrés Orozco-Estrada promising quality of Hans Rott’s will conduct Symphony No. 4 by work is a welcome opportunity for Franz Schmidt at the styriarte a new perspective on the history of 2010 Festival with the recreation late romantic music. Kiyotaka Ter- orchestra from Graz. When the aoka conducts the Pastorale Vor- work received its world première spiel on 5 June in Tokyo. in 1934, Paul Stefan wrote in the music journal Anbruch: “As well as the novelty and audacity of form, what really makes this work stand out is the confession-box honesty of its sound language that refuses to bow to convention and that can be understood by everyone – mak- ing it anything but banal. It is not easy to perform, even if it barely presents any difficulties to the listener. The long breath of this speech, which never seems long- winded or pompous, is a particular pleasure. Overall, the piece has an elegant, natural decorum.” www.bit.ly/schmidt4

rott Franz Schmidt Mahler's companion

The work of composer Hans Rott (1858–1884) is one of the most in-

schmidt / rott webern schreker Joy in a single Skill as a indrawn breath dramatist

“Consider,” wrote Arnold Schönberg “Franz Schreker’s musical innova- in the preface to Anton Webern’s tion is less a result of technical de- three-and-a-half-minute Bagatellen velopments than an expression of op. 9, composed in 1913, “what mode- spheres of human emotional life, ration is required to express oneself which have never before been so so briefly. Every glance can be exten- clearly displayed. He is not a com- ded into a poem, every sigh into a poser of absolutes, but rather some- novel. But to express a novel in a sin- one for whom music, like staging, is gle gesture, joy in a single indrawn a means of presenting general hu- breath – such concentration can only man problems. And yet his work is be present when there is a correspon- still art of the highest order, which ding absence of self-indulgence.” The is the result of his skill as a drama- Hagen Quartet will be performing tist. These brightly coloured images the Bagatellen, as well as Webern’s and sounds are equally inspired by 5 Sätze op. 5, at the Salzburg Festival the stage” (Erwin Stein in Pult und on 19 Aug. The Vienna Philharmonic Taktstock, 1928). will be presenting the reduced versi- A new production of Der ferne on of 6 Stücke op. 6 at the same ve- Klang by Jens-Daniel Herzog nue on 29 Aug under Simon Rattle, premières at the Zurich Opera on while the chamber music version of 9 May, conducted by Ingo Metz- 6 Stücke can also be heard in Salz- macher. The production runs to 9 burg on 5 Aug with Klangforum Jun. www.bit.ly/schreker Wien under Emilio Pomárico.

Ingo Metzmacher

schreker / webern Nationaal Jeugd Orkest

zemlinsky graduation concerts take place on 21 and 22 Aug in Apeldoorn/NL. From the lyric Zemlinsky wrote the Lyric Sympho- ny in 1922/3 with the aim of bridg- to the symphonic ing the gap between the lyrical and the symphonic, in a similar way to Gustav Mahler’s Lied von der Erde. Since 2001, the Nationaal Jeugd Zemlinsky’s work is clearly more in- Orkest has run an international or- clined towards the symphonic than chestral and ensemble project: the the Mahler work which inspired it. NJO Summer Academy. This project Rodulf St Hoffmann wrote of the is designed for young musicians, piece in 1924 in the journal Musik- chosen in a tough selection pro- blätter des Anbruch: “there are cess. The artistic director respon- many songs of the earth. This is sible for the programme at the another. Its spiritual affiliation Academy is Reinbert de Leeuw. with Mahler is unmistakable – as is Every year, the NJO presents one Zemlinsky’s own personality, which symphonic programme and one for gives the piece its unique shape chamber orchestra, for modern en- and meaning.” semble and diverse chamber music www.bit.ly/zemlinsky groups. Alexander Zemlinsky’s Lyric Sym- phony is on the symphonic programme from 16–23 Aug. The young musicians will work on the piece under the direction of de Leeuw. The vocal soloists are Tho- mas Oliemans (baritone) and Na- talia Zagorinskaya (soprano). The

zemlinsky berg The Festival honours Berg with productions of his two operas, Festivals for Wozzeck and Lulu. Wozzeck opened the festival on Alban Berg 15 May in a new production by Stéphane Braunschweig. Daniel Harding conducted the Mahler The musical programme of the Chamber Orchestra at the Theater Vienna Festival is dedicated to the an der Wien with Angela Denoke in composer Alban Berg, whose 125th the role of Marie. birthday and 75th anniversary of Peter Stein’s production of Lulu, death are remembered in 2010. previously seen in Lyon and Milan As the Festival writes, “Even today, and described by the Neue Zürcher his musical language and aesthetic Zeitung as “a theatrical story, mas- are of unbroken timeliness. Alban terfully told”, comes to Vienna on Berg is a symbolic figure for the 11 June. Daniele Gatti also conducts music of the 20th century and the the Mahler Chamber Orchestra. beginning of the 21st century.” Other Berg celebrations at the Festival include a concert by the Ensemble InterContemporain conducted by Pierre Boulez (16 June); an evening of Lieder by Georg Nigl (30 May); and a concert by the RSO Vienna conducted by its new chief conducter Cornelius Meister. www.bit.ly/bergvienna

A highlight of the Salzburg Festival 2010 Festival Vienna 2010 is a new production by Vera Nemirova of Lulu, including the third act as completed by Friedrich Cerha. Marc Albrecht conducts the Vienna Philharmonic with Patricia

Lulu Alban Berg Petibon in the lead role. Opening night is 1 August, with five addi- tional performances. www.bit.ly/lulusalzburg

berg schönberg required 25 rehearsals. The Vienna Festival will be presenting the work Record of a on 7 June with Ensemble Kontra- punkte (sol. Alda Caiello). compositional www.bit.ly/schoenbergvienna

style Between 1900 and 1911, Schönberg worked on the Gurre-Lieder – with several long breaks in between. The “Read the preface, looked at the piece for soloists, choir and orches- poems, am delighted. Brilliant idea, tra is a record of his compositional just my kind of thing,” noted Ar- style: “This work is the key to my nold Schönberg in his diary, after whole development. It shows sides hearing of the actress Albertine of me from which I no longer show Zehme’s plans to set Dreimal sieben myself, or from which I do, but from Gedichte aus Albert Girauds Pierrot a different perspective. It explains lunaire to music. Originally, Zehme why everything later had to hap- had been thinking of a work for a pen as it did, and it is of enormous spoken voice with a piano accom- importance to my work that the paniment, but Schönberg did not man and his development can be want his composer’s imagination traced from this point.” to be limited by this. Zehme, who The Gurre-Lieder can be heard commissioned the piece, agreed, on 12–13 June with the Konzert- and each of the 21 miniatures was hausorchester Berlin under Lothar given its own sound colour by Zagrosek. the instruments employed: flute, www.bit.ly/schoenbergberlin clarinet, piano, violin and cello. The world première in 1912 apparently

Konzerthausorchester Berlin

schönberg psychology and gossip. It sketches a picture of a man obsessed with music, who played an energetic role in the intellectual life of his age, who was often completely Gustav Mahler caught up in his work, but who could also be swept up in almost childlike excitement over some- mahler thing as mundane as a bicycle. Mahler’s music, once considered Viennese born painfully dissonant, has long been firmly established in the classical and bred canon. The museum is illustrated by sound installations by Salzburg media artist Claudia Rohrmoser, To mark Gustav Mahler’s 150th made up of instantly recognisable birthday (7 Jul 2010) and the 100th melodies from Mahler’s work, like anniversary of his death (18 May the Waltz from the Symphony No. 9. 2011), the Viennese Theatre Mu- seum (www.khm.at) presents an It is interesting to see Mahler posi- aesthetically challenging exhibi- tioned between the “old” – Wagner, tion designed by Viennese archi- Brahms – and the “new” – Schön- tects BLAICH + DELUGAN and dedi- berg, Berg and Webern. There is cated to the artist. also food for thought for many an The exhibition depicts the life and opera fan today, with statements work of a paradigmatic artistic per- like “a work that only succeeds sonality, from the education of the musically can never succeed in the precocious 15-year-old to the inter- theatre”. national success of the conductor All concerts featuring Mahler’s to his return home, terminally ill – work can be found on our Mahler and shows the way Mahler, shaped blog: www.universaledition.com/ by the fertile environment of the mahler Viennese Modern school, went on to influence the world of music long after his death. The Theatre Museum’s Mahler exhibition steers well clear of

mahler janá�ek Cossack saga production has been in Nantes since 27 May, conducted by Mark It seems incredible but it’s true: the Shanahan. The same production Viennese State Opera recently an- transfers to Le Quai in Angers (13 nounced its first ever significant and 15 Jun). cycle of works by Leo�š Janá�ek, Jen�fa can be seen in Leipzig starting in the new season 2010/11. (29 May, 6 and 13 Jun, c. Andreas Katja Kabanova and The Makro- Schüller) and Strasbourg (from 11 pulos Case have never been staged Jun, c. Friedemann Leyer, directed at the Vienna Opera, although by Robert Carsen). Janá�ek’s Slavic tones are ideally The Cunning Little Vixen can be suited to the sound of the Viennese seen at the Oper Lübeck until 19 Philharmonic. Jun (c. Roman Brogli-Sacher). Other cities have more experience Taras Bulba (1915/18) was an un- of Janá�ek. Katja Kabanowa, for mistakable echo of Janá�ek’s pas- example, can be seen in Stuttgart sionate support and sympathy for (since 9 May, c. Michael Schøn- the Russian nation at war. The title wandt, directed by Jossie Wieler/ of the three-part symphonic rhap- Serio Morabito), Bonn (since 2 May, sody refers to Gogol’s novelisation c. Will Humburg, directed by Johan- of the Ukrainian saga of the Cos- nes Schaaf) and Prague (from 26 sack Taras Bulba, who died a he- Jun, c. Toma� Netopil, directed by ro’s death after a successful fight Robert Wilson). against the Poles in 1628. Sir Colin The Makropulos Case, on the other Davis conducts the work on 7 Aug hand, has found success in France. in Grafenegg/A (European Union Patrice Carier and Moshe Leiser’s Youth Orchestra).

Leo� Janá�ek The Makropulos Case Madrid 2008

janáček janá�ek

The Cunning forester Stanislav Lolek (1873–1936), a distinguished landscape artist. Little Vixen The story of Bystrouš�ka was serial- ized in Lidové noviny from 7 April to 23 June 1920 and had a huge suc- The new Critical Edition cess. The merry and immediately – edited by Ji�í Zahrádka, with accessible drawings with a witty performance suggestions by Sir and topical text found a reader- Charles Mackerras ship throughout the entire social spectrum. It is certainly true that This edition of The Cunning Little Janá�ek began considering com- Vixen has been made by comparing posing an opera on this theme all the relevant surviving sources since he acquired cuttings of all the and establishing a version of the episodes in Lidové noviny. And in work that comes nearest to the fact, as soon as Janá�ek completed composer’s intention. the work on Katya Kabanova he immediately started on The Cunning The new edition of The Cunning Lit- Little Vixen. The dates on the au- tle Vixen is thus based above all on tograph show that he began com- of the version given at the première position as early as January 1922. in Brno in 1924, including Františ�ek The author of the literary model Neumann’s (the conductor) fully Tesnohlídek got the news only indi- elaborated, detailed dynamics. In rectly that Janá�ek wanted to com- cases where several minor changes pose an opera on his text. The com- in the Prague version appear to be poser himself invited him to come justified, they were considered in and see him at the time when he the new edition. The New Critical was already working on the opera. Edition of the opera includes the full score, the complete orchestra Meanwhile Janá�ek composed, and material, as well as the piano vo- started out on his study of nature cal score and choir score. The cor- to a whole series of bird notations responding study score (UE34126) – of thrushes, sparrows, finches and the piano vocal score (UE33550) and blackbirds. He wrote down no- are available on sale now. tations for doves, a little toad, and a frog with the instrumental com- The tale of the free-thinking and ment ‘like a xylophone’. He also no- crafty vixen Bystrouš�ka goes back ticed animals and took down in his to the 1890s. In the beginning were notebook his impressions of walks the tiny sketches of the painter and in the game reserve, where the

janáček 38

janáček janá�ek The Cunning Little Vixen cont. forester even tracked down a vix- set design by Eduard Milén (who en’s den with young so that the also designed the cover of the pi- composer could observe and study ano vocal score). them. No wonder that several of Janá�ek’s newspaper reviews in The composer himself character- Lidové noviny in the years 1921– ized the opera as a forest idyll, one 1922 had animal motifs. that would awaken the notion of the unity of life – both human and Meanwhile frantic negotiations animal. broke out over who would publish the composer’s latest work. As in the case of Jen�fa, The Excursions of Mr Brou�ek and Katya Kabanova, interest was shown essentially by two publishers: Hudební matice in Prague and Universal Edition in Vienna. The first to approach the composer was Hudební matice, but, as before, Janá�ek used this offer rather as a tactic to firm up his dealings with Universal Edition. The contract with Universal Edition was signed between March and April 1924.

The celebrated world première of the opera P�íhody liš�ky Bystrou�šky [The Adventures of the Cunning Little Vixen] took place in the Brno theatre Na Hradbách [On the Ram- parts] on 6 November 1924. The reception was tremendous and the composer himself was happy with the staging by Ota Zítek and the

janáček 2010 50th Anniv. of Death Hugo Alfvén † 08 May 1960 75th Anniv. of Death Alban Berg † 24 December 1935 85th Anniversary Luciano Berio * 24 October 1925 85th Birthday Pierre Boulez * 26 March 1925 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 100th Anniversary Mario Peragallo * 25 March 1910 100th Anniversary Ennio Porrino * 20 January 1910 150th Anniversary Emil Nikolaus von Reznicek * 04 May 1860 200th Anniversary Robert Schumann * 08 June 1810 80th Anniversary Toru Takemitsu * 08 October 1930 125th Anniv. of Death Egon Wellesz * 21 October 1885

2011 75th Birthday Gilbert Amy * 29 August 1936 75th Birthday Sir Richard Rodney Bennett * 29 March 1936 100th Anniversary Paul Burkhard * 21 December 1911 85th Birthday Francis Burt * 28 April 1926 75th Anniversary Cornelius Cardew * 07 May 1936 85th Birthday Friedrich Cerha * 17 February 1926 80th Anniversary Mauricio Kagel * 24 December 1931 125th Anniversary Heinrich Kaminski * 04 July 1886 75th Birthday Ladislav Kupkovic * 17 March 1936 85th Birthday György Kurtág * 19 February 1926 200th Anniversary Franz Liszt * 22 October 1811 100th Anniv. of Death Gustav Mahler † 18 May 1911 75th Birthday Steve Reich * 03 October 1936 75th Anniv. of Death Ottorino Respighi † 18 April 1936

anniversaries 50th Birthday David Sawer * 14 September 1961 50th Birthday Daniel Schnyder * 12 March 1961 125th Anniversary Othmar Schoeck * 01 September 1886 50th Birthday Mauricio Sotelo * 02 October 1961 25th Anniv. of Death Alexandre Tansman † 15 November 1986 75th Birthday Hans Zender * 22 November 1936

2012 125th Anniversary Kurt Atterberg * 12 December 1887 75th Birthday David Bedford * 04 August 1937 50th Anniv. of Death Hanns Eisler † 06 September 1962 25th Anniv. of Death Morton Feldman † 03 September 1987 50th Birthday Silvia Fómina * 1962 75th Birthday Peter Kolman * 29 May 1937 80th Anniversary Richard Meale * 24 August 1932 50th Anniv. of Death Caspar Neher † 30 June 1962 75th Birthday Gösta Neuwirth * 06 January 1937 75th Birthday Bo Nilsson * 01 May 1937 60th Birthday Wolfgang Rihm * 13 March 1952 80th Birthday Rodion K. Schtschedrin * 16 December 1932 70th Anniv. of Death Alexander Zemlinsky † 15 March 1942

2013 60th Birthday Georg Friedrich Haas * 16 August 1953 75th Birthday Zygmunt Krauze * 19 September 1938 25th Anniv. of Death Marcel Poot † 12 June 1988 80th Birthday Raymond Murray Schafer * 18 July 1933 75th Birthday Tona Scherchen * 12 March 1938

anniversaries wolfgang rihm Dionysos opera Deutsches SO, c. Ingo Metzmacher Johannes Marin Kränzle, Mojca Erdmann/Elin Rombo, Matthias Klink, Virpi Räisänen director: Pierre Audi stage design: Jonathan Meese 27 July 2010 · Haus für Mozart Salzburg/A luke bedford Of the Air for string quartet Belcea Quartett 25 June 2010 · Wigmore Hall London/GB

Give Him His Hat for solo piano and for piano four hands Folkwang Hochschule Essen-Werden 12 July 2010 · Essen-Werden/D

friedrich cerha 9 Bagatellen for string trio Zebra-Trio (Ernst Kovacic, vln, Steve Dann, vla, Anssi Karttunen,vlc) 27 June 2010 · styriarte Schloss Eggenberg/A

Arvo Pärt Adam's Lament for choir (SATB) and string orchestra Borusan Philharmonic Orchestra, c. Tõnu Kaljuste Estonian Philharmonic Chamber Choir, Vox Clamantis 07 June 2010 · Istanbul Festival, Hagia Irene Istanbul/TR

jay schwartz Music for Orchestra II for orchestra Mozarteumorchester Salzburg, c. Leo Hussain 12 June 2010 · Landestheater Salzburg/A

Johannes Maria Staud Tondo Preludio for orchestra Staatskapelle Dresden, c. Paavo Järvi 22 August 2010 · Semperoper Dresden/D

world premières Pierre Boulez Tombeau Nr. 5 aus Pli selon pli (Portrait de Mallarmé) pour soprano et orchestre (1959–1962)

Facsimile - Ausgabe Paul Sacher Stiftung, Basel UE 34972 e 154,00

„Un peu profond ruisseau calomnié la mort.“ (Mallarmé)

newslettter.indd 1 20.04.2010 09:39:08 Florian Bramböck I Love My Clarinet for clarinet solo UE 34677

Mike cornick Jazz Suite for Piano Duet for piano four hands UE 21548

Barbara Gisler-Haase (ED.) Easy Play Along Flute for flute and CD Selected easy pieces from Vivaldi to Dvo�ák, with CD UE 34676

Georg Friedrich Händel Sonatas for violin and basso continuno Editor: Bernhard Moosbauer Notes on interpretation: Reinhard Goebel UT 50264

Leo� Janá�ek The Cunning Littel Vixen Editor: Sir Charles Mackerras / Ji�í Zahrádka piano reduction (revised new editon) UE 33550

Ernst Krenek Sonatina op. 92/2a for flute and viola UE 34943

arvo pärt Morning Star for choir SATB choral score UE 33718

Carl Reinecke Undine Sonate for clarinet and piano Editor: Irmlind Capelle Notes on interpretation: Lisa Eichenberg UT 50263

Wolfgang Rihm Vier späte Gedichte von Friedrich Rückert for voice and piano UE 34330

new releases Gustavo Beytelmann Solo Tango Solo Piano for piano UE 34679

Gustavo Beytelmann has taken some of the most beautiful tango music ever written and created his own arrangements for solo piano. His collection shows how varied the genre is, from the ragtime-like lilt of El esquinazo to the romantic waltz La loca de amor by Pablo José Vázquez and the energetic El entrettiano by Rosendo Menizabal, as well as a new arrangement of Carlos Gardel's immortal El dia que me quieres. Beytelmann shows too how tech- nically varied these works can be. Each of the pieces features specific performance techniques such as accents, tempo changes, balance and attack and he advises "Spend some time concentrating on these elements and you will find the works even more enjoyable." These immensely rewarding pieces are equally suited to the concert stage as to the piano lesson. www.universaledition.com/gustavobeytelmann

new releases Hans Erich Apostel String quartet No. 1 and No. 2, 6 Epigramme DoelenKwartet · Cybele 3SACD KiG 002 cristóbal Halffter Tres piezas para cuarteto, String quartet No. 3, String quartet No. 6 Arditti String Quartet Anemos CD C33005 morton feldman Spring of Chosroes Pellegrini Quartet, Ib Hausmann, cl hat(now)ART CD 157 Gustav Mahler Symphony No. 1 Tonkünstler Niederösterreich, c. Andrés Orozco-Estrada Preiser Records CD PR90784 Gustav Mahler Symphony No. 1 Pittsburgh Symphony Orchestra, c. Manfred Honeck Extraplatte CD EXCL 00026 Gustav Mahler Symphony No. 1, Rückert-Lieder Deutsches SO Berlin, c. Christoph Eschenbach, Christine Schäfer, s Capriccio CD C5026 Gustav Mahler Symphony No. 2 Bamberger Symphoniker, c. Jonathan Nott, Chor der Bamberger Symphoniker, Anne Schwanewilms, s, Lioba Braun, ms Tudor CD 7158 Gustav Mahler Symphony No. 2 hr-Sinfonieorchester Frankfurt, c. Paavo Järvi, Natalie Dessay, s, Alice Coote, ms EMI Virgin Classics (ab Sep. 2010) Gustav Mahler / Hermann Behn Symphony No. 2 for two pianos Harvestehuder Kammerchor, c. Claus Bantzer, Christiane Behn und Mathias Weber, pno, Daniela Bechly, s, Iris Vermillion, a Musicaphon CD M56915 Gustav Mahler Symphony No. 8 Tonhalle-Orchester Zürich, c. David Zinman, Schweizer Kammerchor, WDR Rundfunkchor Köln, Zürcher Sängerknaben, Kinderchor Kaltbrunn RCA Sony Music Classical 2 SACDH 88697579262 frank martin 6 Monologe aus Jedermann, Suite from the opera „Der Sturm“, Symphonie Concertante Stavanger Symfonieorkester, c. Steven Sloane MDG CD 90116146 frank martin Ballade No. 2 for flute and piano Thies Roorda, fl, Nata Tsvereli, pno Dutch Record Company DRC 101009/01

new on cd & dvd pierre boulez hans Krása gustav mauricio Lucerne Festival 5 Lieder mahler sotelo Academy Docu- erwin Symphony No. 1 Audéeis mentary Film schulhoff Los Angeles Stadler Notation I-IV Concertino Philharmonic Quartett, and VII, Répons Ensemble c. Gustavo Arcángel Lucerne Festival Aventure Dudamel Neos CD 0947 Orchestra Ars Musici CD DGG DVD c. Pierre Boulez 232175 000440.0734531.3 Euroarts DVD 20580481 joseph marx Rhapsodie, Scherzo, Ballade Oliver Triendl, pno, Daniel Gaede, vl, Hariolf Schlichtig, vla, Peter Bruns, vlc cpo CD 9688704 Wolfgang Rihm String quartets Nos. 1 and 4, String quartet No. 3 “Im Innersten” Minguet Quartett col legno CD 20211 franz schreker Kammersymphonie, Nachtstück, Phantast. Ouverture Orquesta Filharmonica de Gran Canaria, c. Pedro Halffter Warner Classics karlheinz stockhausen Refrain, Kreuzspiel, Plus minus Ives Ensemble hat(now)ART 178 anton Webern Passacaglia, 5 Stücke, 6 Stücke, Konzert für 9 Instrumente, Symphonie, Variationen Staatskapelle Dresden, c. Giuseppe Sinopoli Warner Classics Apex CD 2564-68399-31

new on cd & dvd UNIVERSAL EDITION

Austria: Boesendorferstr. 12, A-1010 Vienna, Austria (Musikverein) tel +43-1-337 23 - 0, fax +43-1-337 23 - 400 UK: 48 Great Marlborough Street, London W1F 7BB tel +44-20-7292-9160, fax +44-20-7292-9173 USA: European American Music Distributors LLC 254 West 31st Street, 15th Floor, New York, NY 10001-2813 tel +1-212-461-6940, fax +1-212-810-4565 www.universaledition.com, [email protected] Chief Editors: Angelika Dworak and Eric Marinitsch Contributors: Eric Marinitsch, Wolfgang Schaufler, Jonathan Irons, Angelika Dworak, Daniela Burgstaller and Marion Dürr Design: Egger & Lerch, Vienna/Austria Photo credits: Eric Marinitsch (10), UE Archiv (7), www.ultrasonic.it, Buxton Festival, Kurt Weill Foundation for Music New York, Freilicht- museum Stübing, Theater Erfurt / Lutz Edelhoff, www.paramount.com, Ludwigsburger Schlossfestspiele, www.fr.academic.ru, Mathias Bothor, Nationaal Jeugd Orkest, Wiener Festwochen / Bertrand Stofleth, Konzerthausorchester Berlin / Thomas Mayer, Internationale Gustav Mahler Gesellschaft, Teatro Real / Javier del Real, Haus für Mozart / Karl Forster; CDs: Euroarts, Ars Musici, Deutsche Grammophon, Neos. DVR: 0836702