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Newsletter42009englisch:UE_NL_1_2005_1.qxd 27.08.2009 10:19 Seite 1

10 Friedrich Cerha Eruptive blocks of sound for percussion in Salzburg

11 Cristóbal Halffter Carta Blanca for the doyen of Spanish music in Madrid

14 Victoria Borisova-Ollas The deer cries in Stuttgart

16 David Sawer Rumpelstiltskin dances

17 Little Red Violin A fairy tale for family concerts

Pierre Boulez

“I could understand Wozzeck better when I knew Mahler.”

Boulez opens our series of video interviews on Gustav Mahler (see p. 4 and 5)

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Contents NEWS Gustav Mahler: video interviews — 4 URL-shortener for links — 5

COMPOSERS Staud — 7 Rihm — 9 Cerha — 10 Halffter — 11 Haas — 13 Sotelo — 13 Borisova-Ollas — 14 Luke Bedford — 14 Pärt — 15 Baltakas — 15 Lentz — 16 Sawer — 16 Dudley / Isserlis — 17 Boulez — 19 Burt — 20 Gurlitt — 20 Birtwistle — 21 Kurtág — 21 Kagel — 22 Stockhausen — 22 Haubenstock-Ramati — 22 Festival d’Automne — 23 Feldman — 23 Berio — 24 Bartók — 25 Kodály — 25 Weill — 27 Martin — 28 Schnittke — 28 Szymanowski — 29 Satie — 29 Webern — 30 WP = World Première Martinů — 30

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Berg — 31 Zemlinsky — 32 Schreker — 32 Schönberg — 33 Mahler — 34 Haydn — 35 Dear Readers, Braunfels — 35 Janáček — 37 delivering a guest performance at the Vienna Konzerthaus on 10 Jun, the Bamberger Symphoniker held ANNIVERSARIES — 38 - 39 its audience captivated with the following programme: WORLD PREMIÈRE — 40 - 41 Arnold Schönberg’s Drei Klavier- stücke op. 11, performed by Pierre- NEW RELEASES — 42 - 43 Laurent Aimard and Alban Berg’s Drei Orchesterstücke op. 6. As a fi- NEW ON CD — 44 - 45 nale, they performed Béla Bartók’s Concerto for piano and orchestra WORKLIST No. 1. The concert was sold out and Luke Bedford — 46 highly acclaimed. So, is this really worth mentioning? ACKNOWLEDGEMENTS — 48 It probably wouldn’t be under ‘nor- mal’ circumstances, but in times of tight budgets, retreating to the supposedly safe territory of classical and romantic music may only bring deceptive success. Audiences are far more open-minded than is often assumed, provided modern classical works and new music are presented in a meaningful context and at a high level. To this end, such programmes are really no risk at all – rather, a strong investment in the future.

The Editorial Team

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UNIVERSAL EDITION Gustav Mahler – video interviews

To celebrate the two Mahler anniversaries (150th birthday in 2010; 100th anniversary of death in 2011) we have launched our new Mahler blog, where during the next two years we will be publishing interviews with conductors, orchestra managers and musicologists. www.universaledition.com/mahler

Pierre Boulez “I could understand Wozzeck better when I knew Mahler.”

Christoph Eschenbach “Mahler is certainly the greatest symphonist of all time.”

Daniel Barenboim “I started to conduct Mahler out of spite.”

Daniele Gatti “For conductors Mahler seems to be to be the most personal composer”

Michael Tilson Thomas "I divide my life into before and after having heard Mahler for the first time."

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Franz Welser-Möst “The specific sound of the Vienna Philharmonic Orchestra influenced him in a big way.”

Jonathan Nott “You have to give your whole self when conducting Mahler.”

Kent Nagano “Mahler expresses life's reality.”

UNIVERSAL EDITION URL-shortener for links

We’re now using www.bit.ly. You the original page, in this case asked for additional links in our www.universaledition.com/ tru- articles so we’re now using a URL- man/en_templates/en_composer. shortener, enabling us to include php3. Saves a bit of typing, too … even more of them. Wherever you (We can’t accept responsibility for see something like www.bit.ly/ third party links.) composers, just type it into your browser, and you’ll be redirected to

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STAUD Klangspuren focus

Segue. Music for cello and Ensemble Modern perform with WP orchestra by Johannes Uwe Dierksen on trombone. Maria Staud was performed There is a further Staud première for the first time in its revised ver- this autumn: The revised version of sion in Berlin on 20 Feb under One Movement and Five Minia- Lothar Zagrosek. “Staud creates an tures for harpsicord, live electronics astonishing stylistic rupture, which and ensemble is premièred at the practically forces one to listen” musikprotokoll in Graz/A on 9 Oct wrote the Tagesspiegel on Segue. (Klangforum Wien under Sylvain The work can now be heard twice Cambreling). The same performance in Austria: the Klangspuren Schwaz can be heard again at Wien Modern perform the Austrian première as on 3 Nov. www.wienmodern.at the start of a feature on Staud (Tirol SO Innsbruck, Anssi Kart- tunen, vc, c. Johannes Kalitzke), and Wien Modern has programmed it on 13 Nov (RSO Wien, Jean-Guihen Queyras, vc, c. Bertrand de Billy). The Klangspuren Festival Schwaz also features Configurations/Reflet and A map is not the territory (12 Sep, International Ensemble Modern Academy, c. Franck Ollu).

The Festival Musica in Strasbourg performs the French première of Im Lichte. Music for two pianos and orchestra (Philharmonisches Orch- ester Freiburg, c. Fabrice Bollon, Tamara Stefanovich, Florent Bof- fard, pno, 20 Sep). Lagrein can also be heard there on 30 Sep. Incipit receives its Dutch première Johannes Maria Staud on 20 Oct in Amsterdam, where

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RIHM Delnon). The work is in three parts: Aria/Ariadne (2002), Das Gehege Three women (2006) and Penthesilea-Monolog (2005). Rihm has composed additional bridge material, and the jux- When Wolfgang Rihm taposition of the three gives new WP was asked to write a kind perspectives and insights. of requiem, he decided on www.bit.ly/rihm3 a title – ET LUX – taken from the The French première of DEUS PAS- Latin requiem text. The composi- SUS occurs on 26 Sep at the Festival tion for string quartet and choir Musica in Strasburg (SWR RSO sees its première on 15 Nov at the Stuttgart under Jonathan Stock- Cologne Philharmonic, where the hammer). Myung-Whun Chung Arditti Quartet and the Hilliard En- conducts Das Lesen der Schrift on 18 semble perform. Sep in Paris (Orchestre Philhar- See www.bit.ly/rihm2 monique de Radio France). Male This work is a commission by Köln- über Male 2 gets its Dutch pre- Musik, Festival d’Automne in Paris mière on 22 Oct (Muziekgebouw and Carnegie Hall. It is performed aan 't IJ; Asko/Schönberg Ensem- in Paris on 17 Nov. The British pre- ble, conducted by Reinbert de mière is on the programme for the Leeuw, Jörg Widmann, clarinet). opening of this years’ Huddersfield Jagden und Formen can be heard in Festival on 20 Nov. Berlin on 20 Nov at the Haus der Rihm's most recent music-theatri- Festspiele in its critically acclaimed cal composition is Drei Frauen stage version by dance company (Three women), which premières Sasha Waltz & Guests with Ensem- on 25 Sep in Basel (director: Georges ble Modern under Franck Ollu. Wolfgang Rihm Wolfgang Video still © Yan Proefrock. Festival d'Automne Festival Proefrock. Yan still © Video

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CERHA Impenetrable web

Friedrich Cerha asserts Cerha wrote his Concerto for Per- WP himself with two world cussion and Orchestra in 2007/8 for premières this autumn the exceptional young percussion- Instants for grand orchestra “is a se- ist Martin Grubinger. The solo part quence of spontaneously created has a different instrumentation in small elements”, says the compos- each of the three movements, in er, “which constantly relates back which the percussionist changes to itself in variations, giving rise to position each time, before coming an impenetrable web of relation- back to the first position for the ships, in which – I hope – the ‘sweat last movement. “Contrary to the of the labourer’ cannot be heard”. usual approach, all the percussion The work is christened on 20 Nov instruments – even the tom-toms, by the Kölner Philharmonie (WDR temple blocks, woodblocks and Sinfonieorchester Köln, c. Peter cowbells – are precisely tuned”, Rundel). See www.bit.ly/cerha3 writes the composer, “the first and third sections of the first movement and the end of the piece are marked by eruptive blocks of sound, dominated by drums”. Ivor Boton directs the Mozarteum Or- chester Salzburg at the Salzburg première on 4 Oct. www.bit.ly/cerha2

There are three further opportuni- ties to hear works by Cerha in Aus- tria this autumn: Quellen for ensemble on 16 Sep at the Linzer Brucknerhaus, 5 Sätze für Klavier- trio on 23 Sep in Schwaz and Mon- umentum für Karl Prantl on 13 Nov in Vienna – RSO Wien, conducted by Bertrand de Billy.

Friedrich Cerha

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creativity of the doyen of Spanish music in a number of concerts. The high point of the festival will no doubt be the première of De ecos y sombras for orchestra (13, 14, 15 Nov). Concierto para violoncelo y orques- Cristóbal Halffter ta no. 2 and Preludio para Madrid ’92 can also be heard at the same concert, where the composer con- HALFFTER ducts. Concierto for piano and orchestra and Tiento del primer tono Upstanding y batalla imperial can also be heard under Carlos Kalmar, with resistance soloist Nicolas Hodges (6–8 Nov). Further highlights include a chamber concert on 11 Nov, featuring A key part of the creative Formantes, Ecos de un antiguo WP business these days is órgano, El juguete olvidado, Volver self-presentation of the al listado, among others. More de- highest possible degree; the type tails on the programme can be of artist who thinks of his creative found at www.bit.ly/halffter1 process as a passion and a duty to the intellect has become rare. Spanish composer Cristóbal Halffter has stayed remarkably faithful to his calling as warning voice for his country. During Franco's dictator- ship much of his artistic inspiration came about as a result of his resistance to tyranny, but he was always more than an upstanding musician of the resistance. Madrid's Audito- rio and the Spanish national orchestra now honour Halffter with a Carta Blanca, which gives an overview of the multifaceted

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Georg Friedrich Haas and Friedrich Cerha

HAAS SOTELO Hommage to Wailing wind Mendelssohn The Festival de Mùsica de WP Alicante is one of the The 2009 Mendelssohn most important of its kind WP Festival will include a in Spain. For its 25th anniversary, world première of Georg the festival honours Mauricio Sotelo Friedrich Haas’ Traum in des Som- with a series of performances. The mers Nacht in Leipzig on 28 and 30 central part of the series is the pre- Aug. Haas admires Mendelssohn, mière of La mémoire incendiée: la particularly when “the composi- guitare for string quartet (Diotima tion of the sound is the main part Quartett, 23 Sep), but Sotelo's gui- of the musical composition”. Ac- tar concerto Como llora el viento is cording to Haas, “Mendelssohn also presented for the first time in forestalled Schönberg’s utopia of a a chamber version (Grup Instru- ‘sound-colour-melody’. He opened mental de Valencia, Canizares, guit, doors to a room that the serial music 18 Sep). Alicante also sees the of the 1950s was to enter later.” The Spanish première of Chalan. Gewandhaus Orchestra will per- (musikFabrik, c. Anu Tali, Dirk Roth- form his new work under Riccardo brust, perc, 19 Sep). Chailly. www.bit.ly/haas1 www.bit.ly/sotelo2 The Klangspuren Schwaz festival To mark the 25th birthday of the will include a performance of ins Klangforum Wien, Sotelo wrote Licht for violin, cello and piano on Klang-Muro-for-Klangforum, which 23 Sep. Open Spaces II for 12 string premières at the musikprotokoll in instruments and 2 percussion can Graz/A on 9 Oct, and can be heard be heard at the same festival on 27 again on 3 Nov at the Wien Mod- Sep with Ensemble Resonanz. ern: www.wienmodern.at

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BORISOVA-OLLAS LUKE BEDFORD The deer cries Birmingham in Stuttgart commission

Mendelssohn considered Luke Bedford, whose uni- WP his setting of the 42nd WP que, assured style has won Psalm to be his best sacred him many accolades, con- work. In continuation of Mendels- tinues to be much in demand. The sohn’s 200th anniversary celebra- CBSO Youth Orchestra is the latest tions, the Bachakademie Stuttgart ensemble to commission a work presents a concert of Mendelssohn’s from him: they will be performing music combined with contemporary the world première of his new or- compositions. Hans-Christoph Ra- chestral piece, Più Mosso, later this demann conducts the RIAS Cham- year, conducted by Thomas Søn- ber Choir Berlin and the RSO Berlin dergård. The concert will take place in the world première of Victoria on 1 Nov, at Birmingham’s Symphony Borisova-Ollas’ Psalm 42 (As the Deer Hall, where there will also be a chance Cries) for orchestra, mixed choir to hear Bedford discuss the work in and soloists (commissioned by the a pre-concert talk with Simon International Bach Academy Stutt- Webb. See www.bit.ly/bedford1 gart). Caroline Stein and Christof Bedford continues his fruitful rela- Fischesser are the soloists on 13 Sep tionship with the London Sinfonietta in the Domkirche St. Eberhard, with Great Bass Rackett for solo bas- Stuttgart. The concert is repeated soon commissioned by the group in two days later at the Konzerthaus celebration of its 40th birthday. in Berlin. See www.bit.ly/borisova1 Details will be announced shortly.

Victoria Borisova-Ollas

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Arvo Pärt

PÄRT the German première of the 2008 version of Stabat Mater for choir Premières and string orchestra. K. Järvi will conduct the Rundfunk-Sin- of No. 4 fonieorchester Berlin and Rias Kammerchor.

Arvo Pärt’s Symphonie No. 4 ‚Los Angeles' (dedicated to Mikhail BALTAKAS Khodorkovsky) has already been performed ten times since it pre- Urban sound mièred in January ‘09, and seven further performances are sched- collage uled for the autumn, with pre- mières in Germany and Latvia (Kre- merata Baltica, T. Kaljuste), Canada "He collected sound material, al- (Toronto Philharmonia, K. Stratton) tered it and pasted it together as and Estonia (Tallinn Chamber Or- an urban music and sound collage, chestra & Sinfonietta, E. Klas) and 3 without any panic and without any performances in the Netherlands emotional response to the social (Noord Nederlands Orkest, A. Hermus). environment." This is how Achim Ost descibes Vykintas Baltakas' lat- As part of a CD project, two major est work, Lift to Dubai, for Ensem- works for choir and orchestra can ble Modern, composed after his be heard at the Konzerthaus Berlin four week stay in Dubai and pre- on 14 and 15 Nov: Cantique des de- mièred on 27 May in Berlin. It is at grés (commissioned by Princess the same time a raw and direct, yet Caroline for her father Prince lyrical and warm work. Score and Rainier of Monaco, 1999) as well as recording are available for perusal.

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LENTZ A hundred million suns

Georges Lentz' new work for orchestra, Guyuhmgan, was pre- mièred in Luxembourg this sum- mer. Contact us for a perusal score David Sawer and recording. This September, his viola concerto, Monh, will be given its Polish première as part of the tale about greed and come-up- 2009 Warsaw Autumn. Antoni Wit pance in a completely new way, conducts the Warsaw Philharmon- using dance, action and music ic Orchestra (18 Sep); Lawrence alone. Performed by 6 dancers and Power is the soloist. Lentz gives the the 14 players of BCMG (which music a “sense of perspective … as commissioned the work), conduct- though a barely registered noise ed by Martyn Brabbins, Rumpel- represented the collapse of a hun- stiltskin takes a fresh look at the dred million suns.” (Sydney Morn- age-old themes of transformation, ing Herald) See www.bit.ly/lentz1 ritual and revelation. (Four further performances: 20 & 21 Nov, Tramway, Glasgow; 22 Nov, Bates SAWER Mill, HCMF. See www.bcmg.org.uk)

A grotesque Prior to the BCMG tour comes a performance of Satz by the Wiener fable ... Klaviertrio (23 Sep, Schwaz/A) as well as a performance of Between, for solo harp (1 Oct, Louise T. Blouin Institute, London). On 14 Nov the world pre- WP mière tour of Rumpelstilt- skin by David Sawer opens – with two performances – at the CBSO Centre in Birmingham, UK. David Sawer, Richard Jones (director) and Stewart Laing (designer) re-tell the familiar Brothers Grimm

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DUDLEY / ISSERLIS hardly need any introduction. Dud- ley, founding member of Art of Music for Noise and keyboard player for Frankie Goes to Hollywood in the family concerts 1980s, is internationally renowned as a composer of music for film and television, writing for The Cry- “Once upon a time there was a ing Game, Jeeves and Wooster, and beautiful little violin. She was cov- more recently for the HBO drama ered with deep red varnish and she The Tenth Kingdom. Her soundtrack was known as Little Red Violin. She for The Full Monty won her an had a lovely tone and played such Oscar in 1998. sweet music that everybody loved Isserlis is known on the world’s her, especially her Grandmother, concert stages as a first-class ‘cellist. Grandmother Stradivarius …” His recent recording of Schumann’s These are the opening lines of our Music for cello and piano (with new work for narrator, solo violin, Dénes Várjon) was highly praised solo cello and string orchestra by by Gramophone Magazine and Anne Dudley and Steven Isserlis: BBC Music magazine. Little Red Violin (and the Big Bad Little Red Violin is now available for Cello) – also available in a version performance worldwide. Listen to with piano accompaniment. This an excerpt (of the piano trio) at exquisite fairytale, perfect for fam- www.bit.ly/dudley1 The first ten ily concerts, is an original and witty pages of the score are online at variation on the Little Red Riding www.bit.ly/dudley2 online. Hood story. Also visit www.annedudley.co.uk Anne Dudley and Steven Isserlis and www.stevenisserlis.com

Anne Dudley Steven Isserlis

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BOULEZ Homage to the master

“Boulez is a joy to listen to” – such season. were Igor Stravinsky’s words after www.alteoper.de, hearing Pierre Boulez’ Le Marteau www.hr-online.de sans maître for the first time. This The programme also includes: classic piece of modern music for Structures for 2 pianos (with Pierre- alto and six instruments is just one Laurent Aimard, Tamara Ste- item on the programme (hr-En- fanovich, 19 Sep); Dérive 1 (c. Gilbert semble for New Music, c. Arturo Varga, 20 Sep); Domaines for clar- Tamayo, 21–22 Nov) of an extensive inet and orchestra (Junge Deutsche portrait of the composer, which the Philharmonie, c. Susanna Mälkki, Alte Oper Frankfurt will be holding Alain Damiens, clar, 20 Sep); Incises for Boulez at the start of the new (Ueli Wiget, pno, 21 Sep); Dérive 2 (Ensemble Modern, c. Franck Ollu, 21 Sep); Messagesquisse for solo cello and 6 cellos (Ensemble Mod- ern, Eva Böcker, vcl, 21 Sep); sur In- cises for 3 pianos, 3 harps and 3 per- cussionists (Ensemble Modern, c. Franck Ollu, 27 Sep). Violinist Car- olin Widmann will perform An- thèmes 1 and Anthèmes 2 on 29 Sep. Rotterdam will also be hosting some remarkable Boulez performances. Arie van Beek is to conduct Doelenensemble on 5 Oct, with Im- provisation I and Improvisation II, Éclat and Rituel in memoriam Bruno Maderna. On 23 Nov, Rein- bert de Leeuw will conduct Répons with Asko|Schönberg Ensemble. Hae-Sun Kang will perform An- Pierre Boulez thèmes 2 in Seoul on 24 Oct.

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BURT GURLITT Great loneliness The other Wozzeck Francis Burt wrote Unter der blanken Hacke des Mondes in 1974. The work, for baritone and orches- Several unfortunate circumstances tra is based on five poems by the caused the opera Wozzeck by Man- poet Peter Huchel, who emigrated fred Gurlitt, who was born in Berlin from East Germany in 1972. The in 1890, to be almost forgotten. The composer was moved by the “ex- world première – in Bremen, 1926 – pression of great loneliness” in the was preceded by the première of text. The Orchester der Kunstuni- Alban Berg’s identically-named versität Graz performs the work opera a year earlier. Without this under Martin Sieghart on 27 Oct in overwhelming competition, there the Stefaniensaal in Graz/A. The is no doubt that Gurlitt’s scoring baritone is David Park. would have won a fixed place in Francis Burt is currently complet- the repertoire as a major contribu- ing his full-length opera Mahan. tion to expressionist music theatre. There are several astonishing par- allels between Berg and Gurlitt’s works, such as the first “Marie” scene, where both composers em- ploy a march and a lullaby. In his Wozzeck, Gurlitt dispensed with traditional structures, instead aim- ing to match Büchner’s text with his sequences, which often only last a few minutes. The Lucerne Theatre will open its season with this masterpiece on 6 Sep. www.bit.ly/gurlitt1

Francis Burt

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BIRTWISTLE be performed by Alarm Will Sound (23 Oct, Hamburg, Kampnagel). The Successful Sinfonietta concert will also include Cortege, Secret Theatre, and celebrations Ut heremita solus.

In honour of Harrison Birtwistle’s KURTÁG birthday, the last few months have seen some exciting programmes of Ghosts on CD his works, including a highly successful series at Aldeburgh Festival, and two prestigious concerts at Marino Formenti’s new KAIROS-CD the BBC Proms. Kurtág’s Ghosts examines how Over the autumn, several pieces some of the major composers from are set to feature in performances the 14th to the 20th century have in- across Europe. Silbury Air can be fluenced György Kurtág. ”If the heard at the Amsterdam Concert- construction of this program was a gebouw, conducted by Oliver phenomenal creative act, Formenti Knussen (8 Sep). The rhythmically proved no less formidable in the entrancing, Stravinskian chamber execution" (Joshua Kosman, San orchestra work, Carmen Arcadiae Francisco Chronicle www.bit.ly/ Mechanicae Perpetuum, receives kurtag1). Order the CD at two outings. The first is at the www.kairos-music.com Sacrum Profanum Festival in This autumn, the Wiener Klavier- Krakow, with the ever-engaging trio performs Varga Bálint Lig- London Sinfonietta under David aturája in Schwaz/A (23 Sep). Atherton (16 Sep, Museum of Heinz Holliger conducts Kurtág’s Urban Engineering); the latter will Capriccio in Geneva/CH (30 Oct).

Harrison Birtwistle

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KAGEL where individual tones and temporal relationships resolve into one Musical match another until only unity can be heard. www.festival-automne.com

The sporty-sounding title hints at the fact that Mauricio Kagel’s HAUBENSTOCK-RAMATI Match (1964) for 3 players is a musical game in which the musi- Musical cians’ movements of play become mimicking actions and the percus- anxieties sionist takes on an umpire-like role. The piece will be performed on 4 Oct (Berlin) by Kammer- Roman Haubenstock-Ramati wrote ensemble Neue Musik Berlin and Symphonie ‘K’ in 1967, based on on 14 Oct (Brussels) by musikFabrik. four orchestral fragments from his Kagel’s MM 51 (1976), film music for opera Amerika. He uses “K” to sym- piano (and metronome) can be bolise Kafka’s “every man”, as well heard on 12 Nov at the Kasseler as the anxieties of modern man, Musiktage festival with Ulrich the inner conflict of the individual Roman Murtfeld at the piano. and the inability to escape the all- levelling machine. The piece can be heard at the Rainy Days festival in STOCKHAUSEN Luxembourg on 28 Nov, with the Orchestre Philharmonique de Lux- Time and space embourg under Emilio Pomàrico. More information: www.philharmonie.lu Pierre Boulez and Ensemble Inter- contemporain perform Kreuzspiel and Kontra-Punkte by Karlheinz Stockhausen at the Festival d'Automne in Paris on 17 Oct. Kreuzspiel (1951) is written for oboe, bass clarinet, piano and three per- cussionists, and realises the idea of a crossroads between temporal and spatial events. The single movement of Kontra-Punkte (1952/53) for 10 instruments is set in a multi-faceted sound world

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somewhat more colourfully, four large canvasses by Anselm Kiefer.” www.bit.ly/istwidmann Carolin Widmann takes UE’s violin music to Paris, performing Luciano Berio’s Sequenza VIII, Wolfgang Rihm’s Über die Linie VII and Mor- ton Feldman’s For Aaron Copland (30 Nov). Emilio Pomàrico and the Frankfurt RSO join her for Feldman’s Violin and Orchestra (19 Oct). Full programme and dates: www.bit.ly/paris1

FELDMAN Notre Dame de Paris Weaving sounds

FESTIVAL D’AUTOMNE “Though these fragments [of knot- UE in Paris ted carpets found in Turkestan] were too small to indicate either its design or provenance, they did con- The Paris Festival d’Automne pres- vey a long tradition of carpet weav- ents the French première of Wolf- ing. This is to a large degree the ex- gang Rihm’s – ET LUX – for four tended metaphor of my composi- voices and string quartet, which tion: not the suggestion of an ac- takes place on 17 Nov (Hilliard En- tual completed work of ‘art’, but semble/Arditti Quartet). On 18 Sep the history in Western music of Myung-Whun Chung and the Or- putting sounds and instruments chestre Philharmonique de Radio together.” The Turfan Fragments by France perform Rihm’s Das Lesen Morton Feldman is performed in der Schrift (The Reading of the Lisbon (12 Sep) and Munich (2 Oct). Scripts) – four movements per- See above and www.bit.ly/feldman1 formed in between the move- for more performances. ments of Brahms’ Deutsches Re- quiem. Rihm comments, “It's as if there were four monochrome pan- els hanging in a Gothic chapel or,

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BERIO Key work of the 20th century

Luciano Berio’s Sinfonia for eight voices and orchestra (1968/9) is one of the key works of 20th century musical history. The third move- Luciano Berio ment is introduced by a collage of Mahler's Symphony No. 2, and it is performed on 7 Sep at the Lucerne output. The work can be performed Festival Academy as part of the as a theatrical event, as an allegory, Festival Forum. Pierre Boulez as documentation, as mime, in the- directs the Lucerne Festival Orches- atres, in concert halls, on television, tra; Ward Swingle leads the singers on the radio, outdoors, etc. Ensem- of the Lucerne Festival Academy; ble Intercontemporain under Su- Roland Wachter chairs the Acade- sanna Mälkki gives a concert per- my Forum. Sinfonia is then performance of the work in Paris and formed in full on 10 Sep. Strasbourg on 20 Sep and 3 Oct. Venezuelan conductor Gustavo Dudamel has introduced two of Berio's works into the repertoire of the two orchestras he now leads as principal conductor: Folk Songs with the Göteborgs Symfoniker and mezzo-soprano Malena Ern- man (Gothenburg/S, 5 Sep) and also with the Los Angeles Philhar- monic Orchestra and Dawn Up- shaw (Los Angeles, 11–15 Nov). Also on the programme in Los Angeles is Rendering, a reconstruction of Schubert's sketches for his Sym- phony No. 10, meticulous and radi- cal at the same time. Laborintus II for voice, instruments and recording holds a particular place in Berio's musical dramatic

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BARTÓK Paris). The day before the last concert, also in Paris, Peter Eötvös con- London – ducts the Orchestre Philhar- monique de Radio France in 3 Dorf- Mailand – Paris szenen (15 Nov).

ENO introduces a new production KODÁLY of Blubeard’s Castle by Béla Bartók this season, opening on 6 Nov in Music belongs London. Conducted by music director Edward Gardner and directed to everybody! by Daniel Kramer (who won a South Bank Show Award for his production of Birtwistle’s Punch Zoltán Kodály’s motto was “music and Judy last year), Bartók’s only belongs to everybody!” At the start opera features Clive Bayley in the of the 20th century, together with title role and Michaela Martens as Béla Bartòk, he researched Hungar- the wife who sacrifices herself for ian folk music and integrated it truth. Also 10, 12, 14, 20, 25 & 28 Nov. into his own work. In Tänze aus See www.eno.org.uk Galánta (1933), maybe his most Before this, the Filarmonica della popular work, he uses sound im- Scala and Maurizio Pollini, under pressions from Galánta, a Hungari- the direction of Pierre Boulez, un- an village where he spent seven dertake a run of concerts in Milan years of his childhood. The piece and Paris, each featuring the Piano will be performed 15 times in Eu- Concerto No. 2 and The Miraculous rope in the next few months alone. Mandarin (27, 29, 31 Oct, Teatro alla Please visit our website for more Scala, Milan; 16 Nov, Salle Pleyel, information: www.bit.ly/kodaly1

Béla Bartók by László Marton, Budapest

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WEILL is almost inconceivable, Weill’s legacy was only available in print in Collected flawed editions or not at all after his death in 1950. Just two of his critical edition works for stage were published posthumously as scores, meaning that countless major compositions Composers whose legacy – their could not be distributed. The same oeuvre – is looked after with dedi- applied to his concert music. The cation, love and musical expertise Kurt Weill Edition is therefore truly are truly lucky. Kurt Weill is one epoch-making, especially since such composer, thanks to the New Weill’s versatile work will call for a York-based Kurt Weill Foundation new definition of a “collected criti- for Music. For decades, the founda- cal edition”. Weill’s life’s work is to tion has been ensuring that the be published in four series: for works by the exiled composer (who stage, concert, screen and “vari- found a home from home in the ous”. Comprising 24 volumes, the USA, where he went on to write a first will also be the most exten- whole series of compositions, sive. Zaubernacht, Der Protagonist, mainly works for stage) are per- The Threepenny Opera and The formed true to the scores all over Firebrand of Florence are already the world. In 1992, the foundation available. Weill’s complete cham- began an epic, long-term under- ber music and two impressive vol- taking – to make the composer’s umes of facsimiles have also been complete works available to prac- published. More information: tising musicians and musicologists www.kwf.org in exemplary editions. Although it

Kurt Weill

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MARTIN premièred in 1950. Five years later, Martin completed his opera Der Tempestuous Sturm, which still remains a very valuable interpretation of the Sounds Shakespeare work. The Ariel Songs will be performed at the Prinzre- gententheater in Munich on 3 Oct. Frank Martin’s Trois Danses, for Peter Dijkstra conducts the Bavari- oboe, harp, string quintet and an Radio Choir. string orchestra, was composed in 1970 for Heinz and Ursula Holliger (oboe and harp). The work now comes SCHNITTKE to Japan for the first time. The Kan- sai Philharmonic Orchestra is con- Sombre ducted by Maurice Bourgue in Osaka on 8 Oct (Hansjörg Schellen- desperation berger, ob, Margit-Anna Süß, hrp). 20 years earlier, Martin concerned himself with Shakespeare's Tem- Alfred Schnittke's Historia von D. pest. The first musical result was Johann Fausten (1987/1994) is the Five Songs of Ariel, which were based not on Goethe's Faust, but on the popular Faust text of the 16th century. In his quest for knowl- edge Faust makes a pact with the devil, who appears in the opera as two separate characters, Mephistophiles (male soprano) and Mephistophilia (female con- tralto). The desperation of the title character is expressed with elements of Bach, Wagner, Mahler and Shostakovitch in a melancholy, sometimes almost sparse musical language. Excerpts of the opera are performed by the London Philhar- monic Orchestra under Vladimir Jurowski on 18 Nov (soloists: Anna Larsson, Marco Lazzare and Stephen Richardson; Royal Festival Hall, London, UK première). Frank Martin www.lpo.org.uk

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SZYMANOWSKI première of Satie’s ballet Mercure. Poses plastiques (choreographer: Monumental Léonide Massines; stage set and costumes: Pablo Picasso). The ballet uncertainty was commissioned by the Count de Beaumont, who wanted to use the exclusive cast to compete with 12th century King Roger II of Sicily's Diaghilev’s Ballets russes. The piece authority is threatened by the arrival will be performed in Rouen/F on 19 of a young shepherd who is con- Nov under Johannes Debus. In verting the inhabitants of the is- 1928, Roger Desormière arranged land to his pagan ideas. Karol Szy- Satie’s Geneviève de Brabant, a manowski's 1924 opera Król Roger pièce en vers et en prose, which will (King Roger) presents this material be presented by “Die Oper im in a monumental, dense and virtu- Knopfloch” on 17 Oct in Ober- osic score, and stands as one of the engstringen/CH. The same year, major operas of the 20th century. Darius Milhaud orchestrated Jack Following its première perform- in the Box, Satie’s pantomime bal- ances at the Bregenz Festival in Au- let for piano. The 3-movement gust, David Pountney's new pro- work lasts 6 minutes and can be duction of Król Roger (stage design: heard on 18 Oct in Reutlingen/D. Raimund Bauer) now comes to the Liceu in Barcelona for eight performances, conducted by Josep Pons. Pons joins the Symphony Orchestra and Chorus of the Liceu on 15 Nov for a Szymanowski concert including his Stabat Mater and Sym- phonie No. 3. www.bit.ly/liceu1

SATIE Stage set: Pablo Picasso

Three works by Eric Satie, a great original composer, are scheduled for Eric Satie performances. 1926 saw the world

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WEBERN sacaglia twice: on 3 Sep at the Wolkenturm Grafenegg/A – where Concentrated it will be combined with 6 Stücke op. 6 (1909) – and on 6 Oct at the expression Vienna Musikverein. Mehta is to perform 6 Stücke, in which Webern uses the instruments according to Anton Webern’s Passacaglia op. 1 Schönberg’s sound-colour-melody for orchestra, which he composed concept, with Staatskapelle Berlin as a tonal piece as late as 1908, al- in Berlin (Philharmonie, 26 Nov and ready carries the hallmarks of his Konzerthaus, 30 Nov). later style. The piece marks the starting point for Webern’s charac- teristic musical language, which MARTINU became increasingly marked by highly concentrated expression on Fantastical all levels between loud and soft, coupled with an aphoristic form. developments Zubin Mehta and the Vienna Phil- harmonic will be presenting Pas- Bohuslav Martinů‘s The Epic of Gil- gamesh is based on the Assyrian- Babylonian poem of the same name, and the colossal power of the source material – wrestling with forces of nature, social power struggles, sexuality, love and death – inspired Martinů to tremendous vocal creativity. There are lyrical and dramatic elements, meditative sections and sections based on ar- chaic motifs – all of which provide fertile ground for fantastical developments. This oratorio can soon be experienced in Prague and Basel: National Theatre Prag, 10 Sep, Or- chestra and Choir of the National Theatre, c. Tomás Netopil; Basler Martinskirche, 20 and 21 Nov, Basel Sinfonietta and Bach Chor Basel, Zubin Mehta c. Joachim Krause.

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Alban Berg Wozzeck Opéra Bastille Paris 2008

BERG duced a new version in 2004, with an orchestra slightly larger than Berg for Rea's but slightly smaller than Stein's. Koblenz has decided on any stage Rea, Gera on Kloke, while Berg's original version is performed in Paris. The same is true of Lulu. The- It goes without saying that the atres can decide on Berg's unfin- work of Alban Berg is a fixture in ished version, or on the three-act the international concert and opera completed by Friedrich opera repertoire. However, the fact Cerha (coming up in Japan and that there are, for example, four Madrid). versions of Wozzeck, of which two have been written in the last few The Lyrical Suite offers similar op- years, demonstrates the undimin- tions, has the same issues, since ished power and influence of this Dutch composer Theo Verbey masterpiece. The reduced version arranged the movements No. 1, 5 by Erwin Stein, which was com- and 6 for string orchestra, expand- pleted in Berg's lifetime, made it ing on Berg's incomplete sketches. possible for smaller theatres to This new orchestration is begin- stage the work. Almost seven ning to make its mark – although decades later (1995), John Rea ful- the upcoming performance with filled the need for a chamber ver- Ingo Metzmacher in Berlin (5 Oct) sion, which made the piece even is the original version. more widely accessible. The com- For more performances see poser Eberhard Kloke had the www.bit.ly/berg3 same goal in mind when he pro-

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ZEMLINSKY SCHREKER Immense impact Sound is the key

When Alexander Zemlinsky com- If music primarily meant thoughts posed his op. 20 in 1929, based on for Arnold Schönberg, for Franz African American poems (by Schreker it mainly meant sound. In Langston Hughes among others), the wake of Schreker’s great renais- he did not suspect that he himself sance on the opera house stages, would become a victim of the his symphonic oeuvre is also be- racism targeted in the poems and coming more and more well- would end his days in the USA known. And not just the frequently where the poems were written. performed Vorspiel zu einem The Afrika singt anthology was Drama, which Markus Stenz will be published in Vienna in 1929 and conducting in Cologne (Gürzenich- must have had an immense impact Orchester, 6–8 Sep) and Christoph on the composer: he went on to Eschenbach at the Usedom Music write Sinfonische Gesänge later Festival (Peenemünde/D, NDR- that year. He did not live to see the Symphonieorchester, 3–4 Oct). world première however, as it was Philippe Hui will be presenting not held until 1964 in Baltimore. other key works by Schreker on 11 Compared to Lyrische Symphonie Oct at the Théâtre des Champs- or Die Seejungfrau, the piece is still Elysées in Paris, with the Orchestre heard only rarely. Dietrich Henschel Pasdeloup: Ein Tanzspiel (Rokoko), will sing it at the Musikfest Berlin Suite and Chamber Symphony. (13 Sep) with the Philharmonia David Zinman performs this last Orchestra under Vladimir Ashke- work in Zurich with the Tonhalle nazy. Orchester on 11 Sep.

Markus Stenz

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Dünser's arrangement is influenced by several external elements: “autobiographical sketches, literary references, pictures, moods … force their way into the work and use its integral structures to weave a tapestry of relationships and mu- tual influences. Everything amal- gamates and forms a larger whole, which dialectically can also include its opposite, breaches, un-relation- Simon Rattle ships, fragmentation” (Dünser). More information at www.schoenberg.at SCHÖNBERG At an artists conference in 1909, External elements Schönberg asked Viennese author and doctor Marie Pappenheim to write him a libretto, which she promptly delivered. This is how the Arnold Schönberg’s Drei expressionistic solo drama Er- WP Klavierstücke op. 11 (1909) wartung came about, written in can be seen as an early ex- only 17 days, which Schönberg ample of Schönbergian atonality – packed with tightly composed it was one of the first works where music. Simon Rattle performs the the composer set the music free work with the Berlin Philharmonic from its conventional structures. in Berlin (5 and 6 Nov) and New Richard Dünser, under commission York (7 Nov). Evelyn Herlitzius takes from the Viennese Arnold Schön- the vocal part. berg Centre, has now arranged the Drei Stücke for ensemble. The Austrian premiere is at the Arnold Schönberg centre on the 16 Sep with Ensemble Kontrapunkte under Peter Keuschnig.

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MAHLER Dramatic flow

Two years ago in Lucerne when Gustavo Dudamel conducted the Vienna Philharmonic for the first time, he boldly began with Gustav Mahler’s Symphony No. 1 – the Philharmonic’s very own repertoire. The rehearsal ended with the Gustavo Dudamel orchestra applauding the young Venezuelan. This autumn, audiences will have the chance to judge Orchestre National de France on 29 this Mahler conductor in the ma- Oct in Paris. king, with his unmistakeable flair Daniel Harding and the Concert- for proportions and for the drama- gebouworkest present Symphony tic flow of the work. Dudamel will No. 1 in Verona on 5 Oct. conduct the Göteborgs Symfoniker, A performance of Robert Schu- performing the Rückert-Lieder mann’s Symphony No. 3 in Gustav (Bonn, 22 Sep and Hamburg, 23 Sep, Mahler’s instrumentation also de- soloist: Anna Larsson). serves a mention (Salzburg, c. Chri- stoph König, 19 Nov). Mention should also be made of Remember to take a look at our the fact that Simon Rattle will be new Mahler blog for all the latest conducting the same orchestra performances and interviews: shortly beforehand, with Mahler’s www.universaledition.com/mahler Symphony No. 3 (Gothenburg/S, 17–18 Sep). Prestigious Mahler performances this autumn include: Josep Pons conducting Symphony No. 2 in Madrid (Orquesta Nacional de España, 2–4 Oct). Daniele Gatti (“I am more attracted by Kubelik, Klemperer – the new Boulez I abso- lutely adore”) performing the original version in 3 movements of Das klagende Lied – considered by many to be Mahler’s only piece of instrumental theatre – with the

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BRAUNFELS and Sofia. The performances begin in Madrid on 11 Oct under the mu- Mozart variations sical direction of Jesús López Cobos and the stage direction of Elio de Capitani, before heading to the It was not until the 1970s, when cities of the co-producers up until the music world became aestheti- January 2012. For La vera costanza cally more open, that Walter (True Constancy), librettist Braunfels’ music made a return to Francesco Puttini drew on one of concert halls and opera house Giovanni Boccaccio’s Decameron stages. His orchestral variations novellas in which a Count success- Don Juan op. 34 (1922/1924) are laid fully tests the constancy of his down over a melody from Mozart’s humbly-born wife by humiliating Don Giovanni. A number of themes her and threatening to murder from Mozart appear throughout their child, before the piece reaches the classical-romantic phantas- a happy ending. magoria, as the piece is subtitled. The world première was conducted by Wilhelm Furtwängler in Leipzig in 1924. The piece will be performed in Magdeburg/D on 10 and 11 Sep by the Magdeburg Philhar- monic under Rory Mcdonald.

HAYDN Drama with a happy ending

The culmination of the celebrations marking the 200th anniversary of Joseph Haydn’s death (1732–1809) will be a series of performances of his dramma giocoso La vera costanza – an international Joseph Haydn co-production by Teatro Real Madrid and the opera houses of Treviso, Regensburg, Liège, Rouen

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JANÁČEK From The House of the Dead is also on stage in Basel this November, in Opera highlights a new production by Calixto Bieito. Gabriel Feltz conducts. See www.bit.ly/janacek2 One of opera’s most visionary directors makes his debut at the Jonathan Miller’s production of Met this autumn: Patrice Chéreau, Katya Kabanova comes to Chicago where his acclaimed production of in November. “Why can’t we fly like From The House of the Dead by birds do?” sings Katya, sung in LeoššJanáček comes to the stage Chicago by Karita Mattila. Judith for the fifth time (after Vienna, Aix- Forst and Brandon Jovanovich join en-Provence, Amsterdam and Milan). her in the lead roles. Paula Williams “I don't think I've ever seen a stag- directs, and Markus Stenz is the ing of this work that is so consis- conductor. tently alert to the shifting emo- See www.bit.ly/janacek3 tional perspectives of the characters, most of them dysfunctional Janáček’s opera suites are also well outcasts, but all of them with the represented this autumn, with the 'Spark of God'”, wrote Nigel Sime- Orchestral suite of From the House one in the International Record Re- of the Dead being performed by view. The new performances are the Orchestre Philharmonique de conducted by Esa-Pekka Salonen, Luxembourg as part of their Rainy who is also making his debut at Days festival. Emilio Pomàrico con- the Met. ducts. See www.bit.ly/janacek4 See www.bit.ly/janacek1

Leoš Janáček From The House of the Dead Vienna Festival 2007

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2009

50th Anniv. of Death George Antheil † 12 February 1959 75th Birthday Sir 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 50th Anniv. of Death Ennio Porrino † 25 September 1959 80th Anniversary 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 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 80th Anniversary Toru Takemitsu * 08 October 1930 125th Anniv. of Death Egon Wellesz * 21 October 1885

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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 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 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 Birthday 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. Shchedrin * 16 December 1932

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LUKE BEDFORD Più mosso for orchestra, CBSO Youth Orchestra, c. Thomas Søndergård 01 November 2009 · Symphony Hall Birmingham/GB

VICTORIA BORISOVA-OLLAS Psalm 42 (As the Deer Cries) for orchestra, mixed choir and soloists, Rundfunk-Sinfonieorchester Berlin, c. Hans-Christoph Rademann, Rias Kammerchor, Caroline Stein, S, Christof Fischesser, B 13 September 2009 · Domkirche St. Eberhard, Stuttgart/D

FRIEDRICH CERHA Concerto for percussion and orchestra Mozarteum Orchester Salzburg, c. Ivor Bolton, Martin Grubinger, perc 04 Oktober 2009 · Grosses Festspielhaus Salzburg/A Instants for orchestra WDR SO Köln, c. Peter Rundel 20 November 2009 · Philharmonie Köln/D

GEORG FRIEDRICH HAAS Traum in des Sommers Nacht for orchestra Gewandhausorchester Leipzig, c. Riccardo Chailly 28 August 2009 · Gewandhaus Leipzig/D

WOLFGANG RIHM Drei Frauen (Three women) music theatre in 3 monodramas and 2 interludes for dramatic soprano, tenor and orchestra SO Basel, c. André de Ridder, Yeree Suh, Rayanne Dupuis, Renate Behle, dir. Georges Delnon, set Roland Aeschlimann 25 Sep. 2009 · Theater Basel/CH (in cooperation with Festival Musica) Versuchung Hommage à Max Beckmann for cello and orchestra Les Siècles, c. François-Xavier Roth, Sonia Wieder-Atherton, vlc 01 October 2009 · Cité de la musique et de la danse Strasbourg/F – ET LUX – for string quartet and choir Arditti Quartet and Hilliard Ensemble 15 November 2009 · Philharmonie Köln/D

DAVID SAWER Rumpelstiltskin for dance and chamber orchestra Birmingham Contemporary Music Group, c. Martyn Brabbins dir. Richard Jones, set Stewart Laing 14 November 2009 · CBSO Centre Birmingham/GB

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CRISTÓBAL HALFFTER De ecos y sombras for orchestra Orquesta Nacional de España c. Cristóbal Halffter 13 November 2009 · Auditorio Nacional de Música Madrid/E

ARNOLD SCHÖNBERG / RICHARD DÜNSER 3 Stücke for ensemble ANTON WEBERN / THOMAS PERNES 4 Lieder for soprano and ensemble Ensemble Kontrapunkte, c. Peter Keuschnig, Christine Whittlesey, S 16 September 2009 · Arnold Schönberg Center Wien/A

MAURICIO SOTELO Como llora el viento for guitar and chamber ensemble Grup Instrumental de Valencia, c. Joan Cerveró, Juan Manuel Cañizares, guit 18 September 2009 · Teatro Principal Alicante/E La Mémoire incendiée : la guitare for string quartet Quatuor Diotima 23 September 2009 · Teatro Arniches Alicante/E Muros de dolor V for violin and live electronics Raquel Rivera, vln, Mauricio Sotelo, electr 24 September 2009 · Teatro Principal Ourense/E Klang-Muro-for-Klangforum for flute, double bass and ensemble Klangforum Wien, c. Rolf Gupta, Vera Fischer, fl, Uli Fussenegger, cb 09 October 2009 · musikprotokoll, Helmut List-Halle Graz/A Jerez desde el aire for piano Juan Carlos Garvayo, pn 28 November 2009 · Teatro Manuel de Falla Cádiz/E

JOHANNES MARIA STAUD One Movement and Five Miniatures for cembalo, live electronics and ensemble (world première of the revised version) Klangforum Wien, c. Rolf Gupta, Florian Müller, hps, Peter Böhm, electr 09 October 2009 · musikprotokoll, Helmut List-Halle Graz/A

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PLAY ALONG VIOLIN World Music – Klezmer for violin with CD or piano accompaniment by Yale Strom UE 34163

CENTRE STAGE 4 JOSEPH HAYDN Poco adagio cantabile (Kaiser Quartet) MARC-ANTOINE CHARPENTIER Prelude (Te Deum) for ensemble in variable instrumentation score and parts UE 21463

ALBAN BERG Sieben frühe Lieder for high voice and piano version for medium voice and piano UE 33931

ALBAN BERG Studien ed. by Rudolf Stephan Rudolf Stephan on his 80th Birthday ed. by Regina Busch & Klaus Lippe UE 26296

JOHANN (BAPTIST) WENZEL KALLIWODA Divertissement op. 58 version for oboe and piano ed. by Hansjörg Schellenberger UE 34221

GUSTAV MAHLER / ARNOLD SCHÖNBERG Lieder eines fahrenden Gesellen for chamber ensemble arr. by Arnold Schönberg score UE 34382

ARVO PÄRT The Deer’s Cry for choir SATB choral score UE 33723

MAURICE RAVEL Menuet sur le nom d’Haydn for piano ed. by Jochen Reutter, fingering and interpretation notes by Peter Roggenkamp, preface by Theo Hirsbrunner UT 50265

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NICOLAI PODGORNOV Graded pieces for piano

Volume 1 – EASY for piano UE 34551

Magical music – traditional to modern

This three-volume series of piano pieces is aimed at all levels, from beginner to advanced. Nicolai Pod- gornov’s compositions are a de- light for musicians with their at- tractive and entertaining melodies, and are also ideal for improving piano skills. The series is based on tried-and-tested, traditional forms – from preludes to waltzes – while also integrating modern sounds. Each of the three volumes (EASY, INTERMEDIATE and ADVANCED) is arranged in an increasing order of Bestsellers already: difficulty, but with the focus firmly on the joy of music. NICOLAI PODGORNOV Romantic Piano Album Volumes 2 (UE 34552) and 3 (UE incl. Can you Feel the Love Tonight? 34553) will be published in 2010 by Elton John & La Valse d'Amélie from the movie Amelie. UE 33937

NICOLAI PODGORNOV Piano Album for piano UE 33649

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ALBAN BERG Wozzeck Walter Berry, Isabel Strauss, Fritz Uhl, Carl Doench Orchestre et Choeur de l’Opéra de Paris, c. Pierre Boulez The Sony Opera House CD 886974461920 ALBAN BERG Wozzeck Tito Gobbi, Dorothy Dow, Mirto Picchi, Petre Munteanu, Italo Tajo RSO Rom, c. Nino Sanzogno Line 2 CDs 7740906 ARAM KHATCHATURIAN Concerto for violin and orchestra, Concert Rhapsodie Nicolas Koeckert, vln, Royal Philharmonic Orchestra, c. José Serebrier Naxos CD 8.570988 GUSTAV MAHLER Symphony No. 1 Bamberger Symphoniker, c. Jonathan Nott Tudor SACD Hybrid 7147 GUSTAV MAHLER Symphony No. 3 Anna Larsson, S, Tiffin Boys Choir, London Symphony Chorus & Orchestra, c. Valery Gergiev hänssler classic CD 101.970.289 GUSTAV MAHLER Symphony No. 4 Miah Persson, S, Budapest Festival Orchestra, c. Iván Fischer Channel Classic SACD CCSSA26109 GUSTAV MAHLER Symphony No. 4 Bamberger Symphoniker, c. Jonathan Nott Tudor SACD Hybrid 7151 GUSTAV MAHLER Symphony No. 9 Bamberger Symphoniker, c. Jonathan Nott Tudor SACD Hybrid 7162(2) GUSTAV MAHLER Das Lied von der Erde Christian Gerhaher, Bar, Klaus Florian Vogt, T, Orchestre Sympho- nique de Montréal, c. Kent Nagano Sony CD 88697508212 FRANK MARTIN Cantate pour le temps de Noël, Trois Chants de Noël Simone Stock, S, Karola Hausburg, A, Atrium-Ensemble Berlin, Mozart-Ensemble Luzern; Luzerner Kantorei-Knabenchor, Festival Strings Lucerne, Hans Adolfsen, cemb, Mitsumi Ueno, org, Klaus Durrer, fl, c. Alois Koch Musiques Suisses MGB CD 6259 FRANK MARTIN Golgotha Barbara Locher, S, Rolf Romel, T,Michel Brodard, B-Bar, Lilian Zürcher, MS, René Koch, B, Peter Baur, pn, Kay Johannsen, org, Musikhoch- schule Luzern, Luzerner Knabenkantorei, Akademiechor Luzern, Kan- torei der Stiftskirche Stuttgart, Berliner Symphoniker, c. Alois Koch Musiques Suisses MGB 2CDs 6221 FRANK MARTIN Le Mystère de la Nativité Barbara Locher, S, Phillipe Huttenlocher, Bar, Mozart-Ensemble der Musikhochschule Luzern, Akademiechor Luzern, Luzerner Sinfonie- orchester, c. Alois Koch Musiques suisses MGB 2 CDs 6173

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BOHUSLAV LEOŠ JANÁČEK DMITRI SCHO- IAN WILSON FOERSTER The Cunning STAKOWITSCH Sullen Earth, Li- Symphony No. 4 Little Vixen The Nose mena, The Cap- Osnabrück Böhmová, Doma- Sulinsky, Tano- sizing Man and Symphony nínská, Asmus vitski, Kravtsova, Other Stories Orchestra, Chor&Orchester Chor&Orchester The Belgrade c. Hermann Nationaltheater Mariinsky-The- Strings, Hugh Bäumer Prag, c. Václav ater, c. Valery Tinney, c. Ian MDG CD 632 Neumann Gergiev Wilson 1492-2 Supraphon Mariinsky 2 Riverrun Re- SU CD 3981-2 SACDs MAR0501 cords RVRCD80

WOLFGANG RIHM Erscheinung Bamberger Symphoniker, c. Jonathan Nott Tudor CD 7132 ARNOLD SCHÖNBERG Verklärte Nacht, Chamber Symphony No. 1 and 2, Erwartung, Variationen Birmingham Contemporary Music Group, c. Simon Rattle, c. Jeffrey Tate, English Chamber Orchestra, Artemis Quartet, Phyllis Bryn-Julson, S EMI Classics CD 2067852 KAROL SZYMANOWSKI Sonate, Romance, Notturno und Tarantella, Mythes, La Berceuse d'Aitacho Enia , Trois Caprices de Paganini Joanna Madroszkiewicz, vln, Paul Gulda, pno MDG CD 6031555-2 ANTON WEBERN Fuga, Zwei Lieder (op. 8 and op. 19) , Fünf Sätze, Fünf Stücke, Vier Lieder, Sechs Lieder, Fünf geistliche Lieder, Das Augen- licht, Variationen, 2. Kantate Tony Arnold, S, 20th Century Classics Ensemble, Simon Joly Chorale, Philharmonia Orchestra, c. Robert Craft Naxos CD 8.557531 ALEXANDER ZEMLINSKY Die Seejungfrau, Sinfonietta New Zealand SO, c. James Judd Naxos CD 8.570240

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Luke Bedford (born 1978)

Worklist

5 Abstracts for 14 players (18’) 2000–2001 By the Screen in the Sun at the Hill on the Gold 2008 for 18 players 17’ Catafalque for large ensemble (10’) 2002 Catafalque for piano (5’) 2002 Chiaroscuro for violin, cello and piano (8’) 2000/2005 Good Dream She Has 2007–2008 for soprano, mezzo soprano, tenor and 14 players 15’ Great Bass Rackett for bassoon (2’30’’) 2009 Man Shoots Strangers from Skyscraper for 8 players (6’) 2002 Of the Air for string quartet (8–10’) 2008–2009 On Time for choir and orchestra (13’) 2008 Or Voit Tout En Aventure for soprano and 16 players (14’) 2005–2006 Outblaze The Sky for orchestra (6’) 2006 Più Mosso for orchestra (10’) 2009 Rode with Darkness for orchestra (12’) 2003 Self-Assembly Composition No. 1 2009 for any instruments Slow Music for 8 players (5’) 2005 Upon St. George's Hill for tenor and guitar (1’30’’) 2008 Vivo for violin (1’30’’) 2008 (only available in the UE collection Violin Project, spring 2010) Wreathe for orchestra (18’) 2007

More information available at: www.universaledition.com/bedford

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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 +44-20-7292-9171, 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, Flora Death, Kieran Morris, Rebecca Dawson, Kerstin Schwager and Elisabeth Bezdicek Design: Egger & Lerch, Vienna/Austria Photo credits Eric Marinitsch (7), UE Archive (11), Mateo Taibon, Festival d’Automne, Biennale di Venezia, Theater Kiel, Marion Kalter, Marcello Antico, Kevin Davis, Anne Dudley, Ville de Paris, Photo by Stone / courtesy of the Kurt Weill Foundation for Music New York, Raymond Asseo, www.superlocal.ch, G.L.Moggi Firenze, Opéra Bastille, www.guerzenich-orchester.de, www.img.epochtimes.com, DG/Mathias Bothor, Haydns Geburts- haus Rohrau/A, Vienna Festival, Auditorio Nacional de Musicá Madrid, Ben Ealovega, Tom Bedford. CDs: MDG, Supraphon, Mariinsky CD, Riverrun Records. DVR: 0836702