February 2017

Stravinsky Funeral Song revived Photo: Mariinsky Theatre/Valentin Baranovsky ’s rediscovered Funeral Song for , heard again in St Petersburg in December after 107 years, is travelling the world in 2017 and beyond.

Orchestras have swiftly added Stravinsky’s Funeral disappeared after its only performance Song into their current seasons, adjusting their in 1909, returning to light last year in programmes to allow the rediscovered work to be the library of the St Petersburg heard as soon as possible. Following the historic Rimsky-Korsakov State Conservatory performance at the Mariinsky Theatre Concert Hall thanks to the musicological sleuthing of on 2 December, conducted by Valery Gergiev, the Dr Natalia Braginskaya. The rediscovery 12-minute orchestral score will receive over 40 has aroused immense interest around performances in 2017 and beyond, travelling to the musical world, offering a missing link over 20 countries. between Stravinsky’s earliest works and his ballet The Firebird, which was to launch Dates include the UK premiere with the his international career with Serge Diaghilev’s conducted by Esa-Pekka Ballets Russes. Salonen (19 February), the US premiere with the Chicago Symphony Orchestra under Charles Stephen Walsh, writing in The Guardian, Dutoit (6 April) and the German premiere with described the “positively electric atmosphere” the Berlin Philharmonic Orchestra and Sir Simon at the St Petersburg performance as “the Russian Rattle (31 May). audience, deprived of their greatest for so many Soviet years, were rightly thrilled that a substantial piece of his had turned up on their “A 12-minute orchestral home ground… Stravinsky remembered Funeral movement of extraordinary Song as one of his best early pieces and he was right.” Reviewing the performance – still available Photo of Stravinsky in 1910/Wiki Commons emotional power...” streamed free to view this month on medici.tv Valery Gergiev conducts the historic performance of Stravinsky’s Funeral Song in St Petersburg The Guardian – Ivan Hewett in the Daily Telegraph detected influences of Tchaikovsky and Wagner, as well as From the rediscovered complete set of orchestral & Hawkes and a study score is published on sale The music of Igor Stravinsky’s Funeral Song Rimsky-Korsakov, noting the “lament for solo horn, parts, the St Petersburg Conservatory has this month and available from The Shop at Boosey. (Pogrebal’naya Pesnya) op.5, composed by the introducing a theme which was sorrowfully passed collaborated with Boosey & Hawkes, Stravinsky’s com. For a full list of future performances of Funeral 26-year-old composer as an orchestral memorial from instrument to instrument… St Petersburg principal publisher, in reconstructing the full score. Song around the world visit: tribute to his teacher Nikolai Rimsky-Korsakov, welcomed back its greatest musical son”. Performance materials are on rental from Boosey www.boosey.com/FuneralSongDates.

“MacMillan speaks of a ‘painful world of loss, violence, Yun MacMillan and spiritual desolation’, and those are the intense Hilmars joins B&H feelings packed into his score. Both sides of MacMillan 2017 Centenary new Stabat Mater are to be found here, the devotional and the painter of bold, dramatic canvases — the former in the ethereal The centenary of Isang writing for solo and ensemble voices, the latter in the Yun in 2017 offers the lacerating blows and feverish anxieties depicted in the opportunity to hear a string ensemble.” Financial Times range of this pioneering composer’s works Having toured the work to Saffron Walden, which combine the Norwich and Manchester, The Sixteen introduces

tradition of Eastern- Scottish audiences to Stabat Mater in March, the Photo: © Maria Kjartans Glasgow performance being part of a major Asian music with Icelandic composer Biggi Hilmars (b.1978) has MacMillan feature in the city with the Scottish Western avant-garde developed his own haunting style, blending classical, Chamber Orchestra collaborating with the BBC techniques. While his electronic, ambient, avant-garde and pop influences. Scottish Symphony Orchestra and Glasgow Life. native Korea and Rapidly becoming one of the most in-demand music adoptive Germany are Scottish premieres include the Viola with

Photo: Boosey & Hawkes of his generation for film, movie trailers, soloist Lawrence Power, Symphony No.4 and the at the centre of commercials and television, his distinctive voice can Concertino for Horn and Strings. The recording of activities, performances around the world move from delicate solos to full orchestra with Stabat Mater is released next month on The celebrate his humanitarian mission to cross mesmerising piano, string and guitar textures. frontiers thanks to the power of music. Sixteen’s Coro label (COR16150). Commissions have included the film soundtrack to The Tongyeong International Music Festival in The remote Scottish island of St Kilda provided Beeba Boys by award-winning director Deepa South Korea presents a Yun retrospective between the surprise hit recording of 2016, in the form of Mehta, the official movie trailers for Thomas 31 March and 9 April with visiting performers Decca’s Lost Songs of St Kilda conducted by Vinterberg’s Far From the Madding Crowd and SKY’s including the Arditti Quartet, Basel Chamber MacMillan and including his orchestration of one mini-series Olive Kitteridge, music for the BBC Orchestra, Seoul Philharmonic and conductors James MacMillan’s powerful Stabat Mater was of the songs from the depopulated community. feature documentary film My Brother the Ark Raider Dennis Russell Davies, Stefan Soltesz and Stefan acclaimed by audience and press alike at its Selling over 15,000 copies, the disc topped the by Jonathan Carr and movie trailers for Ridley Scott Asbury. Highlights include the , Barbican premiere in October, performed by Classical Artists chart and was Classic FM’s Album and Kevin MacDonald’s How I Live Now and Clarinet Concerto and his hour-long The The Sixteen and Britten Sinfonia conducted by of the Year. For the full historic background visit Christmas in a Day. Dream of Liu-Tung. Harry Christophers. Matching his Seven Last lostsongsofstkilda.com. Words from the Cross, the new work is for choir He has composed music for commercials for Allianz, Centenary premieres include Pièce Concertante and string orchestra and lasts close to an hour, IBM and Mercedes-Benz, and most recently created for chamber ensemble and the Nelly Sachs setting In addition to Stabat Mater, MacMillan’s recent and is launched from the closing harmonies of the a specially commissioned score for the new ‘Teile dich Nacht’, both receiving their first UK large-scale choral works include A European earlier score. Commissioned by the Genesis Thomson Holidays TV advert A Day in the Sun, performances at a Music of Today concert in premiered at the Oregon Bach Festival Foundation, Stabat Mater sets the 13th century recorded by the Chamber Orchestra at London on 2 March, while the Cello Concerto last year, Gloria which received its US premiere Latin hymn which meditates on the suffering of Abbey Road Studios. Biggi Hilmars shares his receives its Austrian premiere on 12 June with in Pittsburgh last month and travels to Liverpool Christ’s mother Mary at the foot of the Cross, working life between Reykjavik, London, Paris, Matt Haimovitz and the Bruckner Orchester in with Ian Bostridge as soloist in June, and Little reflecting a classic MacMillan blend of sorrow, New York and Los Angeles. Linz. His vivid dance fantasy Muak is performed by for children’s choir and orchestra receiving anger and contemplation. both the German Youth Orchestra in April and its first North American performance in Toronto Visit www.boosey.com/hilmars and KBS Symphony Orchestra in November. next season. www.biggihilmars.com. Yun studied cello and composition in Korea and “An overwhelming world Japan, and actively opposed the Japanese The Times occupation, leading to his imprisonment until the premiere...” end of World War II. Following the Korean War Inside this issue… armistice in 1953 he won a scholarship to study in “It’s not often that the composer of a new work gets Europe, first in Paris and then in Berlin, where he a standing ovation, but then every new work isn’t like settled in 1964. Due to a visit to North Korea he James MacMillan’s Stabat Mater for chorus and string was abducted from Berlin by South Korea’s Park orchestra… The chorus’s plangent cries, carved with a regime in 1967 and imprisoned in Seoul for two scalpel, might have been expected — but what about years, finally released in response to a campaign the string commentary of stabbing chords, high-speed by leading musicians. He took West German buzzings, sickening crescendos, growls and whispers?... Birtwistle Adams Chin Reich citizenship and taught in Hannover and Berlin, the intensity of this performance did not wobble… from Interview on new Upbeat to 70th Featured composer 80th birthday assuming a life in exile while never neglecting his noble lament through fury and shriek to contemplative orchestral work in Berlin, London at Eight Bridges premieres of Pulse Korean roots. devotion.” The Times Deep Time and Paris in Cologne and Runner

. Birtwistle Deep Time in Berlin Harrison Birtwistle introduces his new orchestral work, Deep Time, Time is a processional in which nothing changes and double low woodwind, plus two harps, – the slow passing of time is the controlling piano and four percussion players. The foreign premiered under the baton of Daniel Barenboim in Berlin in June. factor, like in the Bruegel woodcut in which the body is the soprano saxophone which I also used elephant’s pace determines things. Earth Dances in The Triumph of Time. Although seated within the Where does the idea of Deep Time come from? is different because it is totally linear and there orchestra I never think it comfortably blends into It’s a fairly recent term coined by John McPhee is no simultaneity, the music taking the form of the overall sound so I’ve allowed it to remain as a in a 1981 book Basin and Range, which refers to overlapping layers of material and activity. In special voice. the idea of measuring things on a vast temporal Deep Time it is as if those strata are blown apart scale beyond human comprehension – such into chaos. Daniel Barenboim conducts the first performances as the age of rocks. The concept of Deep Time this summer. follows on from the work of the 18th century How do you bring order to this chaos? Yes, he gave the premieres of Exody in 1998 and Scottish geologist James Hutton who proposed That’s my challenge as a composer. In music The Last Supper in 2000 and has conducted The that the processes of rock erosion, sedimentation you can’t or don’t want to achieve this sort of Triumph of Time so I’m pleased he’s enthusiastic and formation have ‘no vestige of a beginning, no discontinuity because each work has to be enough to come back for another piece from me. prospect of an end’, a state of perpetual change experienced by a listener in real clock time. Some However, I decided to dedicate the score of Deep I’ve always been interested in. form of logic either emerges because things Time to . His death last year inevitably follow other things, or it’s imposed by meant aspects of our friendship had to remain How does this take musical form? the composer to create a specific route through unresolved but Max and I shared a number of When I lived on the Scottish island of Raasay the material. Think of Stravinsky’s Symphonies of things: exploring the avant-garde and medieval I discovered that some of the oldest and youngest Wind Instruments – the composer is supposed to music together as students in Manchester and rocks sit together because of a broad geological have cut up the music into little pieces of paper beyond and enjoying a similar sense of humour. faultline. This was a seismic catastrophe that’s and shuffled it, yet to my ears you hear a clear Most importantly from the perspective of time we hard to imagine when you see it today with continuity. were born the same year and are of the same age. the violence as if in a photograph. One time has erupted into the other time creating So you’re crafting the final shape of the material? a discontinuity that has parallels with the new It’s closer to the work of a carver than a modeller. Birtwistle orchestral piece. However I want to be clear that I’m usually cutting away material rather than Deep Time (2016) 20’ the work is not about geology, it is not descriptive adding it on. The final Deep Time is intended as a for orchestra of anything specific. 20-minute work but the base material I’m working Commissioned by Staatsoper Unter den Linden Berlin with is in a sense endless. So I’m selecting, and BBC Radio 3 But the themes of time and strata connect Deep trimming, ordering, discovering departures, Time to many other of your works? arrivals, and echoes of earlier events. 5 June 2017 (world premiere) Yes. I’m particularly thinking of The Triumph of Philharmonie, Berlin Time and Earth Dances and you could view the Does Deep Time have a particular colour? 6 June 2017 new work as the final panel in a triptych, though It’s for a pretty standard orchestra, with some Konzerthaus, Berlin

Photo: Hanya Chlala/ArenaPAL they weren’t planned like this. The Triumph of emphasis on the dark colours I prefer, with two Staatskapelle Berlin/Daniel Barenboim

Kats-Chernin The Witching Hour in Sydney Górecki sight to behold… the concerto explores episodes from the traditional Russian tale of Vasilisa the Beautiful, a Tristan Postludes resourceful little girl who outwits a wicked witch thanks to some help from a magic doll… All hell erupts, replete Henryk Mikołaj Górecki’s with wacky percussion, the eight soloists galumphing Two Tristan Postludes away over the top of it all… It’s all great fun and full of and Chorale received its energy, as Vasilisa tackles the various tasks set her by posthumous premiere the gruesome enchantress.” Limelight Magazine in Warsaw in October under the auspices of the “The Witching Hour highlighted Kats-Chernin’s distinctive Tansman Festival, with Jerzy compositional gifts. All four movements were dominated Maksymiuk conducting by appealing melodies and catchy rhythms, while her Sinfonia Varsovia. The beguiling orchestrations provided a colourful and, at 20-minute orchestral work times, eerie backdrop.” The Australian was given its UK premiere the following month by the Photo: Jean Guyaux/Elektra Nonesuch The fairy-tale forest setting of The Witching Hour Royal Liverpool Philharmonic Orchestra and was suggested when Kats-Chernin watched the young Polish conductor Patrycja Pieczara. bass section ‘looking like massive, swaying trees’, and the sylvan theme was continued in her new Górecki’s triptych dates from 2004 in a period work for the Australian Chamber Orchestra entitled when the composer was particularly fascinated Photo: Australian World Orchestra/Anna Kucera Orchestra/Anna Photo: Australian World Singing Trees. Here the wood takes the form of the by Wagner and specifically Tristan, with its The premiere of Elena Kats-Chernin’s The Witching Hour at the Sydney Opera House material of the Italian string instruments themselves, turning away from earthly values and exploration as played by the musicians at the premiere. of memory. The music was left in short score Eight double basses are the unlikely stars of out but also all the magical, beautiful things can at his death and the orchestration has been Elena Kats-Chernin’s new concerto The Witching happen”. The fantastic beasts that emerge from “…four movements in a near-symphony sequence completed by his son, composer Mikołaj Hour. Commissioned by the Australian World the orchestra are the eight double basses while dealing with woods employed in string-instrument Górecki, with strings joined by characteristic Orchestra for its fifth anniversary concert, the the work also refers to the witch Baba Yaga construction: maple, ebony, willow, spruce… Kats- resonances from piano, harp, tubular bells colourful 22-minute work received its premiere familiar from Mussorgsky and Liadov. Chernin moves through treatments of a Middle-European and glockenspiel. in Sydney in September, followed by a tour to folk-like melody, a slow lament, spasmodic gruppetti for Singapore, under the baton of Alexander Briger. “The Witching Hour necessitated something of a role a scherzo, and a moto perpetuo, minimalism-suggestive Górecki’s Symphony No.4, which bears the The composer explains her title as “the time when reversal as the eight mighty soloists shifted from the back elongated finale: fine material for displaying the physically subtitle Tansman Episodes, has just been everything is possible, all the ghosts can come row into the front, the size of their basses an impressive expressive potential of this body.” Sydney Morning Herald published as a study score by Boosey & Hawkes.

Dean Hamlet diffraction Chin Cologne festival feature “Something extraordinary happens in the first two bars of Brett Dean’s From Melodious Lay... there is an immediate shift from the frosted gleam of bowed percussion to a transparent suspension of muted divisi violas and cellos… Instead of reproducing Millais’ painting Ophelia, he has zoomed in on a tiny detail of water and weeds… Shakespeare’s verse bites and soothes, finding its metre, blossoming into melismas, shattering into single words: “never, never, never, never, never…” The Times

Photo: Mark Coulsen “The orchestral poem emerges almost imperceptibly with “A remarkable trailer for Brett Dean’s second edgy string sounds and the soft stirrings of percussion, opera, Hamlet”, was the way The Times as if from the deep recesses of the mind... Occasionally, summed up From Melodious Lay, the Australian an urgent idea (Hamlet’s “Get thee to a nunnery”) Photo: WikiCommons/Thomas Robbin composer’s vivid new work for soprano, tenor jolts the music into frantic agitation... It is the subtle, and orchestra. Receiving its premiere with Allan questioning uncertainty of Dean’s orchestra that imposes Unsuk Chin is featured composer 7 May 2017, 11.00, Philharmonie Clayton, Allison Bell and the BBC Symphony itself — not a bad starting point for an opera on Hamlet.” at the Eight Bridges Festival in Cologne Le Silence des Sirènes Orchestra under Joshua Weilerstein, the Financial Times Donatienne Michel-Dansac, sop/ 30 April 2017, 18.00, Philharmonie 23-minute score “more than whetted the appetite” Gürzenich Orchestra/François-Xavier Roth In Melodious Lay was commissioned by BBC Šu for the opera opening at Glyndebourne this June, Radio 3, Zürich Tonhalle, Taiwan Philharmonic Wu Wei, sheng/Bamberg Symphony/Jakub Hrusa 7 May 2017, 20.00, Philharmonie according to The Guardian: and Danish National Symphony Orchestra. Puzzles and Games from 2 May 2017, 20.00, WDR Funkhaus “Dean’s ‘diffraction’, a setting of Shakespeare’s words Neil Armfield’s premiere production of Hamlet ‘Alice in Wonderland’ / Cantatrix Sopranica from the three surviving editions of the play, with some opens at Glyndebourne on 11 June with eight Piano Concerto / Graffiti Ensemble Musikfabrik/Peter Rundel lines reassigned from other characters to the two performances and a further run on the autumn Siobhan Stagg, sop/Sunwook Kim, pft/ principals, clearly points to the essentially psychological tour. The festival cast includes Allan Clayton, 4 May 2017, 20.00, Philharmonie SWR Symphony Orchestra/

direction of the treatment. The troubled and oppressive Barbara Hannigan, Sarah Connolly, Rod Gilfry and Cosmigimmicks / Double Concerto / Photo: Priska Ketterer Tito Ceccherini desires of Hamlet and Ophelia are expressed in the slip John Tomlinson with the London Philharmonic Allegro ma non troppo / Gougalōn and slide of eerily erotic harmonies.” The Guardian Orchestra conducted by Vladimir Jurowski. Ensemble Intercontemporain/Bruno Mantovani www.achtbruecken.de/en/

. Adams 70th in Berlin, London and Paris Glanert never stopped probing the boundaries of his own and Dijon, featuring Scheherazade.2 with Leila Bosch Requiem artistry.” So wrote the Financial Times reviewing Josefowicz as soloist – as on the recently released Adams’s conducting debut with the orchestra in Nonesuch recording – and his nativity oratorio September, launching a year of his music in Berlin. El Niño. The Evening Standard described how the latter work is “endowed with a numinous aura, “Only a few composers of the modern era have seen their enhanced by a score of stunning inventiveness”. artistic task as conceiving large-scale forms with John For the Financial Times “the clinching factor was Adams, perhaps alongside Witold Lutosławaski, alone in Adams himself, not just presiding with a composer’s this… Of his music since the 1990s Scheherazade.2 is authority, but giving his music at its climaxes an the best example: neither tonal nor atonal, neither authentic, burning intensity. El Niño demands minimal nor Western traditional, Adams has now found a nothing less.” completely individual, syncretic technique for his style… one can only marvel at the richness of this music, its agility and unorthodox poetry.” Berliner Zeitung “Hypnotic, shimmering

The season-long Adams feature in Berlin totals textures mesmerise…” Evening Standard on El Niño 15 concerts, including The Gospel According to the Other Mary last month and City Noir in June. Adams is joined on the rostrum by the Berlin Philharmonic’s El Niño is establishing itself as a modern pre- outgoing Artistic Director Simon Rattle, the incoming Christmas alternative to Messiah, with its Russian Kirill Petrenko, Alan Gilbert and Gustavo Dudamel, premiere in November in Moscow under Vladimir with concerts being recorded for a special CD Jurowski and December performances with the edition. The composer’s profile in Germany is further Los Angeles Philharmonic and in Amsterdam’s Photo: Vern Evans Photo: Vern raised in March with a staging of The Gospel ZaterdagMatinee series. Adams returns to the “Three decades after shocking the minimalist According to the Other Mary conducted by Joana Concertgebouw in May to conduct a programme establishment with his allusions to European Carneiro at Bonn Opera in the Peter Sellars including the Dutch premiere of the Saxophone Romanticism, and on the cusp of his 70th birthday, production first seen at . Concerto. Adams has never been more relevant on both sides of the Atlantic. This season, he becomes the was also on the European podium in The 70th birthday year culminates in the premiere first composer-in-residence with the Berlin December with a series of five concerts with the of Adams’s opera Girls of the Golden West at San Philharmonic since 1998... a composer who has London Symphony Orchestra in London, Paris Francisco Opera in November.

Turnage Valtinoni Hibiki in Tokyo Wizard of Oz staged in Zürich Photo: from Hieronymus Bosch’s Garden of Earthly Delights (WikiCommons) Garden Bosch’s Hieronymus Photo: from

A new Requiem for Hieronymus Bosch, commissioned from Detlev Glanert for the 500th anniversary of the artist, caused an apocalyptic stir in his home town of s’-Hertogenbosch Photo: © Suntory Hall in November, with a further performance in Mark-Anthony Turnage takes his bow after the Amsterdam’s ZaterdagMatinee series. Markus premiere of Hibiki in Tokyo Stenz marshalled the epic forces in the 75-minute score with massed and lontano voices of the Mark-Anthony Turnage travelled to Japan in Netherlands Radio Choir, soloists and the Royal November for the premiere of Hibiki, scored Concertgebouw Orchestra. for orchestra, soprano and mezzo soloists and children’s choir. The 50-minute score received “Detlev Glanert, the RCO’s house composer, is one of its first performance under the baton of Kazushi the most interesting and celebrated living composers in Ono with the Little Singers of Tokyo and the Europe… He is as imaginative in his diverse, compelling Metropolitan Symphony Orchestra. Commissioned and colourful scores as Hieronymus Bosch was with by Suntory Hall, Hibiki offers consolation after pencil and brush. Like Bosch’s Visions of the Afterlife, loss – whether from war, earthquake or tsunami Photo: Jann Wilken Glanert depicts both heaven and hell in his Requiem, in – and is cast in the form of six threnodies around The premiere staging of Pierangelo Valtinoni’s The Wizard of Oz at Zürich Opera which Hieronymus Bosch himself must face Judgement a rhythmic central Suntory Dance, which was Day. Glanert’s aim was to transform the demonic repeated as an encore following the successful Following on from the international success of between opera and musical… Beautiful melodies, character of Bosch’s paintings into music with textual Tokyo premiere. his Pinocchio and , suggestive children’s choruses, passages that make you counterparts referencing medieval theology.” Hibiki is a rich word in Japanese, with multiple Pierangelo Valtinoni’s The Wizard of Oz was tap your toes: there’s plenty of that. And the fact that the Stadsblad ’s-Hertogenbosch meanings including ‘beautiful sound’, ‘resonance’ unveiled by Zürich Opera in November with a wizard is the only one who doesn’t sing is a cute point.” or ‘echo’. This allowed Turnage’s work not only to 15 performance run. The 100-minute children’s Tagesanzeiger celebrate the 30th anniversary of Suntory Hall but opera, combining adult vocalists, children’s chorus “What a wonderful story for a fairy-tale opera! ... The “…music of an also to reflect on the human reverberations of the and chamber orchestra, was praised by mixed- Zürich Opera House has lavished its artistic flair and Tohoku earthquake five years ago and the resulting age audiences and press alike: unbelievable tension theatrical effects in pursuit of a thrilling picture book tsunami and radioactive catastrophe – together Brabants Dagblad “…with its sweep à la Gershwin, echoes of America theatre... The score exploits the full range of the and intensity…” one of the most devastating natural disasters in around 1900, and its tongue-in-cheek adaptation of symphony orchestra’s capabilities, even including an recent history. and aria, Valtinoni has created a tremendously accordion, and everything sounds gossamer-fine, lively “To give his composition structure, Glanert has used “In the first movement, Turnage draws the audience in catchy work – one which clean makes you forget and subtly shaded.” not only the fixed movements of the Requiem, but has with jazzy, groovy rhythms, while in the second, creepy ‘Somewhere over the rainbow’.” Solothurner Zeitung Der Landbote also combined these with other texts – also in Latin rumblings with creaking dissonances roar out at various “A story about friendship and the feeling of security, Pinocchio receives its Asian premiere in Hong – on the seven deadly sins from the Carmina Burana times. The two soloists appear in his setting of poetry about fears and overcoming them... Valtinoni masters Kong in April and The Snow Queen its US manuscript… It is an interesting approach and one which by Sakon Sou, with the duet harmonising in thirds and the balancing act between pretence and entertainment, premiere at Tulsa Opera in June. is certainly ‘Bosch-worthy’… The movements of the the word ‘running’ appearing many times, creating Requiem are each preceded by a shout from St Michael ominous undertones… The sixth movement uses texts the Archangel, the prosecutor who determines whether from Monzaemon Chikamatsu’s The Love Suicides at Bosch may enter heaven, judging him against the seven Sonezaki and is a melancholic, beautiful movement Rouse Organ Concerto deadly sins… Glanert wrote compelling music for all…” in which you could sense the shadow of Mahler. In De Trouw the finale the children’s chorus only sang the word Christopher Rouse’s new movements, has a sombre, tortured beauty. Shimmering ‘Fukushima’, spinning out meditation-like resonances…” strings, and an almost hymnal organ passage near the Organ Concerto resounded “A successful composer of opera, Glanert certainly Performing Arts Journal, Tokyo end suggest acceptance, perhaps the ‘acceptance’ stage through the 7000-pipe knows a thing or two about such drama. His idiom is instrument of the Kimmel of grief.” Wall Street Journal In addition to Hibiki, the current season harmonically rich and layered, yet also accessible and Center in Philadelphia at introduces three further Turnage orchestral often, quite simply, beautiful.” its premiere in November. “The bracing third movement in compound metre started works composed since 2014. The half-hour NRC Handelsblad Yannick Nézet-Séguin with a jagged fugue-like subject in quick notes and, Remembering was premiered by the London conducted the Philadelphia abetted by Jacobs’s wizardry, gathered fury to become a Symphony Orchestra last month and travels on The Staatstheater in Hannover unveils the newly Orchestra and the work fiendish, manic gigue.” Financial Times with Simon Rattle to the Berlin Philharmonic in revised version of the composer’s one-act travels on with soloist Paul June, with future performances planned by the This month brings the world premiere of Rouse’s chamber opera Leyla und Medjnun in May. Glanert Photo: Jeffrey Herman Photo: Jeffrey Jacobs to the Los Angeles Boston Symphony. Marin Alsop conducts first Symphony No.5 with Jaap van Zweden conducting describes how “like all first operas it was bursting Philharmonic in April and the National Symphony performances in April of Martland Memorial with the Dallas Symphony Orchestra. The new out with musical ideas but lacked the technique Orchestra Washington in May. Colin Curie as soloist in London and Aldeburgh, 25-minute work draws inspiration from Beethoven’s of an experienced composer, mostly in terms of taking the form of a cortège for Steve Martland ”…the Allegro contains many captivating moments… own Fifth Symphony, with recognisable motives using the human singing voice, the proportions of followed by four dance movements, featuring Densely packed with thematic ideas and neat orchestral embedded in Rouse’s music, and is being dramaturgy, instrumentation and dynamics. mallet percussion and toy instruments. Cellist effects – swooping cymbals and brass, drum explosions, programmed alongside Beethoven’s Piano I corrected it like a teacher with a student, so Maya Beiser joined the Swedish Chamber restless chromatic scales in the violins, an insistent Concerto No.2. Rouse’s Fifth will also be presented that hardly a single page is untouched, but tried Orchestra in November for Maya, intended as a marching rhythm in the xylophone… The devastating by its co-commissioners, the Nashville Symphony to preserve the sense, idea and atmosphere pairing for Bach’s Brandenburg Concerto No.1. Lento, a brief oasis of repose between the fast outer and the Aspen Music Festival and School. of the 1985 work.” Reich 80th premieres travel New publications “ showed the world the hypnotic “Beauty is a consistent quality of Reich’s recent music, Harrison Birtwistle Henryk Mikołaj Górecki pleasures of repetition as his music took in religion, and the most beautiful of all has to be Pulse, which was In Broken Images Symphony No.4 politics and New York city life – and aged 80, he’s simple and luminous… At the bottom of Pulse was a for ensemble Study score still moving forward.” So wrote The Guardian in a constant eighth-note throb from an electric bass through Study score 979-0-060-12623-9 £27.99 profile of the composer anticipating celebrations at shifting meters. On top, there was a marvellous long- 979-0-060-13108-0 £19.99 John Ireland Carnegie Hall in New York and the Barbican and limbed, lyrical melody, repeated at times in tutti, at others Unsuk Chin These Things Shall Be in London, including premieres in a closely mirrored canon.” Advice from a Caterpillar Organ score arr.Gower in November of his latest pieces Pulse and Runner. New York Classical Review from Alice in Wonderland 979-0-060-13220-9 £32.99 Programmed alongside intense and epic Runner for large ensemble was unveiled Bass clarinet score Magnus Lindberg Reich works such as Different Trains and within a new Reich ballet, Multiverse, 979-0-060-13109-7 £9.50 Jubilees for chamber orchestra Three Tales, the first performances of Pulse choreographed by Wayne McGregor for Allegro ma non troppo or ensemble in New York and London revealed a fresh The Royal Ballet in London. European Percussion score Study score angle from the composer, with music that concert performances followed from 979-0-060-13368-8 £10.99 979-0-060-13266-7 £32.99 is contemplative and serene. Following Ensemble Modern, and the US premiere first performances by ICE and the Britten was presented by Ensemble Signal last Double Bind? Kurt Schwertsik Sinfonia, Ensemble Modern has toured month in the Cal Performances series Violin score Divertimento Macchiato

Pulse to the Paris Philharmonie, Cologne Photo: Jay Blakesberg in Berkeley. 979-0-060-12824-0 £10.99 for trumpet and orchestra Philharmonie and Amsterdam’s ZaterdagMatinee Study score “McGregor pairs Reich’s 1965 looped tape composition Gougal n series, and the Los Angeles Philharmonic ō 979-0-060-12608-6 £25.99 It’s Gonna Rain with Runner, a piece written 50 years later. for ensemble New Music Group has included it in a Green The first piece is fractured and apocalyptic (a preacher is Study score Igor Stravinsky Umbrella concert. predicting the end of the world after all), while the second 979-0-060-12618-5 £28.99 Funeral Song — the new Reich — is hopeful, harmonic and healing... Study score Gerald Finzi McGregor’s choreography segues from frantic exposition, 979-0-060-13357-2 £14.99 Works for chorus and orchestra “Pulse felt like a rapturous almost automated in its pained realisation of impending Lo the full, final, sacrifice/ Mark-Anthony Turnage extended song…” The Guardian disaster, to a more sumptuous expression of humanity Magnificat/God is gone up/ Speranza and haven.” The Times Let us now praise famous men for orchestra “Pulse, for small ensemble, begins with the strings making “… Runner is a calmly luminous orchestral piece with the Study score Study score swooping lyrical lines, as at the start of Appalachian pulsating, propulsive rhythms that animate much of Mr. 979-0-060-13041-0 £39.99 979-0-060-12909-4 £37.99 Spring: The mood is one of emerging, arising. A gentle, Reich’s music. Here, coloured lights play across the grid, yes, pulse — quick but not pounding — emerges behind and a line of dancers spools in silhouette along one wall, it, soon joined by a meatier, lower throb in the electric as duets, trios and larger groupings mutate centre stage.” bass.” New York Times New York Times Ebb of Winter/An Orkney New recordings Wedding, with Sunrise Scottish Chamber Orchestra/ John Adams Ben Gernon Linn CKD 534 Tamsin Waley-Cohen/BBC Symphony Orchestra/Andrew Litton Steve Reich Signum SIGCD468 Music for Eighteen Musicians/ Music for a Large Ensemble/Tehillim Alberto Ginastera Steve Reich Ensemble Orchestral Works Vol.2 ECM 4812866 Panambí (complete ballet)/ 3CD reissue Piano Concerto No.2 Xiayin Wang/BBC Philharmonic/ Duet/Daniel Variations/You Are Juanjo Mena (Variations)/The Four Sections Chandos CHAN 10923 MDR Leipzig Radio Symphony Orchestra & Choir/Kristjan Järvi Harp Concerto/Guitar Sonata/ Sony 88985366362 2CDs Pampeana No.1 Yolanda Kondonassis/Gil & Orli Shaham/ Different Trains/WTC 9/11 Oberlin Orchestra/Raphael Jiménez Tana Quartet Oberlin Music OC 16-04 Megadisc MDC7877 Robin Holloway Drumming/Six Pianos/ War Memorials: Men Marching/ Music for Mallet Instruments, Photo: Royal Opera House/Andrej Uspenski Photo: Royal Opera House/Andrej From Hills and Valleys Voices and Organ Steve Reich’s Runner in Wayne McGregor’s ballet Multiverse at the Royal Ballet in London Cory Band/Philip Harper Steve Reich & Musicians NMC D226 DG 4796310 3LP vinyl reissue Peter Maxwell Davies text exploring the relationship between man and A Sea of Cold Flame Sibelius orch.Rautavaara God. A crisis of faith is also central to Bernstein’s John Savournin/Jamie Walton/ In the Stream of Life flamboyant stagework Mass, created to launch Quartetto di Cremona Gerald Finley/Bergen Philharmonic Washington’s Kennedy Center. In recent years it Ayriel Classics AC02 Orchestra/Edward Gardner has found itself reinvented as an ideal community Chandos CHSA5178 project, combining choirs, dancers and musicians, and is increasingly programmed by large arts choral centres and festivals. Shorter alternatives are a 25-minute suite, Celebrations from Mass, with choir & vocal and orchestra and a 35-minute set of Concert Ginastera centenary books published Selections from Mass with choir and ensemble.

Photo: © Alfred Eisenstaedt Photo: © Alfred Toccata concertata from Vocal numbers from Bernstein’s evergreen classic The centenary of Alberto Piano Concerto No.1 by With the centenary of in 2018 are grouped into two alternative Ginastera in 2016 saw a Emerson, Lake & Palmer. the composer’s special affinity with the human collections for concert performance. Concert Suite worldwide wave of

voice will be much in evidence, both on stage and No.1 contains arrangements for soprano, tenor and performances, new A German language version in the concert hall. Most performed of all his choral orchestra of Maria, One Hand, One Heart, recordings and books of Ginastera in Switzerland works is , available in versions Somewhere and the Balcony Scene, while Concert celebrating his life and has been published in with orchestra or with organ, percussion and harp. Suite No.2 for a larger group of soloists, chorus music. Though best known collaboration with Schott This characteristic hybrid scores was and orchestra embraces , Jet Song, as a leading Argentine-born Music, and the first German commissioned by Chichester Cathedral and America and the . Bernstein’s Blues composer, he also spent biography of the composer Bernstein succeeded in his aim to create a collects four favourite songs in arrangements for significant creative periods in written by Volker Tarnow “forthright, songful, rhythmic, youthful” work, voice and orchestra, while other classic numbers the USA and Switzerland. is released shortly. This setting Hebrew Psalms in an infectious jazzy style. available with orchestra include Take Care of this This final phase of his life, volume, entitled Ginastera and the Eldorado of House, A Simple Song, and Glitter and Be Gay and living in Geneva with his second wife Aurora Nátola Music, contains analytical discussions of all his A number of choral works grew from theatrical Let My Garden Grow from . between 1971 and his death in 1983, is explored in projects, including for a cappella a new collection of essays and documents. works, a generous collection of photos and a Songfest and Arias and Barcarolles are two works mixed chorus. This started as a set of Latin Mass Ginastera in Switzerland is published by the Paul detailed catalogue. His music is placed in the for vocal soloists specially deserving of exploration settings within his incidental music to Jean Sacher Foundation in collaboration with Boosey context of pre-Columbian themes, the folk in the centenary year. The former is a 40-minute Anouilh’s , a drama relating the trial and & Hawkes (978-1-78454-283-2, £19.99). traditions of the Gauchos, avant-garde celebration of American poetry for six soloists execution of Joan of Arc. Scored for soloists, contemporary music, and the seeming conflict and either full orchestra or chamber ensemble. chorus and orchestra, A White House Cantata is This focus on Ginastera’s late period surveys the between his spirituality and the violent Bookended by hymns for the full sextet, the a full-evening sequence of scenes from Bernstein’s significant shifts in his life as a composer, finding a expressionism of his stageworks. interior of the work contrasts a solo number for musical 1600 Pennsylvania Avenue about the new financial and emotional stability with cellist each vocalist with duos, a female trio and a sextet residents at this illustrious Washington address, Aurora Nátola, travelling widely to attend The Ginastera centenary brought over 600 setting of e.e. cummings’ if you can’t eat you got while Olympic Hymn is a chorus and orchestra performances, moving closer to the world of performances around the world, his Harp to. Arias and Barcarolles was Bernstein’s last major version of one of the songs from the original conductors and instrumentalists and further from Concerto competing with Dances from Estancia work, reflecting on life’s odyssey through love and stagework. the European avant-garde, and reconnecting with as most programmed work. Highlights included a marriage. It has three versions: for four soloists and his roots in Latin America and Catalonia. The six staging of his opera Beatrix Cenci in Buenos Aires, An unclassifiable large-scale statement is piano four hands or for mezzo and baritone with essays embrace works including Milena and String together with a ten-concert series at the Teatro Symphony No.3: Kaddish for soprano, speaker, either strings and percussion or chamber orchestra. Quartet No.3, the composer’s friendship with Paul Colón. A new production of his opera Bomarzo boys’ choir, mixed chorus and orchestra. This Sacher, his approach to nationalism in his final is unveiled at the Teatro Real in Madrid on 24 highly personal work combines the Hebrew- For full information about Bernstein repertoire visit years, the contents of his Geneva library, and the April, travelling on to Dutch National Opera in Aramaic prayer for the singing voices with a spoken www.boosey.com/bernstein100brochure. curious story of an arrangement of Ginastera’s a future season.

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