sign in sign up
<<
Home , Anthony Payne, Cello Sonata (Strauss), David Horne (composer), Grant Gershon, Ivan Fischer, Raphael Wallfisch

Boosey & Hawkes Music Publishers Limited

June 2007 2007/2 Turnage From All Sides Rouse Included in this issue: MacMillan the ballet to Washington and Pittsburgh in Requiem Interview about his new February and showcased it during its home , The Sacrifice Chicago season in April. The dance critic of the Chicago Tribune in LA noted how the new dancework was “arrestingly fast and busy… As music for Christopher Rouse’s dancing, its nervous explosions of Requiem, a true obstreperous energy, its crafty fusion of jazz magnum opus and the and classical impulses, serve the manic summation of his moods of Elo’s choreographic suite just fine.” creative work across two decades, was premiered on 25 “an impressive addition March at Disney Hall in to the repertory” Chicago Tribune Los Angeles by the LA Master Chorale with The dance impulse is transmuted back into pure Sanford Photo: Christian Steiner Dean rhythmic exhilaration in the large, colourful Sylvan. The work was concerto toured by orchestra. Turnage’s airy, edgy rhythms move commissioned for the Berlioz bicentenary by Frank Peter Zimmermann with the crisp elegance of Stravinsky combined Solo Deo Gloria, a Chicago-based with the sassy exuberance of jazz. That sound organisation dedicated to “preserving, has become Turnage’s musical fingerprint. His promoting and enhancing the classical scoring always feels light even when it enlists a hefty complement of brass and percussion… plus sacred music repertoire”. Completed in antiphonal and stationed 2002, this full-evening work had to wait five throughout the auditorium. The audience is literally years for performers with the vision and surrounded by instruments – hence the title From resources to embrace its scale and technical All Sides.” Chicago Tribune demands. Photo: Hubbard Street Dance/Todd Rosenberg Turnage has recently completed Chicago Mark-Anthony Turnage’s first dance collaboration combines Remains, a 20-minute score commissioned “Rouse’s is the first Hubbard Street Dance with the Chicago Symphony Orchestra by the Foundation. great traditional and Esa-Pekka Salonen. Bernard Haitink will conduct its first performance on 4 October with the Chicago American Requiem” The latest premiere resulting from Mark- enjoying a rising profile in North America Symphony Orchestra. Other new works Los Angeles Times Adams Anthony Turnage’s composer residency with over recent seasons, and this dancework include About Water, to be premiered at the Doctor Atomic Symphony the Chicago Symphony Orchestra took the provided further demonstration of Turnage’s South Bank Centre in on 15 June, “Grant Gershon, the Master Chorale’s music premiered at BBC Proms form of a pioneering cross-platform wide-ranging versatility. written for jazz singer Barb Jungr, vocal director, became the first to rise to Rouse’s collaboration between the orchestra and the quartet, double bassist John Patitucci and challenge of raising the rafters. And that he did Hubbard Street Dance company. While The opening series of performances of From the conducted by Stefan with trumpets pealing to summon the dead or, Turnage’s music has long attracted All Sides took place in Symphony Center in Asbury. Turnage is working with Patitucci on when God is described in all His majestic glory, with percussion storming the land and the chorus choreographers to set existing works, From January, with the sextet of dancers from a further collaboration, A Prayer Out of Hubbard Street Dance performing Jorma describing the indescribable… under it all is a All Sides is the first score he has created Stillness, co-commissioned by the Scottish magnificent lyricism, which is the real Berlioz specifically for dance, though its orchestral Elo’s new choreography at the front of the Chamber Orchestra, Swedish Chamber influence. Small, seemingly unimportant melodic flair promises an equally active life in the orchestra and conductor Esa-Pekka Orchestra and the NYDD Festival in Estonia or rhythmic details swell into wildly unpredictable concert hall. The composer has been Salonen. The dance company then toured and due for premiere in October. castles of glory. “The soloist is the individual. The chorus, which sings the Mass text, is the masses… In the end, Rouse’s is a Requiem of wondrous mixed emotions… The Requiem ends where it begins, Chin Andrew Hill at B&H outside emotion, without conclusion or answers. Górecki We know nothing of death except its existence.” …songs are sung with the Los Angeles Times Kronos Quartet “Rouse tips his hat toward Berlioz by setting the Alice in Latin texts precisely as did Berlioz for his Requiem... But in a bow to modernity, and to , the composer interpolates Munich poems of grief from secular sources. His choices The Bayerische are excellent – from the quiet devastation of Staatsoper in Seamus Heaney’s Mid-Term Break to the Kipling- like trenchancy of Siegfried Sassoon’s Suicide in Munich unveils the Trenches to the straightforward emotion in Unsuk Chin’s new Ben Jonson’s On My First Sonne.” Musical America opera, Alice in Wonderland, on 30 “One of the major events of the season, the world June as the opening premiere of Christopher Rouse’s Requiem drew event of the Munich not only a full house, but a curious and warmly Opera Festival. The appreciative one… Emotionally, it comes off as a cry – a full-throated scream – of protest against premiere production death rather than a comfort… This is a Requiem by Achim Freyer is of crisis. Its shattering dissonances, pounding Photo: © Eric Richmond/Arena PAL conducted by Kent drums and pealing, wailing choirs shake the Nagano, with a cast including Sally Richter scale. Its calmer moments of molten Matthews in the title role, Piia Komsi, , rhythmic whispering and death- Dietrich Henschel, Andrew Watts, and a rattle percussion add to the awe but offer little cameo appearance by Dame Gwyneth solace… Its trajectory is headlong, the energy of Jones as the Queen. Following three its invention unabated throughout.” OC Register

performances in June and July, the opera Photo: © Jimmy Katz returns in the main Munich season in November. These Munich performances The April announcement that jazz master Blue Note sessions (1963-69), describing Hill received many honours from the jazz take place by permission of Los Angeles Andrew Hill had signed with Boosey & how he expanded the jazz genre through and wider arts community. In 2003 he was Opera, who commissioned the work during Hawkes was widely celebrated by jazz “enigmatic , elasticised rhythm, and selected by an international committee to Kent Nagano’s time as its Music Director. commentators, who welcomed this further a multilayered arrangement of texture and receive the JAZZPAR Award, the largest validation of a long-revered pianist and pulse”. annual jazz award given to an active The libretto is by David Henry Hwang and composer. Hill’s death on 20 April turned performer. He was named Jazz Composer the composer after Lewis Carroll, and the thoughts from celebration to remembrance. Hill’s music defies easy categorisation. It is of the Year four times by the Jazz surreal dreamlike world, full of curious Berklee College of Music posthumously immediately tuneful yet strikingly complex: Journalists Association. His recent happenings and black humour, promises to granted Andrew Hill an honorary doctorate, angular melodies sprawl out over colourful recording Time Lines (Blue Note 2006) was finds a perfect partner in Chin’s music. A whose past recipients included Duke chord clusters while the rhythm section voted Best Jazz Album by Down Beat 15-minute suite from the opera for soprano Ellington, Dizzy Gillespie and Aretha Franklin. eludes time with impeccable nuance and magazine in 2006. and orchestra, entitled snagS & Snarls, has sophistication. He has shown particular Andrew Hill joins Chick Corea and David been performed in the USA, UK, Germany, Andrew Hill was born in Chicago in 1931 mastery of instrumentation, as heard in Benoit in the growing Boosey & Hawkes Sweden, Denmark and Spain to date. and moved to New York in 1961, since works such as the nonet Passing Ships jazz catalogue. Chin’s next project is a new work to be when his legendary music and recordings (1969) through to Sketches for premiered by the Orchestre symphonique have spanned over 40 years. The New York (1991), American Nikkei Symphony (1992) For further information visit de Montréal under Kent Nagano in Times hailed him as “one of the 1960s jazz and Obunto for solo and string quartet www.andrewhilljazz.com and March 2008. heroes” for his internationally renowned (1995). www.boosey.com/hill MacMillan Dean conce The Sacrifice (2005-06) MacMillan The Sacrifice Brett Dean’s virtuosic new violin concerto, The Lost Art of Opera in three acts Letter Writing, has already received performances from three orchestras, all featuring the work’s dedicatee, Frank Peter Zimmermann, as soloist. Co-commissioned by the

Photo: © Eric Richmond/Arena PAL Cologne Philharmonie and the Royal Stockholm James MacMillan discusses Philharmonic, the concerto was premiered in March by the Libretto by Michael Symmons Roberts Royal Concertgebouw Orchestra conducted by the the genesis of his new opera Katie Mitchell Director composer, first as guests in Cologne and then in premiered by Welsh National James MacMillan Conductor Amsterdam. Over the following month the concerto was heard in Munich and , with the Munich Welsh National Opera Opera on 22 September. Philharmonic conducted by Jonathan Nott and 22/26 September / 6 October the Deutsches Symphonie-Orchester under Wales Millennium Centre, Cardiff Manfred Honeck. How did you and librettist Michael Symmons Roberts The opera’s setting in a semi-derelict hotel reflects the 16 October This autumn brings the Swedish and US first discover the story for the opera? contrast between public and private events. How is Empire Theatre, Liverpool this mirrored dramatically? premieres by the Royal Stockholm Philharmonic We were aware that The Mabinogion is one of the 24 October There is a conflict and a continuum between the with Lawrence Renes (25/27 October) and the great mythic tales of these isles, kept alive by the The Mayflower, Southampton Welsh but generally unknown outside Wales. I public and the private in this piece. Some scenes are Boston Symphony Orchestra with Markus suppose I have always been on the lookout for very intimate, domestic even, and yet the characters 31 October Stenz (1-3 November). With 12 concert parallel mythic tales other than the famous Greco- at the centre of these scenes are public figures and Venue Cymru, Llandudno dates scheduled across nine months the Roman canon, so discovering such a rich seam of leaders who have profound influence in their societies. 7 November violin concerto is swiftly chasing the narrative and mystery here was a great revelation. The The private and the personal are therefore Hippodrome, Bristol 14 performances of Dean’s Tale of Branwen provided a kind of root from which inescapably public and political. 14 November Concerto that have been planned to Michael grew a brand new story. New Theatre, Oxford date. How has your vocal writing evolved since your earlier 21 November “Judging by Frank Peter Zimmermann’s How did you collaborate on creating the opera? opera Inés de Castro? Hippodrome, Birmingham disciplined, yet powerfully convincing The writing for the soloists has become more performance, Dean has written a work I had already set Michael’s words for oratorio, song- 26 November immediate as I’ve explored ways to communicate the tailor-made for the violin. The solo part is cycle, music-theatre and motet but this is the first Sadler’s Wells, London opera we have written together. In The Sacrifice, he story more directly. The choral style has evolved from certainly difficult, technically rewarding, yet has changed poetic pace from Quickening or a couple of different strands: my interest in liturgy has without having to rely on any circus-like displays. Above all, the violin is allowed to Parthenogenesis, so the text is much more partly informed my approach, as it did in Inés de Photo: © Franz Hamm indulge in idiomatic, and emotionally highly- Frank Peter Zimmerm immediate. Well-established as a poet, Michael has Castro, but there is also a different kind of range and also had a wide experience of writing in different power possible from an operatic chorus that was a media. He recently published his first novel and is also delight to exploit. Kats-Chernin an award-winning documentary writer for television and radio, so this experience and versatility proved What special role does the orchestra play? Does it invaluable for the necessary change in approach that have a dramatic life in its own right? advert hit was required for the opera. It has always been important in my dramatic and theatrical works to find a special sound palette. It is as Elena Kats-Chernin’s music has reached new How did Katie Mitchell’s input as director feed into the if the orchestra provides another dimension to the audiences thanks to a high profile advertising final opera? narrative and to the drama which allows the campaign by UK bank Lloyds TSB, screened on TV Katie was there at the very beginning when Anthony imagination to travel deeper or in a different direction. and in cinemas since February and due to run Freud, the previous intendant at WNO, approached There are important orchestral interludes in this opera, throughout the summer. The series of six me with the suggestion of a new opera. Therefore providing reflection points during the narrative, and I commercials, bearing the campaign title For the she was involved throughout in the process of have extracted three of these to make a symphonic journey, introduces a linked sequence of touching decision-making and creative thought. She suite which may be performed as a separate contemporary 3D animations by animator/director workshopped the opera in a series of three sessions orchestral work. Marc Craste, perfectly matched by Kats-Chernin’s over the last few years, probing the dramaturgical haunting Eliza . potential at every stage. These workshops proved How has the creation of the new opera influenced As soon as the TV campaign was launched, Lloyds invaluable, not just for the completion of the opera, your thinking about the genre’s possible future? TSB was inundated with enquiries about the music. but also for Katie’s dramatic vision in action. People will always want to have stories told to them. There will always be new ways of telling the oldest The first adverts have received over 250,000 views on video websites such as YouTube and Kontraband How do the mythic and the contemporary interact? stories. When these are combined with music and and over 23,000 visitors to Kats-Chernin’s MySpace The story we have culled from The Mabinogion has a song one reaches towards a heightened expression page have listened to Eliza Aria. Due to the timeless quality which resonates with the King Arthur of drama. Opera is part of our culture; it has grown unprecedented interest in the music Lloyds TSB is story, the Fisher-King myth, and Tristan. There is a out of its liturgical roots and continues to develop in offering its customers 20,000 free ringtones and common source to all of these tales but, because the various different directions. In my view, there will downloads of Eliza Aria provided by Booseytones. heart of this story examines core issues of love and always be a need to continue to refresh the operatic communal conflict, we find certain universals which literature. The music heard on the adverts is drawn from Kats- are as contemporary as they are eternal. Chernin’s ballet music for Wild Swans, created with choreographer Meryl Tankard for Australian Ballet in 2003. Proving a hit at box offices in Sydney and Melbourne, the production became the most successful new Australian ballet on record. Wild Photo: Ken Howard/Metropolitan Opera Holloway in San Francisco Swans was based on the Hans Christian Andersen Die ägyptische Helena at the Metropolitan Opera in New York, story, and its fairytale atmosphere made it ideally with Deborah Voigt (Helena) and Diana Damrau (Aithra). Robin Holloway scored a success “…the Fourth suited to the animated stories of the advertising in San Francisco in February with may be the British composer’s most campaign. the premiere of his Fourth Concerto ambitious, intricately structured work to for Orchestra, described in the San date… Holloway, it seems, is less Kats-Chernin’s Wild Swans Concert Suite, containing Strauss Francisco Chronicle as “audio interested in painterly effects than sonic a voice and orchestra version of Eliza Aria, is available possibilities. Using clusters of dynamite”. Michael Tilson Thomas on an ABC Classics disc, also featuring her Piano Helen at the Met instruments within each section – Concerto No.2 and Mythic (476 7639). The CD was and the San Francisco Symphony shimmering woodwinds, rumbling brass, have done much to champion reissued in May with a new cover illustration from the ’s mythological opera Die ägyptische Helena crisp pizzicato strings – he evokes a Lloyds TSB advert, and the track heard on TV is now Holloway’s music over the past marvellous sound world. Tilson Thomas (The Egyptian Helen) has been enjoying renewed interest in available as a download from iTunes. Boosey & decade, including commissioning conducted a dynamic, enveloping first recent years, after decades of neglect fostered by the Hawkes has published a piano-vocal-guitar version his Clarissa Sequence and giving performance.” Contra Costa Times complex Freudian psychology of Hofmannsthal’s libretto the US premieres of the Third of Eliza Aria in an arrangement by the composer. and its challenging vocal roles. A new staging by David The work was so “huge and Concerto for Orchestra and the Fielding opened at the Metropolitan Opera in New York in splendiferous” (San Francisco Alongside all this screen and cyber activity, Kats- Viola Concerto, and the new March, the first at the house since Maria Jeritza’s seven Chronicle) that the orchestra had to, Chernin continues her busy composing schedule. concerto proved to be another historic performances in 1928 when the opera was new. reluctantly, drop a movement to fit Current projects include a new basset winning collaboration. the work into the planned concerto commissioned by the City of London The Met production centred on Deborah Voigt, who has “This vastly ambitious and compelling programme. As the reviewer wrote, Sinfonia, Swedish Chamber Orchestra, North Carolina very much made the title role her own, both on stage and essay, inspired by the medieval epic Photo: Hanya Chlala/ArenaPAL “the Fourth Concerto is obviously a Symphony and the Tasmanian Symphony Orchestra on the recent Telarc recording. She was applauded in the Piers Plowman, disdains narrative elements in favour of major addition to the orchestral repertoire, and one for Michael Collins, due for premiere in April 2008. New York Times for a “splendid portrayal. She sent tracing a spiritual journey from the void to an apotheosis, can only hope that the Symphony brings it back again Strauss’s lines soaring with gleaming tone and unforced with rest stops for sampling human foibles and frailties. In an soon, in full this time.” power.” Fabio Luisi “led a nuanced, urgent and lucidly era that smiles upon compression, Holloway fearlessly paints textured account of this lushly orchestrated score”, while on an expansive orchestral canvas, one that he has suffused director David Fielding showed again his understanding of with myriad opportunities for sectional brilliance… No “a virtuoso showpiece… sensation of padding here: every cadence seems to open a Strauss’s stageworks of the 1920s and 1930s with their portal to another eventful landscape and another challenge his command of the lightness of touch disguising bitter-sweet psychological for the players.” Financial Times orchestra is astonishing” truths. “Holloway writes as though all the harmonic fluidity and San Francisco Chronicle Strauss collectors will welcome a new recording of orchestral virtuosity of Strauss, Mahler, Debussy and Strauss’s ballet conducted by Ivan Fischer, Rimsky-Korsakov were at his fingertips – as no doubt they Holloway’s Fourth Idyll, co-commissioned by the City described by as “a stupendous piece of are – and he uses those resources to craft a narrative of London Sinfonia, Vasteras Sinfonietta and Hong music-making that manages to combine emotional journey that is endlessly compelling and always accessible… Kong Sinfonietta receives its first performance extremism with sharply focused orchestral detail throughout. That journey is based on the medieval English epic Piers conducted by in November, with Phenomenally engineered, beautiful, savage and very, very Plowman, but the plot is no more necessary for a listener’s enjoyment than it is in the case of Strauss’s literary tone performances in Sweden and Hong Kong following in erotic… it sets new interpretative standards for the work poems… Holloway’s dramatic skill and extravagant 2008. A Holloway feature at the Three Choirs Festival itself” (Channel Classics 24507). As the ultimate post-script, inventiveness are all that matters. The concerto grabs the in August includes the UK premiere by the a historic recording has been released of the premiere of the listener right from the opening pages – a gloriously evocative Philharmonia Orchestra of his popular Debussy with Kirsten Flagstad and the Philharmonia ‘once upon a time’ with muted horn calls rising through the arrangement En blanc et noir, which has been Orchestra conducted by Furtwängler at the 1950 Proms string-laden mists – and never lets go…” San Francisco Chronicle performed in the USA, Spain, Italy and Greece to date. (Testament SBT 1410). mankind as the mushroom cloud rises Adams above the desert. erto success The Peters Sellars production of Lindberg Doctor Atomic was premiered at San Francisco Opera in October 2005 and charged monologues representing the outpourings of the various Doctor Rattle first letter writers (including Brahms, van Gogh and Hugo Wolf) around the Netherlands Opera performances whom the piece revolves.” Kolner Stadtanzeiger feature baritone Gerald Finley returning Simon Rattle takes the helm for the Atomic in to the title role. This staging travels to premiere of ’s new “In this age of rapid fire SMS contact, the title of the concerto Chicago Lyric Opera in December, orchestral work this summer. seems to express a sense of regret about the loss of an aspect of and the Metropolitan Opera in New Commissioned by the Berliner our culture. The letter represented in the finale, however, conjures Europe more rebellious than poetic energies: an Australian outlaw accuses York recently announced a new Philharmoniker in association with the the powerful. So, after three relatively contemplative movements, Amsterdam plays host to the European production scheduled for October San Francisco Symphony, the score

comes a decidedly moto-perpetuo type finale in which Frank Peter premiere of Doctor Atomic by John 2008. Photo: Hanya Chlala receives its first performance in Berlin Zimmermann demonstrates what he has to offer in terms of on 25 August and then Rattle tours it with the Adams on 10 June, providing a Adams has recently completed the virtuosity, rhythmic energy and crystal clear sound production.” orchestra to Carnegie Hall in New York on highlight of the Holland Festival. Telling Doctor Atomic Symphony, a 30- Bonn General-Anzeiger 13 November. The Symphony gives the the story of J. Robert Oppenheimer, minute orchestral suite from the opera, Canadian premiere conducted by Jukka-Pekka “This half-hour concerto is a narrative. Its soloist tells the story of a the lead scientist in the development of recomposed into a symphonic whole. dying form of communication, one letter per movement… Dean’s Photo: Terrence McCarthy/San Francisco Opera Saraste on 7 February 2008 and the San Francisco the atom bomb, the opera focuses on Selected music includes the Overture, string-writing is ferociously virtuosic, yet eminently playable. Gerald Finley as J. Robert Symphony under Sakari Oramo gives the first West the secret testing in New Mexico in Oppenheimer Oppenheimer’s Baudelaire soliloquy, Zimmermann attacks his part with relish, and the poise to summer 1945, and the implications for Coast performance on 19 June 2008. breathe life into the lyrical passages. The Lost Art of Letter- the electrical storm music, Batter my heart, and the Writing is all meaty honesty and no pretension, art without culminating Countdown music. Co-commissioned by The new 25-minute work is programmed at its artifice.” Financial Times the Saint Louis Symphony, the BBC Symphony premiere with Mahler’s Symphony No.9, and Brett Dean travels to this month for Orchestra and Carnegie Hall, the Doctor Atomic Lindberg’s scoring matches that of the Viennese a two-day musical celebration, employing his Symphony can be heard in London at the BBC master with its emphasis on a large woodwind van der Aa Proms (21 August), Saint Louis (7 February 2008) multiple skills as composer, viola player and section, two harps and rich string sonorities. Cast in a conductor in collaboration with students from and New York (16 February). continuous movement, the form falls into three the Royal Northern College of Music and the Mask revealed Following performances in Vienna, Berlin and San sections, each characteristically working through a BBC Philharmonic (13-14 June). The festival is Francisco, the latest collaboration between Adams series of chaconne-like cycles. Motivic material is Michel van der Aa’s virtuosic new developed and then proliferates vertically and the titled Moments of Bliss after the work whose UK ensemble piece, Mask, has been and Sellars, A Flowering Tree, reaches London this premiere forms the finale with the BBC summer with a semi-staged production at the central section ends with a concerto grosso focus on heard in Cologne, Brussels and families of and taking the foreground. Philharmonic. This 25-minute suite from Dean’s Amsterdam, with future dates set at Barbican (10/12 August). The full Sellars staging of forthcoming opera, based on Peter Carey’s Bliss, is the Venice Biennale (10 October) and this modern retelling of an Indian folktale is scheduled Lindberg’s Violin Concerto for Lisa Batiashvili

coupled with the Viola Concerto and the UK Photo: Isabelle Vigier in Porto (26 June 2008). The work at Lincoln Center in New York in 2009. May 2008 continues to enjoy success internationally. Following premiere of Amphitheatre conducted by was commissioned by Kunststiftung NRW, Fonds brings a ZaterdagMatinee concert performance in its Lincoln Center premiere last summer and its first mann James MacMillan. voor de Scheppende Toonkunst and the Casa da Amsterdam and a new staging by Nicola Raab at European performances by the Swedish Chamber Música, Porto with premiere performances by Chicago Opera Theater. Orchestra last October, it can be heard in the coming musikFabrik conducted by Peter Rundel, the ASKO months at the Casa da Porto (21 July), Tivoli in Ensemble with Clark Rundell and the Remix Copenhagen (26 July), the Barbican in London (27 Ensemble under Reinbert de Leeuw. July) and the Helsinki Festival (30 August). Further performances are already planned in Zürich, As with van der Aa’s opera After Life and the Jenkins Pamplona, Stockholm, Bergen and Paris. orchestral work Second Self, the new score explores the composer’s fascination with shifting perspectives in South Africa and multiple musical discourses. The Mask of the title refers to a second electronic layer created by real- Karl Jenkins’ The time transformation of the music played by the Armed Man: A Mass for Peace is now a Daugherty instrumental ensemble. Both ‘face’ and ‘mask’ co- exist through the piece, but the drama comes when, regular item on UK as the composer describes, “sudden interruptions rip choral programmes piano concerto a hole in the texture, revealing previously concealed and is increasingly Michael Daugherty’s new piano layers”. being taken up concerto, Deus ex Machina, was internationally. “...an effective piece that, thanks to a build-up of small premiered on 16 March by Terrence This season has Wilson and the Charlotte Symphony climaxes, moves towards a supreme moment, followed, like brought over 120 a coda, by a series of gradually thinning chords with dazzling and rapidly travels around its co-

performances in 12 Photo: Grant Leighton harmonic spectra.” Volkskrant commissioners, the Nashville, New countries, including Jersey, Rochester and Syracuse symphony “With Mask Michel van der Aa once again proves his premieres in Austria, orchestras, over the coming months. For Daugherty craftsmanship... [He] succeeds in imbuing his music with a Sweden and South remarkably individual, purely emotional quality... clarity of the title conjures up the world of trains, and the music Photo: Damien Schumann/Salisbury Community Choir Africa. The Virgin disc form, maximum use of a small amount of material, and a was initially inspired by images of speeding Rehearsals for The Armed remains a best-seller, keen sense of timing and effect…” De Telegraaf locomotives in paintings by European modernists. Man in Cape Town and the Benedictus Van der Aa is composing a new song cycle for was the highest scoring work by a living composer in The first movement, Fast Forward, explores the futurist mezzo-soprano, orchestra and soundtrack, the 2007 Classic FM Hall of Fame. concept that machine technology could create a commissioned by the Royal Concertgebouw universal culture. The composer writes how he created Orchestra, the Orchestre National de France and the The Cape Town performance in March, led by the his own musical manifesto: “abstract musical lines, NDR Orchestra in Hamburg. The Dutch mezzo Salisbury Community Choir, formed part of an mechanical velocities, contrary vectors, polyrhythmic Christianne Stotijn will be the soloist at the work’s historic collaboration with South African musicians. vibrations, and fragmented reverberations all move premiere during the 2008/2009 season. The Mass was the centrepiece of a ‘Rainbow Nation’ ‘fast forward’ to arrive at a modernist utopian future.” programme at City Hall for Freedom Day, benefiting The central slow movement, Train of Tears, depicts the Desmond Tutu Peace Centre and joining hands Abraham Lincoln’s funeral train carrying his body from with Cape Town communities in a great celebration Washington through seven states to his home in of choral music. South African singers will travel to Springfield, Illinois. Night Steam, the finale, was a the UK in summer 2008 for a reciprocal concert at response to 1950s photos of locomotives, rumbling Neuwirth Lost Highway the Salisbury Festival. Jenkins will conduct two and whistling their way “through the small towns and performances in Johannesburg this September. lonely back roads of the Shenandoah Valley into Olga Neuwirth’s remarkable these people. She adds texture extinction.” operatic adaptation of David and emotional activity… She A new recording on EMI is due for release early next Lynch’s film Lost Highway, first has a way with electronics, and year, including Jenkins’ London Symphony Orchestra Marin Alsop features Daugherty at the Cabrillo Festival staged in Graz and Basel in the the score for Lost Highway is commission Quirk, his arrangement of Corelli’s La on 4 August, including the Georgia O’Keeffe-inspired full of extraordinary acoustical Folia for marimba and , and the Ghost Ranch that she premiered last season with the 2003/04 season, crossed the effects…. Live instruments are Atlantic for its US premiere used straight but also have their double harp concerto Over the Stone featuring Catrin Bournemouth Symphony Orchestra, and Raise the staging in February. The Oberlin sounds manipulated in real Finch and Elinor Bennett. The composer is currently Roof for and orchestra. Plans are underway College production by Jonathon time… The result is a rich mix at work on a Stabat Mater, scheduled for premiere for a new Naxos collection of Daugherty’s orchestral Field, conducted by Timothy and an invitation to many and release at Easter 2008. works performed by the Detroit Symphony. Weiss, was much praised in the listenings.” Los Angeles Times press for its talented ensemble of “Lost Highway is a work of 28 July, 7.30 pm RAH 16 August, 10.15 pm RAH student performers, who travelled phantasmagoric weirdness and on to the Miller Theatre at theatrical acumen… Austrian HK Gruber James MacMillan Columbia University for two New composer Neuwirth and Aerial Veni, Veni, Emmanuel Håkan Hardenberger tpt / BBC Philharmonic/ York performances. Lost librettist Elfriede Jelinek have André de Ridder Harrison Birtwistle Highway arrives in London in created a piece of cinematic Panic propulsion that drips 31 July, 10.00 pm RAH Colin Currie perc/Martin Robertson alto sax/ April 2008 with a further new Peter Erskine drums/ production by Diane Paulus for with violent and gripping Harrison Birtwistle BBC Scottish Symphony Orchestra/Martyn Brabbins dexterity… the voyage is a Neruda Madrigales , launching Photo: Oberlin College creepy roller-coaster ride, BBC Singers/London Sinfonietta/Susanna Mälkki Olga Neuwirth's Lost Highway in its US 21 August, 7.30 pm RAH the company’s new collaboration thanks largely to Neuwirth’s premiere production with the Young Vic theatre. anxious, prismatic score… The 1 August, 7.30 pm RAH 13 July - 8 September 2007 György Kurtág Doctor Atomic Symphony (world premiere) result is hallucinatory, often funny and strangely riveting.” Century Rolls Cleveland Plain Dealer Stele “A deep, disturbing film has met Contemporary music highlights include: Olli Mustonen pft/BBC Symphony Orchestra/ BBC Scottish Symphony Orchestra/Ilan Volkov John Adams 22 July, 7.30 pm RAH its operatic match” Los Angeles Times concerto for Hardenberger Neuwirth’s recent concerto for Håkan Hardenberger, Brett Dean 3 August, 7.30 pm RAH 7 September, 7.30 pm RAH “…miramondo multiplo…”, offering multiple Vexations and Devotions Magnus Lindberg “Neuwirth has done more than adapt a movie: She has created an perspectives on the trumpet repertoire from Handel (European premiere) Clarinet Concerto Three Illusions for ode to an artwork… A jittery musician; a sadistic gangster; his Gondwana Voices/BBC Symphony Orchestra and Kari Kriikku cl /BBC Symphony Orchestra/ platinum-wigged moll; a Mephistophelian lurker; an honest, blue- to Miles Davis, is also travelling widely. Following its Chorus/David Robertson Semyon Bychkov Orchestra (UK premiere) Boston Symphony Orchestra/ collar kid… Neuwirth leads you through a landscape of musical premiere last summer conducted 23 July, 1.00 pm Cadogan Hall James Levine explosions and violent images… Her instrumental music creates a by , it was heard in Stockholm in March 4 August, 6.30 RAH disorienting world of distantly familiar scraps that flit by like a city Aaron Jay Kernis Aaron Jay Kernis

and reaches Amsterdam this month (9 June). Next Photo: Jeff Herman New work (world premiere) seen from a hurtling car.” New York Newsday season it will be performed in Tokyo (4 September), New Era Dance* (UK premiere) RAH = Royal Albert Hall James Ehnes vln/Eduard Laurel pft National Youth Orchestra of Great Britain/Mark Elder *published by G Schirmer “One of the leading young-generation composers in Europe and Malmo (18 October), Montpellier (7 December) and one of the most fearless, Neuwirth finds what is really going on with Birmingham (5 March 2008). Adam Górecki New New Giselle original quartet travels Recordings Publications Boosey & Hawkes is pleased to announce a new Henryk Mikolaj– Górecki’s John Adams Boosey & Hawkes: authoritative performing edition of Adolphe Adam’s expansive third quartet, / The Publishing Story much-loved ballet Giselle. After over a century of …songs are sung, has American Berserk by Helen Wallace inaccurate and overblown reorchestrations, David recently been released on a Ralph van Raat/ 256pp, 150 illustrations Garforth’s edition commissioned by the Fondazione new Nonesuch disc (7559 Maarten van Veen ISBN 978-0-85162-514-0 Teatro alla Scala provides a welcome return to 79993-3). Like its two Naxos 8.559285 Paperback £12.99 Adam’s exquisite original . Adaptable for predecessors, the work was Hans Gál A rare look behind the existing and new choreographies, the edition is written for the Kronos Quartet Piano Sonata/Suite for Piano scenes of a publishing available on hire, with the noteset orchestral score who are touring it widely, with Martin Jones company as it works with and parts being supplied with a fully compatible the French premiere at the Théâtre de la Ville in Paris Nimbus NI 5751/2 (2CDs) composers such as piano score for rehearsals. last month and the UK premiere at the Barbican in Bartók, Strauss, Stravinsky London on 29 July. Although the work bears a and Britten to shape composition date of 1995, the composer Complete Piano Music musical history. This new mysteriously declined to deliver the score for a Fernando Viani book vividly charts the company’s progress through decade: “I continued to hold back from releasing it to Naxos 8.557911-12 (2CDs) boom years and unexpected financial threats and the world. I don’t know why”, but the Kronos’s Hans Krása reveals how artistic foresight has been balanced with patience has now been amply repaid. Brundibár commercial reality. (English version by “A full-length exposé, immaculately researched, that brings “a deep, elegiac meditation” Tony Kushner) the various figures both in front and behind the scenes to Los Angeles Weekly Northwest Boychoir/ life.” Classic FM Magazine Music of Remembrance/ Cast in four movements, of which only the third is Gerard Schwarz Concerts for Choirs

Photo: AndreaTamoni/Teatro alla Scala fast, the work’s duration is close to an hour, recalling Naxos 8.570119 Sing Britannia! Giselle in Sylvie Guillem's production at La Scala Milan the epic spans of the Symphony of Sorrowful Songs. edited by Stephen Jackson Magnus Lindberg The title refers enigmatically to a poem by Velimir M-060-11767-1 In researching the sources for a production of Sylvie Mano a Mano Guillem’s Giselle in Helsinki in 2000, David Garforth Khlebnikov: “When horses die, they breathe; When Choral anthology £9.99 grasses die, they wither; When suns die, they go out; Timo Korhonen consulted manuscripts at the Bibliothéque Nationale Ondine ODE 1091-2 (2CDs) de France and La Scala Milan which provided the When people die, songs are sung.” Yet as the The latest in the Concerts basis for the new edition. He realised that returning Evening Standard noted, “the work itself is by no James MacMillan for Choirs series contains to Adam’s original, lighter orchestration could means a valediction. It is a vibrant affirmation of life, Sonata Nos.1 & 2/Northern Skies/Kiss on Wood all you need for your recapture the atmosphere and charm of the French joyous and motoric, young and loving.” Henri Demarquette/Graham Scott Proms finale concert, from Romantic ballet and the Giselle that Adam intended “…one is listening to a work of transcendent, soul- Deux-Elles DXL 1115 the Fantasia on British Sea Songs to Jerusalem and more than 150 years ago. His edition includes searching beauty, in a fully romantic, not consciously Auld Lang Syne. Currently previously unheard music for optional insertion in postmodern, sense. While it is true that Górecki has been Mr Emmet Takes a Walk daring in this way for many decades now, there is an in preparation is Confetti and Cake, with repertoire new choreographies, as well as the traditional added Rebecca Caine/ variations for Giselle and the Bergmüller Peasant Pas intimacy about the profundity-in-simplicity of this work that for weddings and celebrations. is truly astounding: I cannot think of another composer who Adrian Clarke/ de Deux. Jonathan Best/Psappha/ would dare to write in this fashion. Utterly remarkable – a Boosey Voice Coach Etienne Siebens “…the real interest of the evening is to hear Adam’s score master at work, performed by masters.” Gramophone Singing in English Psappha PSA CD 1002 on Adam’s terms. The admirable conductor, David “…slow and quiet, purely instrumental, and of a dark, edited by Mary King Garforth, has returned to the original orchestration: it is CD from www.psappha.com elegiac, penetrating beauty almost painful to hear… it is M-060-11761-9 Vocal lighter in texture than we hear nowadays, touchingly music to sit quietly to, and allow to possess you.” dramatic, absolutely of its period.” Financial Times Olga Neuwirth score (high voice) £12.99 Los Angeles Weekly Lost Highway “Adolphe Adam’s music can rarely have sounded better… Górecki’s choral music continues to have wide Vincent Crowly/Constance Hauman/David Moss/ The first in a new series an imaginative new reading that gives the ballet freshness Andrew Watts/Klangforum Wien/Johannes Kalitzke offering a practical guide to and truth.” currency. The Five Kurpian Songs, dating from 1999, receive their Dutch and French premieres over the Kairos KAI 0012542 (2SACDs) singing. Not a self-teaching For an information sheet about the new Giselle coming months, while his most recently released manual, nor filled with edition, please email [email protected]. a cappella work, The Song of Rodziny Katynskie, diagrams, each volume Performing materials are now available from Boosey received its UK premiere from the Elysian Singers instead offers advice about & Hawkes hire libraries and agents. last month. technique and interpretation through repertoire Finzi specially selected by Mary King. Art Song in English 50 songs by 21 American and British composers Lyrita M-051-93385-3 Vocal scores (high voice) £15.99 reissues M-051-93386-0 Vocal scores (low voice) £15.99 Yo-Yo Ma’s historic recording of Finzi’s Cello Concerto / with the Royal Philharmonic Orchestra and Vernon Anthony Payne Handley, long missing from the catalogue, has been Pomp & Circumstance reissued by Lyrita (SRCD 236). Dating from 1979, this March No.6 was the first recording made by the young cellist, three M-060-11924-8 years after his graduation from Harvard. Ma’s youthful Full score £12.99 interpretation of Finzi’s swansong concerto still stands the test of time, joined in later decades by the Karl Jenkins recordings by Raphael Wallfisch on Chandos and Tim Vocal album Hugh on Naxos. M-060-11915-6 Vocal score £7.99 Other Lyrita reissues of Finzi include an orchestral collection with the baton shared between Adrian Boult Piano album Photo: Johan Jacobs/Théâtre de la Monnaie and (SRCD 239). Peter Katin is piano M-060-11762-6 Piano score £6.99 Robert Lepage's new production of Stravinsky's soloist in the Grand Fantasia and and Eclogue The Rake's Progress in Brussels and Rodney Friend is violinist in the Introit. Other gems Olga Neuwirth Stravinsky on the disc include Romance, The Fall of the Leaf, Marsyas II for flute, viola, Nocturne and A Severn Rhapsody. Finzi’s setting of cello and piano Lepage’s Rake Wordsworth’s ode, Intimations of Immortality, has also M-2025-3187-7 Horne been restored to the Lyrita catalogue, featuring Ian Score and parts £21.50 The visionary Canadian theatre director Robert Partridge as tenor soloist (SRCD 238). Lepage has created a new production of Stravinsky’s Wladislaw Szpilman The Rake’s Progress which was unveiled at the Life’s This treasure trove of English orchestral music also Concertino for piano and Théâtre de la Monnaie in Brussels last month, includes a disc devoted to Arthur Benjamin (SRCD orchestra conducted by . The staging travels on in Splinters Photo: © Kathy Chapman 314). His mastery of light music extends well beyond M-2025-3079-5 coming seasons to Opéra National de Lyon, San the Jamaican Rumba, as demonstrated by his Full score David Horne’s new song-cycle for tenor and Overture to an Italian Comedy and the Cotillon suite, Francisco Opera, the Royal Opera House Covent M-2025-3086-3 ensemble, described by the Evening Standard as “a while his parallel endeavours on the ‘serious’ side are Garden, and the Teatro Real in Madrid. The Sunday Reduction for two finely detailed, witty setting of verse by DH Lawrence”, exemplified in the new recording of his Symphony Times described how Lepage “transplants was premiered by the at the £16.99 Stravinsky’s Rake’s Progress to the fleshpots of dating from 1945, intended “to mirror the feelings – Wigmore Hall in London on 6 March. Horne has long the despairs and hopes – of the time in which I live”. 1950s Las Vegas — and the gamble pays off been an admirer of Lawrence’s poetry and for Life’s admirably”. Other highlights in the Lyrita collection include an Splinters selected six texts with an anthropomorphic Ireland disc with These Things Shall Be and the Two “In the Monnaie programme, Lepage justifies his updating slant, offering compositional opportunities for new Symphonic Studies from The Overlanders (SRCD by stating that ‘Stravinsky jazzed with Hogarth’s ideas in blends of instrumental colour. the same manner as he jazzed with baroque music’… The 241), and a new recording by David Pyatt of horn ingénu cowboy, Tom, makes his progress from a little “Linked by blanched, yearning, viol-like broken chords from concertos including Gilbert Vinter’s attractive Hunter’s house on the prairie to the dazzling neon-lit vision of hell the viola, and decorated by Ravelian flashes and flourishes Moon (SRCD 316). that the graveyard scene becomes here, set in a disused for flute and clarinet, this was an exquisite, sympathetically Boosey & Hawkes Music Publishers Limited gaming house… A glittering, cinematic gallery of tableaux written work, sung ravishingly by James Gilchrist, most Aldwych House, vivants inspired by the early days of television.” particularly in the gentle unaccompanied setting of I am like a Hear and Now programme. Clark Rundell conducted 71-91 Aldwych, The Sunday Times Rose.” Independent on Sunday an exciting new string orchestra version of the London WC2B 4HN “In a series of set pieces or sketches, we see Tom go “Musical and verbal language constantly reflect each other in acclaimed Double Violin Concerto, the first London Telephone: +44 (0)20 7054 7200 from a denim-clad farm boy in a scene reminiscent of Life’s Splinters, with biting observations of a mosquito, a performance of the Concerto for Orchestra which Promotion email: [email protected] Oklahoma to an encounter on hot pink satin sheets with honey-sweet song of love as an awakening bee, and bright provided the finale for Horne’s composer residency Hire email: [email protected] Marlene Dietrich-like seductress Mother Goose. He then flashes of aquatic light in Little Fish.” Website: www.boosey.com/composers moves on to Sunset Boulevard swimming pools and with the Royal Liverpool Philharmonic Orchestra, a movie-star fame before landing in a clinically white The BBC Symphony Orchestra presented an all-Horne new 12-minute orchestral opener Submergence, and David Allenby Editor David J Plumb ARCA PPSTD Designer madhouse.” Bloomberg News invitation concert in May, recorded for BBC Radio 3’s the mini-piano concerto Flex with Horne as soloist. Printed in England