25 Rolf Liebermann L'École des Femmes – New production at the Opéra National de Bordeaux 33 Alexander Zemlinsky Der Zwerg conducted by Kent Nagano at the Munich State Opera 35 Alban Berg / E. Kloke Successful world première of the new 3-act Lulu at Copenhagen Opera 38 Leo� Janá�ek Glagolitic Mass – New editions of both versions now available Friedrich Cerha 85th Birthday (17 Feb 2011) 1 newsletter 01/11 • winterthema 2010/2011 Contents NEWS Gustav Mahler-Blog: new Interviews — 4 Charles Mackerras — 5 COMPOSERS Cerha — 7 Haas — 9 Pärt — 11 Rihm — 12 Sotelo — 13 Staud — 13 Schwartz — 14 Baltakas — 14 Lentz — 14 Halffter — 15 Furrer — 15 Luke Bedford — 16 Borisova-Ollas — 16 Sawer — 17 Birtwistle — 17 Boulez — 19 Kurtág — 20 Reich — 20 Gielen — 20 Berio — 21 Feldman — 23 Stockhausen — 23 Liebermann — 25 Nick — 25 Marx — 26 Martin — 26 Milhaud — 27 Mosolov — 27 Weill — 29 Braunfels — 29 Bartók — 30 Kodály — 30 Martin� — 31 = World Première Szymanowski — 31 2 content 01/2011 Schreker — 32 Schmidt — 32 Zemlinsky — 33 Schönberg — 34 Berg — 35 Dear Readers, Satie — 36 Alma Mahler/C. Gottwald — 36 Mahler — 37 In summer 2010, three voices Janá�ek — 38 - 39 caused a buzz in a certain musical Puccini — 40 city – even without bel canto. The singers and the composer were the talk of the town. The achievements ANNIVERSARIes — 41 - 42 of the three protagonists in Wolf- gang Rihm’s opera Dionysos, which WORLD PREMIÈRes — 43 was performed at the Salzburg Festival, astounded the audience NEW RELEAses — 44 - 45 and the press alike: Johannes Martin Kränzle, Mojca Erdmann NEW ON CD — 46 - 47 and Matthias Klink showed just how passionate and lyrical con- IMPRESSUm — 48 temporary music can – or indeed must – sound. They learned their extremely challenging parts with breathtaking speed, fully aware that they might not meet with a positive response despite their enormous efforts. But the risk paid off. They brought an impor- tant work of art to life and were recognised and admired as its architects. They are representative of the many young performers of new music who prefer to dedicate their talents to the present rather than the past. To them we offer our wholehearted respect. The Editorial Team 3 UNIVERSAL EDITION New interviews on our UE Mahler Blog There are two new video interviews on our Gustav Mahler-Blog: with Riccardo Chailly and Gustavo Dudamel. All conducters interviews are available on www.universaledition.com/mahler Gustavo Dudamel: “John Barbirolli once said: “If you don’t exaggerate when you are young, what can you do when you are old?” Of course as a young conductor I cannot feel like a 60 year old conductor. But in Mahler’s music everything is there and eve- rything is perfect. You have pianis- simo in one line and the same line fortissimo in another place. This is very clearly written. You don’t have to exaggerate it. It is perfect.” Riccardo Chailly Riccardo Chailly: “Mahler was more than aware that he left behind him masterpieces, not just very good music. Music that wasn’t being composed at that time by any other colleague. Mahler created a universe of a new language. I think this is what he wanted and achieved. Being so young when he died, the biggest question is what the world of mu- sic has lost, because Mahler still had a lot to say.” Gustavo Dudamel 4 news CHARLES MACKERRAS (1925–2010) Valuable work Sir Charles Mackerras died on 14 July 2010. His decades of experience as a conductor and researcher made him the world’s number one authority on Leo� Janá�ek. Mackerras’ work is invaluable when Charles Mackerras it comes to performing Janá�ek’s works. We at UE are proud to be able to offer the fruits of his extensive and pioneering labours in our catalogue: Arrangements of works by Leo�š Janá�ek: From the House of the Dead 1927–1928 opera in 3 acts (4 scenes) practical critical edition by Charles Mackerras and John Tyrrell (1990). Glagolitic Mass 1927 (missa solemnis) for soli, mixed choir, organ and orchestra (original version), edited by Paul Wingfield (2010), consulting/cooperation by Charles Mackerras. Jen�fa 1894–1903/1908 opera in 3 acts from the life of Moravian peasants (Brno version), edited by Charles Mackerras and John Tyrrell (1993). Katja Kabanowa 1921 opera in 3 acts edited by Charles Mackerras and Karl Heinz Füssl (1971–1992). The Makropulos Case 1925 opera in 3 acts version by Charles Mackerras; a critical new edition by Vanda Prochaska is in preparation, based on the Mackerras version and with additional per- formance suggestions by Charles Mackerras. �árka 1887–1888 opera in 3 acts edited by Ji�í Zahrádka and Charles Mackerras (2000). The Cunning Little Vixen 1924 opera in 3 acts revised new edition by Ji�í Zahrádka (2008), with performance suggesti- ons by Charles Mackerras. Suite from the opera „The Cunning Little Vixen“ for orchestra arranged by Charles Mackerras (2006), based on the new musicological edition of the opera The Cunning Little Vixen by Ji�í Zahrádka. 5 charles mackerras Salzburg Biennale Anzeigen_7_UE 120 x 225 18.10.10 21:45 Seite 1 3.–27. März 2011 Zoom Licht Focus Gielen Szenen Cerha spiel Streich Schnebel wechsel Kessler musik quartett www.salzburgbiennale.at Salzburg Biennale Anzeigen_7_UE 120 x 225 18.10.10 21:45 Seite 1 3.–27. März 2011 Zoom Licht Focus Gielen Szenen Cerha spiel Streich Schnebel wechsel Kessler musik quartett CERHA Music prize for perspectivity which is exemplary in th his 85 birthday modern art. When it comes to com- positional techniques, his work of- fers a blend of post-war avant-garde Friedrich Cerha, who will turn 85 techniques and older methods and on 17 Feb 2011, “may rightly be de- material, which he handles in a scribed as Austria’s most impor- completely new manner. Cerha has tant contemporary composer” – ac- never been concerned with only cording to an announcement for eclectic variety or aesthetic con- the Biennale festival in Salzburg, cessions – instead, he has always which will be featuring works by aimed to square the circle, one of Cerha. Writing in the Frankfurter the basic issues of new music: to Allgemeine newspaper, Julia Spi- use the full potential of the articu- nola adds: “In an unspectacular yet lation afforded by complex music radical style, he epitomises a multi- compositions to address listeners directly.” This coming spring will see him being awarded the 2011 Salzburg Music Prize – an International Composition Prize Awarded by Land Salzburg. This recognition has come late in the day, as the composer himself stated when the decision was announced. The pro- gramme for the prize-winner’s con- cert includes Bruchstück, geträumt and Jahrlang ins Ungewisse hinab. Johannes Kalitzke will conduct Austria’s two top ensembles for new music: Klangforum Wien and the oesterreichisches ensemble für neue musik (12–13 Mar). www.salzburgbiennale.at www.bit.ly/musikpreis Klangforum Wien is also set to per- form Eine Art Chansons and 8 Sätze Friedrich Cerha nach Hölderlin-Fragmenten in Vi- enna on 5 and 10 Jan. 7 cerha InseratUE120x225_Layout 1 11.10.10 14:29 Seite 1 MOZART WOCHE 2011 21. – 30. JÄNNER So, 23.1.2011, 15.00 Stiftung Mozarteum, Großer Saal Hagen Quartett, Jörg Widmann Klarinette Georg Friedrich Haas 6. Streichquartett UA. Auftragswerk der Stiftung Mozarteum Salzburg, KölnMusik und Wigmore Hall London sowie Werke von Heinz Holliger und Mozart 14.00 Uhr Künstlergespräch Georg Friedrich Haas Dirigenten Giovanni Antonini, Ivor Bolton, Dennis Russell Davies, Gottfried von der Goltz, Nikolaus Harnoncourt, Heinz Holliger, René Jacobs, Louis Langrée, Marc Minkowski, Yannick Nézet-Séguin, Jonathan Nott, András Schiff, Jörg Widmann Orchester Akademie für Alte Musik Berlin, Camerata Salzburg, Cappella Andrea Barca, Chamber Orchestra of Europe, Concentus Musicus Wien, Freiburger Barock orchester, Les Musiciens du Louvre·Grenoble, Mozarteumorchester Salzburg, Sinfonieorchester der Univ. Mozarteum, Wiener Philharmoniker Sänger Kurt Azesberger, Thomas Bauer, Daniel Behle, Florian Boesch, Markus Brutscher, Joachim Buhrmann, Annette Dasch, Marcos Fink, Anna Grevelius, Sunhae Im, Philippe Jaroussky, Inga Kalna, Mika Kares, Julia Kleiter, Christina Landshamer, e Wiebke Lehmkuhl, Elisabeth von Magnus, Hanno Müller-Brachmann, h 4 c 5 Jeremy Ovenden, Anna Prohaska, Thomas Quasthoff, Christine o 1 w 3 Schäfer, Daniel Schmutzhard, Toby Spence, Lydia Teuscher, Burcu t t 7 r a Uyar, Rolando Villazón, Kai Wessel Solisten Piotr Anderszewski, a 8 . z t 2 Teodoro Anzellotti, Florian Birsak, Helmut Deutsch, David Greil- o m a 6 . u M 6 sammer, Marie-Elisabeth Hecker, Heinz Holliger, Gidon Kremer, e m t r 3 u Robert Levin, Alexander Lonquich, Johannes Nied, Jerca Novak, a 4 e t t z f . Maurizio Pollini, Fazil Say, András Schiff, Elmar Schmid, Eric r l a o a e Schneider, Christian Tetzlaff, Hanna Weinmeister, Antje Weithaas, h z m e T c t o s : @ Jörg Widmann, Tabea Zimmermann Ensembles & Chöre Hagen r n s s n m e t e t . e Quartett, oesterreichisches ensemble für neue musik, Arnold z e e e s w s k n s k Schoenberg Chor, RIAS Kammerchor, Salzburger Bachchor, Neue i c u w o c i i T t w Vocal solisten Stuttgart, St. Florianer Sängerknaben K W M InseratUE120x225_Layout 1 11.10.10 14:29 Seite 1 HAAS Close ties with the detailed composition of MOZART At least since the 1998 the scales of harmonics and the world première of String resulting oscillating effects, the Quartet No. 2, close ties mixtures in the second piece, have existed between Georg Frie- which reveal the influence of Oliver WOCHE Messiaen’s music, and the complex drich Haas and the Hagen Quar- tet. The quartet themselves talk of layers of chords, which repeatedly their experiences with intonation, return to the ‘Vyshnegradsky chord’ 2011 which are helpful when perform- and its variants.