04 UE Promotion.

The new team

07 Friedrich Cerha.

Leone d’Oro for his life’s work

11 Wolfgang Rihm.

In memoriam Thomas Kakuska

27 Kurt Weill.

On to L.A.!

Friedrich

Cerha

Leone d’Oro alla carriera of the Biennale di Venezia

newsletter01/07 • winter 2006/2007

2

NEWSUE Promotion — 4 - 5

COMPOSERSCerha — 7Borisova-Ollas — 9Rihm — 11Staud — 12Pärt — 13Boulez — 14Sotelo — 14Haas — 15Halffter — 16Stockhausen — 16Berio — 17Ligeti — 17Feldman — 18Birtwistle — 18Works for percussion — 19Martin — 21Berg — 23Gurlitt — 24Weigl — 24Malipiero — 25Burkhard — 25Weill — 27Mahler — 28Wellesz — 28Zemlinsky — 29Schreker — 29Bartók — 30Kodály — 30Krenek — 31Janácek — 31 Schönberg — 33

Contents

contents 01/2007

3

Szymanowski — 34Kagel — 35Otte — 35Brown — 36Neuwirth — 36

THE FUTURE’S BRIGHT — 37

ANNIVERSARIES — 38 - 39

WORLD PREMIÈRES — 40

NEW RELEASES — 41 -42

NEW ON CD / DVD — 43 - 44

WORKLISTKagel — 45 - 47

ACKNOWLEDGEMENTS — 48

Dear Readers,

Who needs promotion depart-ments? Well, even the most com-prehensive knowledge of 20th and21st century musical literature hasits limits, namely where things arestill in a state of flux. Here on onehand there is current compositionalactivity, impossible to overview; onthe other the discovery of sourcematerial, either new or believedlost, which compels us to regardeven ‘old’ pieces in a new light, toread them in a new way. The pub-lisher gathers this knowledge, andthe promotion department existsto communicate it, to arouse andsatisfy curiosity.The promotion manager is at yourdisposal as ‘publisher’s dramaturg’,partner and assistant – the moreyou demand of him, the broaderand more exciting the basis of yourprogramming decisions. Promotionis based on trust: in competence, inthe publisher’s policy, in the music.

The Editorial Team

news

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1 2 3 4

5

10

6 7 8

9

13

1211

14 15 16

5

news

UNIVERSAL EDITION

UE Promotion -

The team

The UE promotion team was ex-panded at the start of the 2006/7season, so we are presenting here abrief overview of our members. Thefollowing people are now workingin the promotion department, andwe hope you’ll be meeting them,either face to face or via correspon-dence, in the future:

ViennaFour promotion managers are nowin post in the performance section:Jonathan Irons (1), new to the team,former managing director ofwww.sheetmusicnow.com;Wolfgang Schaufler (2), also new tothe team, former music journalistand dramaturg at the Salzburg Festival; Bálint András Varga (3)and Eric Marinitsch (4), senior promotion managers.Also in the team are: AngelikaDworak (5), editorship of UENewsletter, press relations, websitecontent management and photomanagement, Bettina Tiefenbrun-ner (6), management of score andaudio archives and Elisabeth Bezdicek (7), management of pressarchives, programme notes and per-formance database.

At your disposal in the sheet musicsection are Marion Hermann (8),public relations; in marketing andsales promotion Monika Stricker (9),sales to German-speaking coun-tries and Ferdinand Walcher (10),sales to other countries.

LondonPromotion at UE London is in thehands of Rebecca Dawson (11),assisted by Nick Cutts (12); Adrian Connell (13) is responsible for pro-motion of sheet music sales, andAnne Handley (14) is editor & edu-cational manager.

New YorkPerformance promotion in the USAis the responsibility of NormanRyan (15) assisted by Keith Philpott(16).

musica viva

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residenz � michael pelzel: » … méandre inondé …« für kla-

rinette in b und orchester [2005] – preisträger des BMW kom-

positionspreises der musica viva, uraufführung � friedrich

cerha: »momente« für orchester [2005] – kompositionsauftrag

der musica viva, uraufführung � salvatore sciarrino: »shadow

of sound« für orchester [2005] � vinko globokar: »les otages«

für orchester und sampler [2004] europäische erstaufführung

� rumi sota-klemm – klarinette � symphonieorchester des

bayerischen rundfunks � leitung: arturo tamayo � karten zu

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musicaviva

7

cerha

arrives at conclusions which char-acterise this 2005 work, and hisown personality, in exciting ways.After over 40 years’ creative activityhe has acquired a crystal-clear per-ception of the act of compositionand drawn conclusions for himself,such as: ‘I am tired of the monoma-niac spinning-out of musical ideas,of expansion by means of “working-out”. … But I was also somewhatweary of my own “good handi-work”, with things I’ve done oftenand can “do well”.’ The premièremight surprise us all …

On the same date Martyn Brabbinsconducts Fasce (1959) in Stuttgart,while on 14 and 15 December thecello concerto Fantasy Piece in C’sManner is being played in Cologne,with Johannes Wohlmacher as soloist under Semyon Bychov.

CERHA

Golden Lion

in Venice

The award by the Venice Biennaleof the Leone d’Oro for his life’swork signals international recogni-tion for 80-year old Austrian com-poser Friedrich Cerha. The ceremo-ny on 7 October was further under-scored by the unqualified successof his orchestral work Hymnusunder Peter Hirsch.But Cerha’s life’s work is far fromcomplete: new compositions arestill appearing, like Momente for or-chestra, a commission from Munich’smusica viva, which receives its pre-mière on 1 December (BavarianRadio SO / Arturo Tamayo).In an engaging commentary on thepiece the composer reflects onhimself, yet at the same time looksat his music from outside and

7

9

borisova-ollas

BORISOVA-OLLAS

New music

theatre piece

on its way …

An exciting project of internationalstature is nearing completion.Fascinated by Salman Rushdie’snovel The Ground Beneath HerFeet, Victoria Borisova-Ollas is cur-rently writing a music theatrepiece for 2 singers and orchestra –a kind of variation on the perpetu-ally relevant Orpheus myth, whichwill be premièred in summer 2007.Prestigious preparations are al-ready being made at the highestlevel, but at present we are not in aposition to divulge any more;

exactly when and where will be revealed shortly.‘Victoria Borisova-Ollas is on herway to developing an absolutely individual voice of enormous emotional intensity – if she has notalready done so’, wrote a Finnishcritic of her work. The combinationof her astonishing approach to theorchestral ‘instrument’ with thecreation of subtle soundscapeswhich sometimes sound familiar,but could only have come from thepen a contemporary writer, makeher music an emotive listening ex-perience of huge intensity.

Her latest orchestral work, OpenGround, is further proof of this.Open Ground (3 3 3 3 – 4 3 3 1 –Timp., Perc.(3), Hp., Pft., Str.) waswritten in 2005 for the SwedishRadio Orchestra and will receive itsfirst British performance on 18 January 2007 in Manchester, withthe Hallé Orchestra under MarkElder.www.halle.co.uk

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11

rihm

RIHM

In memoriam

Thomas Kakuska

A long-standing artistic associa-tion links composer WolfgangRihm with Vienna’s Alban BergQuartet. For several years its mem-bers included Thomas Kukuska,and when he died unexpectedly in2005 Rihm gladly agreed to a re-quest to write a new work in hismemory. Grave, a slow movementfor string quartet, receives its firstperformance in Vienna on 28 Janu-ary 2007, with 20 further perform-ances planned before next July.

Berlin’s UltraSchall festival is presenting the German premièreof Eine Stimme 1-3 with the two ensembles that first performed thepiece in 2005: Accroche Note andLes Percussions de Strasbourg with

Françoise Kubler, mezzosopranounder Rüdiger Bohn.

There is a whole list of conductorsand ensembles who, over the years,have repeatedly engaged withRihm’s work and included it in theirprogrammes – like Stefan Asbury,who directs Jagden und Formen(1995-2001) with Klangforum Wienat the Vienna Konzerthaus (14 Dec);George Benjamin, who regularlypromotes Rihm’s orchestral andensemble music, and who is takingGedrängte Form on tour with En-semble Modern to Paris, Frankfurtand Madrid (27 Nov - 4 Dec); andChristian Arming – who has pre-sented Ernster Gesang in numerousconcerts from Tokyo to Hamburg –and who is now taking this 1996work to Toulouse (14 Dec). Armingis also presenting Abkehr (1985) inStuttgart, an orchestral work basedon Mahler which will be performedon 4 December.Frage can be heard on 24 Februaryat Stuttgart’s Eclat Festival, withEnsemble Recherche under SalomeKammer.

12

staud

Incipit III for solo trombone, stringorchestra, 2 horns and percussion –commissioned by the West Ger-man Radio and first performed inCologne in March 2006 – is toenjoy a second performance in Mu-nich on 23 February. The soloist isUwe Dierksen, and Martyn Brabbins conducts the BavarianRadio SO.

Dierksen is to play another work hepremièred, the solo piece Esquisseretouchée (Incipit II) (2001/2002), inFrankfurt on 10 December, as partof the concert series ‘25 years of Ensemble Modern’.

Meanwhile Configurations/Reflet(2002) for 8 instruments receivesits twenty-second performance on10 Dec in Jerusalem (Tyrolean NewMusic Ensemble/Dorian Keilhack).

Bewegungen (1996), a piano piecewhich Staud wrote at the age of 22,has in recent years found its wayinto the repertoire of a wholestring of pianists: see SiangGowong playing it on 15 Decemberin Zurich, and Jonathan Powell per-forming it on 18 December in Lon-don, in a concert also includingPeras, Music for piano(2004/2005).

STAUD

Violent Incidents

Johannes Maria Staud’s Violent Incidents – whose subtitle Hom-mage à Bruce Nauman points to in-spiration by the American artistduring the composition process – issoon to be subjected to revision.

First performed at the 2005Klangspuren Schwaz by MarcusWeiss and Windkraft Tirol underKasper de Roo, the work for solosaxophone, wind and percussionlasts about 13 minutes. The pre-mière and radio recording of thenew version are to take place on 9 February 2007 in Cologne, withthe same performers as in 2005.

13

pärt

PÄRT

Arvo Pärt

commemorates

Politkovskaja

Appalled by the murder of theRussian journalist Anna Polit-kovskaya in Moscow on 7 October2006, Arvo Pärt has stipulatedthat, as a ‘gesture of remem-brance’, all performances of hisworks in the concert season 2006-2007 should be dedicated to AnnaPolitkovskaya’s memory.‘Anna Politkovskaya staked her en-tire talent, energy and – in the end –even her life on saving people whohad become victims of the abusesprevailing in Russia.’Pärt has called upon musiciansperforming his works to make audiences at each concert aware ofthis dedication and the commemo-ration of the courageous journalist.

Important performances duringthe next few months include,among other things, the Swiss andGerman premières of La Sindone(‘The Shroud’) for orchestra, whichPärt has revised several times sincethe first performance in February2006 and which now exists in itsfinal version. The work’s Swiss pre-mière will be given by the Berne SOon 7 and 8 December 2006 in theKultur Casino, Berne and its first

German performance in Hamburgon 24 and 25 February 2007 withthe Hamburg SO. Both concerts areto be conducted by AndreyBoreyko.

Pärt’s two lullabies are also nowavailable for hire: Kuus kuus kalike(Estonian Lullaby) and Rozhdyest-vyenskaya kolïbyelnaya (Christ-mas Lullaby), in the versions forstring orchestra with 1-2 sopranosor choir.

14

boulez / sotelo

BOULEZ

Dérive 2

around the world

Since the Aix-en-Provence per-formance of Pierre Boulez’ Dérive 2under the composer’s direction inJuly conductors and ensembleshave had free access to this large-scale, 45-min. work. Jean Deroyerhas already conducted it in Warsaw(27 Sep) and will soon perform itagain in Nanterre (12 Jan), whileFrançois-Xavier Roth will conductthe piece on 19 Feb in Madrid. Nat-urally the work also continues toappear in the composer’s own pro-grammes – there are four perform-ances in November, in Paris, Milan,Badenweiler and Bern. Boulez hasalso included Dérive 1 – a repertorypiece performed over 200 timessince its première – in his concertas part of Mozart Week in Salzburg

on 30 January. Improvisé – pour leDr. K. for flute, clarinet, piano, violaand cello (1969, revised 2005) canbe heard in Cologne, with ensem-ble recherche, on 9 December 2006.

SOTELO

For children

With his children’s opera Dulcinea(2004/6), based on Cervantes’ DonQuixote, Mauricio Sotelo has suc-ceeded in composing music whichchildren can easily understand butwhich is, all the same, challengingand colourful. The successful pro-duction by the Teatro Real in May2006 showed what a real needthere is for good children’s operas.In February 07 the children of Bilbaowill be able to enjoy the piece (9,10, 11 February); in June the produc-tion goes to Valencia (11, 12, 13 June)and in the autumn to Barcelona.

Mauricio Sotelo Dulcinea Teatro Real Madrid 2006

15

haas

react to a conductor’s visual cues.’Some reviews: ‘One can hardly re-sist the tactile presence of thissculptural music’ (Eleonore Büning,Frankfurter Allgemeine Zeitung);‘an integrated experience, almostbeyond time, an immersion insound’ (Reinhard Schulz, Neue Musikzeitung); ‘as a concept … Haas’bright-eyed piece has visionary po-tential’ (Mirko Weber, Die Zeit); ‘un-dulating movements, dark texturesand chains of pentatonic soundscorrespond to undulating changesof light, longer spells of atmospher-ic colour and lightning effects’ (J.Fux, Der Standard); ‘bombastic,technically brilliant and impressive’(Wibke Gerking, Die Welt); ‘a totallyhypnotic experience’ (Mirko Weber,Stuttgarter Zeitung); ‘irresistiblydrawn to the light – collaborationwith rosalie must have been a god-send for Haas’ (Elisabeth Schwind,Stuttgarter Nachrichten).

HAAS

Music as sculpture

One of the highlights of this year’sDonaueschingen Music Days wasthe première of Georg FriedrichHaas’ Hyperion, Concerto for Light-ing and Orchestra in the centre of aspectacular installation using lightand space by Stuttgart artist ros-alie. Countless points of light hadbeen assembled into a wide bandof illuminated colour on the wallsof the hall, in the midst of whichwere placed the musicians. Theperformance was enthusiasticallyreceived by a refreshingly large andyouthful audience.Haas says of his work: ‘Light is amusical instrument. A change ofcolour changes the perception ofsounds. Temporally organised lightfunctions like soundless percus-sion… The musicians react to thelight – analogously to the way they

Georg Friedrich Haas Hyperion Donaueschingen 2006

16

halffter /stockhausen

HALFFTER

Musical roots

Cristóbal Halffter’s work is markedby a deep identification with Spain.This is shown not only by his DonQuijote or the Elegias, but also bycuriosities like his Fandango for 8 cellos, based on the eponymouswork by Antonio Soler.Here Halffter couples his admira-tion for Soler’s inventive combina-tion of dance form and 2-bar osti-nato with his fascination for thecello. A modern instrumental lan-guage, novel variation techniquesand the unusual line-up havemade Halffter’s work one of thecore repertoire pieces of the cellooctet Conjuncto Ibérico – who can

be heard in Graz on 17 January.With a performance of Lineas ypuntos the Würzburg PhilharmonicOrchestra is offering a chance tohear Halffter’s combination of elec-tronic sound possibilities and theirinstrumental interpretation.Halffter’s electronic roots: 15 and 16December in Würzburg.

STOCKHAUSEN

Vivid images

The ASKO Ensemble under OliverKnussen have scheduled two earlyKarlheinz Stockhausen works forperformance in Amsterdam on 10January. Drei Lieder for alto andchamber orchestra was written asearly as 1950, though first per-formed only in 1971.Mixtur for orchestra, sine wave generators and ring modulators isbeing performed in the 1967 ver-sion for smaller forces. ‘… The vividimages in the score leap straightinto one’s inner ear; one recognisesat once the high quality and the ex-traordinary imagination, which isallied to the whole structure by precisely calculated suitability ofpurpose.’

Cristóbal Halffter

17

berio / ligeti

Bremen. Olari Elts conducts theGerman Chamber Philharmonic ofBremen, with mezzo-sopranoCaren van Oijen as soloist.

LIGETI

Rich harvest

Soon to be half a century old,György Ligeti’s Atmosphères (Kas-sel Staatsorchester/Baummann 18Dec, Chicago SO/Zinman 8 and 10Feb) is one of the few works of theearly ’60s to have become an un-questioned part of the repertoire.Usually it is presented as a kind ofoverture, in which conductors canpay homage to new music and or-chestras put their timbral expert-ise to the test. Similar popularityhas so far eluded Apparitions – weare happy to draw attention to thisno less important and original piece.

BERIO

Sequenza->Chemins

Throughout his life Luciano Beriowas intensely involved with themusic of other composers, adapt-ing and transforming it, but he alsosubjected his own works to thisprocess. The series of Sequenze –which in the meantime have be-come classics and cornerstones ofthe repertoire for solo instruments– was the starting point for a seriesof works called Chemins, eachbased on one of the Sequenze.Rarely heard in the concert hall isChemins I (1967) for harp and or-chestra, which revisits Sequenza IIfor harp. Arturo Tamayo is conduct-ing it on 6 and 7 February with thePrague SO and Giovanna Reitano,solo harp.On 8 and 10 November Berio’sSchubert restoration Renderingand his Folk-Songs can be heard in

Luciano Berio

18

feldman /birtwistle

FELDMAN

Are you Missing

Morty?

Huddersfield Contemporary MusicFestival featured the music of Morton Feldman in the year of his80th anniversary. ‘Missing Morty!’was a series of 10 concerts over 10days, presenting a diverse pro-gramme of works specifically chosen to provide contrast, plus 5single-work presentations of hislonger pieces for piano and strings.Feldman claimed that ‘the stringquartet is the pinnacle of Westernmusic’, and the Smith Quartet andpianist John Tilbury (a renownedFeldman interpreter) were in resi-dence for the full duration of thefestival, performing all the workssuitable for their forces (such asThe Viola in my Life and Patterns ina Chromatic Field) and providing a

stunning Feldman series.HCMF’s new artistic director, Gra-ham McKenzie is seeking to revi-talise and create a new vision forthe festival as it approaches its30th birthday in 2007.

BIRTWISTLE

Northern Light

Clarinettist Jan Jansen will performHarrison Birtwistle’s Deowa andClarinet Quintet (along with theDoelen Quartet) on 3 December inRotterdam, NL, whilst a day laterthe Österreichisches Ensemble fürNeue Musik will present 3 Settingsof Celan in Salzburg (4 December,Salome Kammer, soprano).Silbury Air can be heard at the Uni-versity of Manchester on 8 Decem-ber, and on 14 December, the trum-peter who premièred Endless Pa-rade in 1987, Håkan Hardenbergerwill be the soloist with the Helsinki Philharmonic Orchestra inits hometown.

19

percussion

But all the same his Concerto forPercussion and Small Orchestra, op.109 is a completely original work.

Critics reacted enthusiastically:‘The composer has here succeededin producing a piece of music whosevital force is as much rhythmic assoloistic, which proceeds in a care-free fashion yet now and then baresits teeth, and is assured of its effect’(Josef Häusler).Percussionist Thaddeus RobertAnderson arranged this concerto in2004 for Percussion and MalletEnsemble.

Fratres by Arvo Pärt is also nowavailable in a version for 4 percus-sionists. In 2006 Vambola Krigulmade an arrangement of the workfor 2 marimbas, glockenspiel, 2 vi-braphones, wood block, car springsand bass drum. Score and parts willshortly be obtainable from musicdealers or via our online shop.

PERCUSSION

Percussion takes

centre stage

In the second and third decades ofthe twentieth century, works ap-peared in France which would revo-lutionise the status of percussionin music history. Milhaud’s balletLes Choéphores had already ap-peared by 1915, followed in 1918 byL’Homme et son désir op. 48, thelatter requiring 20 percussionistsin its original form. 1918 also sawthe appearance of Stravinsky’s TheSoldier’s Tale. The first genuine per-cussion concerto in the history ofmusic, however, did not appearuntil 10 years later, in 1929. It is im-possible not to recognise DariusMilhaud’s interest in jazz in hisworks of the 1920s, and it was cer-tainly jazz that provided the stimu-lus to give percussion a central role.

21

martin

MARTIN

The Resurrection

of Monsieur de

Pourceaugnac

In the commentaries on his ownwork Frank Martin asks himselfwhy he, who had always taken onweighty, serious themes, should inthe eighth decade of his life write acomic opera. By way of an answerhe suggests that he suddenly feltan irresistible urge no longer totake himself and his music serious-ly – indeed, to parody both – andthat in Molière he had found theideal material to enable him tomake fun of his various composi-

tional mannerisms. The operaMonsieur de Pourceaugnac waswritten between 1960-62 and firstperformed in Geneva in 1963. Nowthe Opéra de Lausanne, under themusical direction of Jean-Yves Os-sonce, is resurrecting Martin’srather seldom-performed work.The producer is Adriano Sinivia, thedesigner Enzo Iorio, and HarryPeeters takes the lead role, withthe first night on 21 January 2007.

Alois Koch, who premièred theCantate pour le temps de Noël in1994, is conducting this Christmascantata once again at the samevenue, the Jesuit Church inLucerne, on 8 December 2006. As itlasts just an hour, it is being cou-pled with Martin’s 22-minuteMaria-Triptychon for soprano (Susanne Kirchesch), violin (Sebast-ian Hamann) and orchestra. UlfSchirmer is also performing theCantate on 15 December at the St Anna Church in Munich. And –thanks to Mozart’s birthday – theOuverture en hommage à Mozart isexperiencing a real comeback: itsnext performance is in Prague (26 February 2997), with thePrague Chamber Philharmonicunder Kaspar Zehnder.

OPERA DE LILLE WOZZECK ALBAN BERGADAPTATION DE JOHN REA PREMIÈRE FRANÇAISENOUVELLE PRODUCTION

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Direction musicale Lorraine VaillancourtMise en scène Jean-François Sivadier

Avec Andreas Scheibner (Wozzeck), Louis Gentile (le Tambour-Major), Norbert Ernst (Andrès), Ales Briscein (le Capitaine), Petri Lindroos (le Docteur), Till Fechner (1er Compagnon), Christophe Gay (2e Compagnon), Cyril Auvity (le Fou), Ursula Hesse von den Steinen(Marie), Martine Mahé (Margret)

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23

berg

BERG

Richness

of sound

From 23 January 2007 the Opéra deLille, in co-production with theThéâtre de Caen, is staging the firstFrench performances of Alban Berg’sopera Wozzeck in the scaled-downversion by Canadian composerJohn Rae. As numerous successfulperformances internationally sincethe 1955 première have alreadyproven, Rae has succeeded perfect-ly in reworking Berg’s masterpieceas a compact and more concentrat-ed version for 21 musicians, whichforfeits none of the original’s tim-bral riches. He notes that ‘Berg’s in-strumental colours, as well as theactual registers used in the score,should be preserved as far as possible’.‘Rae has managed to preserve all ofthe richness of Berg's score withoutever giving the impression thatsomething might be missing’ (LeDevoir, Montréal).

Another Berg arrangement can beheard for the first time in Munich:the Munich PO under Vladimir Spivakov is performing Theo Verbey’sarrangements for string orchestraof Three Movements (I, V and VI)from the Lyric Suite on 31 Januaryand 2 February. Since Berg himselfarranged Three Movements (II, IIIand IV) for string orchestra in 1927,

it is now possible to perform theentire Lyric Suite (originally forstring quartet) with string orchestra.‘These “six quite short pieces of acharacter more lyrical than symphonic” (as Berg expressed it)are more easily played by a largergroup than by a string quartet. Thepiece gains in fullness of sound andstructural clarity’ (Theo Verbey).

24

gurlitt / weigl

GURLITT

A German

Wozzeck

in Spain

Manfred Gurlitt (1890-1972) wasunlucky in his choice of material:his Wozzeck was overshadowed byAlban Berg’s opera, his Soldaten byZimmermann’s. The two versionsof Wozzeck were written almostcontemporaneously and independ-ently, and the first performance ofGurlitt’s work followed fourmonths after that of Berg’s. In a de-tailed study Jürg Stenzl assertsthat Berg’s opera is a large-scale,dramatic symphony for whichSchönberg’s idea of ongoing devel-opment is crucial, whereas Gurlitt’sis a drama of static situations, a se-ries of single scenes without transi-tions.Gurlitt himself wrote in a letter toUE: ‘My Wozzeck represents a com-pletely new operatic style: absoluterejection of the “motif” plus ab-solute command of a large orches-tra.’ 80 years after the première thework is now receiving its firstSpanish performance under LópezCobos at the Teatro Real in Madrid(21 January 2007).

WEIGL

A committed

late Romantic

Karl Weigl (Vienna 1881-New York1949) was a pupil of Zemlinsky andteacher of Korngold; he was sup-ported by Mahler, Strauss, Schön-berg, Bruno Walter and Furtwängler.Like Joseph Marx, his junior by oneyear,Weigl was convinced that 19thcentury music still afforded bound-less expressive possibilities. The UEcatalogue includes 29 of his works,amongst them the Rhapsodie forstring orchestra, which Musica Mediciis including in its programmes inBerlin and Schöneiche (13-16 Dec).

Manfred Gurlitt

25

malipiero /burkhard

MALIPIERO

Pause del

silenzio

A similar fate has befallen Italiancomposer Gian Francesco Malipiero(1882-1973) to that of many othercreative personalities: somehowthe name still sounds familiar, butis more likely to be connected withthe complete edition of Montever-di for which he was responsible.His own music is hardly everplayed, though Malipiero left be-hind an impressive body of work,part of which (operas, orchestraland chamber music, vocal works,piano pieces) can be found in theUE catalogue. Special importanceis attached to the two orchestral

works Pause del silenzio I (1917) andII (1926). This is authentic musicalimpressionism with an Italian accent. Catherine Rückwardt andthe Mainz Philharmonic Orchestraattempt a rescue operation forPause del silenzio I on 19 and 20January – its first European per-formance in almost 30 years.

BURKHARD

Violin Concerto

Born in 1900, Swiss composer WillyBurkhard was a contemporary ofKurt Weill, Ernst Krenek, Aaron Copland and George Antheil. Musicexperts are full of praise for his art(‘Burkhard’s musical language …bears witness not only to great mu-sical fantasy, but also to absolutepurity and honesty,’ says MGG), buthis works rarely find their way intothe concert hall.Now the Basel Sinfonietta hastaken up his Violin Concerto, withfour performances in December(Hanzsheinz Schneeberger, violin /Berhard Forck conducting).

Gian Francesco Malipiero

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27

weill

WEILL / BRECHT

Mahagonny

in L.A.

James Conlon, the new Music Director of the Los Angeles Opera,has programmed Kurt Weill andBertolt Brecht’s opera The Rise andFall of the City of Mahagonny asone of the highlights of the 06/07season (première 10 February).The singers taking the roles includemultiple winners of the covetedTony Award – the most importantdistinction in the field of musicaland music theatre in the USA:Audra McDonald (Jenny), PattiLuPone (Begbick), Anthony DeanGriffey (Jim) and Donnie Ray Albert(Moses). The direction of this pro-duction, sung in English, has beenentrusted to John Doyle.

Weill wrote to UE in 1927, during hiswork on Mahagonny:‘… It is beyondquestion that at present a com-pletely new kind of stage work isemerging, which addresses itself toa different and incomparably largeraudience, and whose effect will pro-liferate in completely unaccus-tomed ways. This movement –whose most powerful proponent, inthe field of theatre, is Brecht – hasuntil now never encroached uponopera, even though music is one ofits essential elements. The piece thatwe plan to write will not exploit

contemporary events that will be ob-solete in a year’s time, but give ourown time a definitive form. Thus itseffectiveness will extend far beyondthe time of its creation. It is indeed amatter of creating the new genrethat will deal with the utterly differ-ent expressions of life in our time inan appropriate form …’

Wei

ll/

Bre

cht

The

Ris

e a

nd

Fa

ll o

f th

e C

ity

of

Ma

ha

go

nn

y Ko

mis

che

Op

er B

erlin

20

06

28

mahler / wellesz

MAHLER

Song of

lament

Das klagende Lied is based on thestory of that name which GustavMahler found in 1878 in a collectionof German folk tales and legends.In 1881 he entered the 3-movementwork (Forest Tales, The Minstrel,Wedding Scene) for the BeethovenComposition Prize – without suc-cess. It did not receive its first per-formance, under Mahler’s own di-rection, until 20 years later, andthen in a revised version reduced totwo movements. In the followingdecades there were repeated per-formances of a so-called ‘mixed’

version. Not until 1997 was the original version of Das klagendeLied reconstructed and premièredunder the auspices of the CompleteCritical Edition.Now the French première is takingplace on 20 January at the Théâtredes Champs-Elysées in Paris.L’Orchestre National de France andthe choir of Radio France are play-ing under the direction of Jaap vanZweden.

WELLESZ

Persian Ballet

Russian ballerina Ellen Tels and herensemble fled their homelandafter the First World War and, inthe process, visited Vienna. Excitedby their dance evenings, EgonWellesz made contact with EllenTels and in 1920 wrote for her – andto a text of hers – his Persian Balletfor orchestra. The 30-minute workis ‘respectfully dedicated to ArnoldSchönberg’. Ensemble Kontrapunkteand Peter Keuschnig are playingthe chamber version of the workon 8 January 2007 in the ViennaMusikverein.

Gustav Mahler

29

zemlinsky / schreker

ZEMLINSKY

Chinese

detective story

Der Kreidekreis (The Chalk Circle) –a Chinese ‘detective story’ from the14th century – tells of the fate of apoor girl exposed to the caprices ofpower. The dramatic climax is atrial of motherhood against a rival:the real mother puts the welfare ofthe child before her own happi-ness. The structure of the opera isas complex and full of variety asthe story is simple. Typically for Alexander Zemlinsky, it contains afascinating mixture of drama andlyricism. It intertwines Wagnerianawith banal music and cabaretscenes à la Kurt Weill, mixesMahler and Strauss with far-east-ern sounds, while singing, speakingand playing all take place on stage.The South Bohemian Theatre in

Ceské Budìjovice, in the Czech Re-public, is including this master-piece in its upcoming programme.The première is on 12 January, withTomás Hála conducting.

SCHREKER

Sound-world

This is the Age of Rediscovery forthe sound-world of Franz Schreker.One of his most important worksfor the concert hall is his ChamberSymphony for 23 solo instrumentsfrom 1916. Heinrich Schiff, who in2003 recorded the work with greatsuccess for the CD label Farao withMusikkollegium Winterthur, is nowbringing it to Espoo, Finland withthe Tapiola Sinfonietta (7 and 8Dec). Marcus Stenz is conductingSchreker’s Prelude to a Drama on 18and 19 Jan with the Concertge-bouw Orchestra in Amsterdam.

Alexander Zeminsky Der Kreidekreis Theater Bielefeld 2006

30

bartók / kodály

is directing a performance of thesame work with Peter Donohoeand the Konzerthaus Orchestra ofBerlin on 17 and 18 Feb. Most popu-lar of all is the Music for Strings,Percussion and Celesta, with sevenperformances in the next quarter.

KODÁLY

Psalmus and

Dances

Composer Zoltán Kodály manageda balancing act: uncompromisinglyfaithful to the spirit of Hungarianfolk music, he nonetheless createdwork that is enjoyed and under-stood internationally.As proof Mariss Jansons conductshis Psalmus Hungaricus in Decem-ber in Amsterdam, and the Dancesfrom Galánta are being played inten places – including London,Zurich, Cologne and Münster – be-tween 10 December - 26 February.The Dances from Maroszék are toenjoy three performances in Bre-merhaven, and the Háry JánosSuite can be heard in Ostrava.

BARTÓK

Masterpieces

Nearly all Béla Bartók’s works pub-lished by UE are receiving perform-ances in the next few months.Masterpieces like the opera DukeBluebeard’s Castle (Opéra Nationalde Paris, conducted by GustavHuhn and produced by Alex Olléand Carlos Padrissa, with WillardWhite and Béatrice Uria-Monzon –first night 26 January) or the twoballet suites The Miraculous Man-darin (Hamburg Philharmonieunder Péter Eötvös, 7-8 January and Düsseldorf SO / MichaelSchønwandt, 9, 11, 12 February) andThe Wooden Prince (StaatskapelleDresden/David Zinman, 25, 26 and27 February).Zoltán Kocsis conducts the Hun-garian National Philharmonic inthe Piano Concerto No. 1 withsoloist Dezsö Ránki in Budapest(13 January), while Michael Gielen

Béla Bartók Duke Bluebeard’sCastle Frankfurt 1974

31

krenek / janácek

KRENEK

Jonny conquers

the Teatro Colón

The performance of Ernst Krenek’sJonny spielt auf in August ‘06 atthe Teatro Colón, Buenos Aires wasa gigantic success with both the pub-lic and the press (musical direction Stefan Lano, production MarceloLombardero). Gladys Krenek, thecomposer’s widow, attended one ofthe performances and spoke after-wards of one of the most success-ful realisations that this opera hasever enjoyed.After its Leipzig première in 1927Jonny spielt auf rose to the positionof most popular opera in the WeimarRepublic. It was immediately takenup by 42 other theatres, and theimage of black musician Jonnyearned the tragic privilege of be-coming poster boy for the disastrous

1938 ‘Entartete Kunst’ exhibition inDüsseldorf. The work owed its sen-sational success on the one handto the incorporation of jazz ele-ments, on the other to its clear con-nection with contemporary life.

JANÁCEK

Instrumental works

Leos Janácek certainly owed his in-vitation to ISCM festivals to his op-eras, but it was there that he alsofound inspiration for some of hismost important instrumentalworks – like the Sinfonietta, com-pleted in 1926. The Berlin Philhar-monics, under Sir Simon Rattle, isperforming it on 21-24 Feb in Berlinand on 26 Feb in Las Palmas.His Nursery Rhymes (Rikadla) arebeing presented by Ensemble Modern and ChorWerk Ruhr on 20and 21 Dec in Essen and Duisburg.

Ernst Krenek Jonny spielt auf Teatro Colón Buenos Aires 2006

33

schönberg

SCHÖNBERG

Romantic

affinities

The SWR Symphony Orchestra ofBaden-Baden and Freiburg underSylvain Cambreling is taking Arnold Schönberg’s symphonicpoem Pelleas and Melisande op. 5on a six-concert tour in February2007 (Mannheim, Freiburg, Valen-cia, Lisbon, Madrid and Oviedo).

Schönberg wrote the work in 1902after Strauss had recommended tohim Maurice Maeterlinck’s five-actdrama with its sequence of moodand scene paintings heavily ladenwith symbolism.‘The post-Romantic musical ges-tures of the large-scale orchestraare never “purely descriptive”, asAlban Berg insists in his analysis, butrevolve around the aesthetic idea ofinterpreting the subject not as con-tent of, but as pre-condition for themusic’ (Therese Muxeneder).The first performance in Vienna in1905, under Schönberg’s direction,unleashed a grand furore – ‘one ofthe critics suggested putting me in amental institution and keepingmanuscript paper out of my reach’(Arnold Schönberg).

For their New Year performancethe Stuttgart Chamber Orchestraunder Michael Hofstetter have

joined forces with Stuttgart artistrosalie to create an evening in aninstallation using space and light,entitled cosmos 3. On the pro-gramme are Schönberg’s stringsextet Verklärte Nacht Op. 4 (1899 /1917) and Pierrot Lunaire Op. 21(1912) for Sprechstimme (MelanieWalz), piano, flute, clarinet, violinand cello (Stuttgart Chamber Theatre, 31 Dec and 1, 2, 3 Jan 2007).

34

szymanowski

of Wagner and Scriabin, form thebasis for the atmospheric effect ofthe piece, which can fascinate simply by virtue of its brilliantly coloured orchestral scoring.Frank Peter Zimmermann is playing the First Concerto from 21 to 24 January with the SWR Sym-phony Orchestra Baden-Baden andFreiburg under Sylvain Cambreling,in Offenburg, Gütersloh, Essen andBasle.

SZYMANOWSKI

Enfant terrible

The Concert Overture of the 23-yearold Karol Szymanowski reflects hispassionate ambition at the time tocreate modern Polish music of European magnitude. The influ-ence of the German late Romanticsis unmistakable. In this early cre-ative period a desire to provokealso continues to play a rolethroughout Szymanowski’s work –as when he looks forward to seeingthe critics ‘leaving the hall withcurses on their blue-stained lips’.The critics did not fail to wreaktheir revenge either, promptly ac-cusing him of betraying the classicPolish national music, of whichthey considered Fréderic Chopinthe patriarch. The Concert Overturecan be heard in Warsaw on 2 De-cember under Olari Elts (LatvianNational SO), and on 21-22 Dec inLeipzig under Andrey Boreyko(Gewandhaus Orchestra).

Szymanowski also had a lifelonginterest in the new expressive pos-sibilities of the violin – right fromthe beginning he provided the instrument with solo passages inhis orchestral works. The ViolinConcerto No. 1 Op. 35, written in1916, is in one movement only andthus departs from the classical for-mal model. Oriental and impres-sionistic influences, but also traces

35

kagel / otte

KAGEL

Mauricio Kagel

at 75

One need only read the titles ofMauricio Kagel’s works (like Mirumfor tuba, Breath for wind, or the impressive-sounding Unguis incar-natus est – which roughly means‘ingrowing toenails’) to gain someidea what an entirely originalsense of humour this 1931-born Argentinian composer has at hisdisposal. The subtitles and expla-nations of his pieces make for noless whimsical reading.One of his most important worksin the UE catalogue is Staats-theater, which represents ‘not onlythe denial of opera, but also of thewhole tradition of music theatre’.Perhaps this is why opera housesseldom expose themselves to thecriticism of this dramatic composi-tion; two performances at Ultima,Oslo in October being mostwelcome.

On 24 December Kagel – and, withhim, the entire music world – cele-brates his 75th birthday. UE joinsthem in extending their congratu-lations.

OTTE

Hans Otte at 80

Like Cerha and Kurtág, Hans Otte isnow 80 years old. The Germancomposer, pianist and conductor,born 3 Dec 1926, and who for sever-al years directed the music sectionof Radio Bremen, studied with (a. o.)Paul Hindemith, Walter Giesekingand Hermann Abendroth. Four ofhis works were entrusted to UE:the ballet Daidalos, the two Tropis-men for piano solo or piano and or-chestra, as well as Tasso-Concettifor soprano, flute, piano and per-cussion. We congratulate him onthis landmark anniversary!

Mauricio Kagel

36

brown / neuwirth

BROWN

Earle Brown

80 years on

American composer Earle Browndied four years ago – on 26 Decem-ber he would have been 80 yearsold, and accordingly the Royal Academy of Music is hosting a celebration of his achievements on9th February. His name is normallyassociated with Cage, Tudor,Feldman and Wolff, who in the1950’s founded the New YorkSchool. This was a collective of like-minded musicians who wanted totranscend the boundaries of cre-ative thinking and strive towards anew, free engagement with the pe-ripheries of music. Contact with

the visual arts proved an importantsource of inspiration; for Brown inparticular the thinking of Alexan-der Calder indicated the way for-ward. Already by the age of 26Brown had developed his own graphic notation; a year later hisfirst works in open form appeared –innovations which established himas one of the leading Americanavant-gardistes.

NEUWIRTH

Gösta Neuwirth

at 70

Universal Edition congratulatesmusic researcher and composerGösta Neuwirth, born in Vienna on6 January 1937, on his 70th birth-day. Fifteen of his works have beenpublished by UE: original pieces aswell as arrangements of Schrekerand Zemlinsky. At the age of 22Neuwirth had already dedicated astudy to Franz Schreker, and in1968 wrote a dissertation on hisharmony. In 1976 his chamber or-chestra version of Schreker’s Vomewigen Leben appeared. His ownworks are for small forces: solopieces or chamber music.

Earle Brown

37

the future’s bride

THE FUTURE’S BRIDE

New music – fit

for ‘experience-

orientated

society’?

True, that’s a somewhat provoca-tive question where art’s con-cerned. And ‘nothing but art!’ –right? But the fact is, this art alsoneeds an audience to which to ad-dress its concerns. And from the1990’s onwards this has meantcoming up against our so-called‘experience-orientated society’,which is no longer orientatedmerely towards physical survival,but above all towards beautiful orpositive sensations. Now beauty isa very subjective quality – a heavymetal fan could hardly find muchpleasure in a classical music lover’sCD collection, and vice versa – andas such opens up a host of possiblechoices for each individual. Thishowever doesn’t mean that the individual operates entirely inde-pendently of any group. On thecontrary – according to sociolo-gists, an individual’s style is formedout of conscious convergence withthe preferences or dislikes of oth-ers and partly conscious departurefrom them.If this trend continues then it wouldseem that in the experiencence-

orientated society individualitymust increase at the expense ofconformity. A phenomenon whichdemonstrates clear parallels withnew music – which, despite famil-iar basic elements such as sounds,rhythms etc. quite consciously isn’t‘art for the masses’ – and therebymakes it more suitable for our soci-ety than ever. Indeed, perhaps inthis development new music – orart in general – will be vindicatedin its pioneering role!

Murray Schafer Divan/Shams/Tabris

anniversaries

38

200680th Anniversary Earle Brown * 26 December 192675th Birthday Mauricio Kagel * 24 December 1931

80th Birthday Hans Otte * 03 December 1926

2007

75th Anniv. of Death Eugen d'Albert † 03 March 193270th Birthday David Bedford * 04 August 1937125th Anniversary Walter Braunfels * 19 December 188220th Anniv. of Death Morton Feldman † 03 September 198780th Birthday Michael Gielen * 20 July 1927125th Anniversary Zoltán Kodály * 16 December 1882125th Anniversary Gian Francesco Malipiero * 18 March 1882125th Anniversary Joseph Marx * 11 May 188275th Birthday Richard Meale * 24 August 193270th Birthday Gösta Neuwirth * 06 January 193760th Birthday Paul Patterson * 15 June 194750th Birthday Thomas Daniel Schlee * 26 October 195750th Anniv. of Death Othmar Schoeck † 08 March 1957125th Anniversary Karol Szymanowski * 06 October 188270th Anniv. of Death Karol Szymanowski † 29 March 193750th Birthday Julian Yu * 02 September 1957

200825th Anniv. of Death Cathy Berberian † 06 March 1983

90th Anniversary Gottfried von Einem * 24 January 191870th Birthday Zygmunt Krauze * 19 September 193880th Anniversary Gerhard Lampersberg * 05 July 1928

100th Anniversary Olivier Messiaen * 10 December 190860th Birthday Nigel Osborne * 23 June 194860th Birthday Peter Ruzicka * 03 July 194870th Birthday Tona Scherchen * 12 March 1938

anniversaries

39

75th Anniv. of Death Max von Schillings † 24 July 193380th Birthday Karlheinz Stockhausen * 22 August 1928

100th Anniversary Eugen Suchon * 25 September 1908

200950th Anniv. of Death George Antheil † 12 February 195975th Birthday Harrison Birtwistle * 15 July 193475th Anniv. of Death Frederick Delius † 10 June 1934

80th Birthday Edison W. Denisow * 06 April 1929150th Anniversary Joseph Bohuslav Foerster * 30 Dec 185990th Anniversary Roman Haubenstock-Ramati * 27 Feb 191950th Anniv. of Death Josef Matthias Hauer † 22 September 1959

200th Anniv. of Death Joseph Haydn † 31 May 180950th Anniv. of Death Bohuslav Martinu † 28 August 195980th Birthday Henri Pousseur * 23 June 192975th Birthday Bernard Rands * 02 March 1934

100th Anniversary Karl Scheit * 21 April 190975th Anniversary Alfred Schnittke * 24 November 193475th Anniv. of Death Franz Schreker † 21 March 1934

100th Anniversary Alfred Uhl * 05 June 190990th Anniversary Roman Vlad * 29 December 191950th Anniv. of Death Eric Zeisl † 18 February 1959

201050th Anniv. of Death Hugo Alfvén † 08.05.196075th Anniv. of Death Alban Berg * 24.12.1935

80th Birthday Paul-Heinz Dittrich * 04.12.193080th Birthday Cristóbal Halffter * 24.03.1930

100th Anniversary Rolf Liebermann * 14.09.1910150th Anniversary Gustav Mahler * 07.07.1860

75th Birthday Arvo Pärt * 11.09.193580th Anniversary Toru Takemitsu * 08.10.1930125th Anniv. of Death Egon Wellesz * 21.10.1885

world premières

40

VICTORIA BORISOVA-OLLAS In a World Unspoken for saxophone quartet and organTetraphonics Quartett, Rose Reich, organ10 December 2006 · Evangelische Stadtkirche Calw/D

WOLFGANG RIHM Grave in memoriam Thomas Kakuskafor string quartet (2 violins, viola, cello)Alban Berg Quartett28 January 2007 · Konzerthaus, Mozartsaal Vienna/A

MAURICIO SOTELO Tisrafor piano trioTrio Arbos15 December 2006 · Instituto Cervantes Paris/F

FRIEDRICH CERHA Momente for orchestraBavarian Radio Symphony Orchestrac. Arturo Tamayo1 December 2006 · Herkulessaal Munich/D

new releases

41

ALBAN BERGViolin Concerto for violin and orchestra ed. by Douglas Jarman score UE 30973

FLORIAN BRAMBÖCKWorld Music - Celtic Flute Duets Traditional Music from Scotland and Ireland for two flutes UE 33040

MORTON FELDMANCoptic Light for orchestra study score UE 21340

ROBERT HUDSON 30 Modern Studies for trumpet UE 21316

JAMES RAE Jazz Zone – Flute with CDAn Introduction into Jazz Improvisation for flute UE 213572

WOLFGANG RIHM Zwei Sprüche for baritone and piano UE 33072

ROBERT SCHUMANNComplete works for piano for four handsUT 50078

ROBERT SCHUMANNSonatas for violin and pianoVolume 2 incl. F.A.E.-Sonata and Sonata N0. 3 WwO 2 UT 50238

RICHARD STRAUSSDer Abend, op. 34/1, Zwei Gesänge N0. 1 for 16-voice chorus SATB choral score UE 33354 (replaces UE 1482)

PETER I. TSCHAIKOWSKYChildren’s Album arr. for flute and piano by Ulrich Müller-Doppler and Peter LudwigUE 33092

new releases

42

MIKE CORNICK

The best of

Mike Cornick

with CD for piano

UE 21314

„Mike Cornick … I think he’s the bestjazzy composer around”John York, PIANO (Sept/Oct 2005)

Exploring Popular Jazz Styles forPiano, Ragtime, Boogie, the Blues,Swing and the Walking Bass, Bal-lad, Latin / Latin-Jazz, Jazz Waltzand Classical / Jazz Fusion.

This bumper anthology with CD isa great resource for developing pianists of any age and also forteachers, covering a wide range oftechnical levels from the earlyyears to more advanced stages.Pieces are mainly for solo piano,but there are some duets and evenone title for three players at onepiano, with historical notes andstyle tips from Mike Cornick. Newand some previously published pieces, acting as pointers to furtherbooks on the relevant styles, are included.

HUGO ALFVÉN The 5 SymphoniesPhilharmonic Orchestra Stockholm, c. Neeme JärviBIS/Klassik Center Kassel BIS 5 CDs 1478-80

LUCIANO BERIO / MANUEL DE FALLA 7 Canciones populares espanolasGothenburg SO , Alison Balsom, trp, c. Edward GardnerEMI Classics CD 3 53255 2

LUIGI DALLAPICCOLA Ciaccona, Intermezzo e AdagioZOLTÁN KODÁLY Sonate

Giovanni Gnocchi, vlc, Valentin Radutiu, vlc UNIMOZ CD 25

MORTON FELDMAN String Quartet No. 1 The Group for Contemporary Music: Benjamin Hudson, vln, Carol Zeavin, vln, Lois Martin, vla, Joshua Gordon, vlc Naxos CD 8.559190

JOSEF BOHUSLAV FOERSTER Meine Jugend, Symphony No. 4Slovak Radio Symphony Orchestra, c. Lance FriedelNaxos CD 8.557776

CRISTÓBAL HALFFTER Odradek, Dortmunder Variationen, Tiento delprimer tono y batalla imperialRSO Frankfurt, c. Cristóbal Halfftercol legno WWE 1 CD 20204

LEOS JANÁCEK Sinfonietta, Taras Bulba, Das schlaue Füchslein (Suite) Bamberger Symphoniker, c. Jonathan NottTudor/Naxos SACD 7135

MAURICIO KAGEL The Mauricio Kagel EditionPandorasbox, Ludwig vanEdition Winter & Winter 2 CDs, 1 DVD 910 128-2

HEINRICH KAMINSKI String QuartetERWIN SCHULHOFF String Quartet No. 1

Casal Quartet Telos Music Records CD TLS 111GUSTAV MAHLER Des Knaben Wunderhorn (14 Lieder)

Sarah Connolly, MS, Dietrich Henschel, Bar, Orchestre des Champs-Elysées, c. Philippe Herreweghe Harmonia Mundi France CD 901920

ARVO PÄRT Triodion, Ode VII ( Memento), I Am the True Vine, Dopo la VittoriaElora Festival Singers, Noel EdisonNaxos CD 8.570239

ALFRED SCHNITTKE Piano TrioLiszt-Trio Weimar Aeon/Hm CD 0639

43

new on cd / dvd

44

new on cd / dvd

ANTON WEBERN VariationenLEOPOLD SPINNER Sonata

Steffen Schleiermacher, pn MDG 613 1282-2

KURT WEILL The Threepenny Opera Karin Baal, Hans Clarin, Franz Josef Degenhardt, Berta Drews,Martin Held, Hannes Messemer, Helmut Qualtinger,dir: Harald Vock, c. James LastPolydor 2 CD 442 8349

ALEXANDER ZEMLINSKY Lyric Symphony Matthias Goerne, Christine Schäfer, Orchestre de Paris,c. Christoph Eschenbach Capriccio CD 71081

EARLE BROWN CorroboreeM. KAGEL MimeticsH. POUSSEUR CaractèresSteffen Schleier-macher, JosefChristof, pnMDG 613 1005-2

ARVO PÄRTSpiegel im SpiegelAlexei Lubimov,pn, Kyrill Rybakov, clarECM New Series1959 CD 4763108

F. SCHREKER Die Gezeichne-ten SalzburgerFestspiele 2005,Deutsches SOBerlin, c. KentNagano, Regie:Nikolaus LehnhoffArthaus DVD2055298

KAROLSZYMANOWSKIHarnasie, DesHafiz Liebes-lieder ua.City of Birming-ham SO &Chorusc. Simon RattleEMI Classics CD0946 3 6443522

45

kagel worklist

MAURICIO KAGEL Worklist

Acustica for loudspeakers 40’ 1968/1970

Acustica duration flexible 45 - 75’ 1968/1970

for experimental sound sources and loudspeakers

Acustica for instrumentalists minimum duration 25’ 1968/1970

An Tasten piano étude 16’ 1977

Anagrama for 4 voices, speaking choir + chamber ensemble 17’ 1957/1958

Atem for one wind player 15 - 25’ 1969/1970

Camera Oscura chromatic game for light sources and actors 14’ 1965

Exotica for 6 singing instrumentalists with, each with 50’ 1971/1972

at least ten non-European instruments

Hallelujah for voices 15 - 40’ 1967 - 1968

Film version: West German TV, Cologne (available for hire) 47’ 1968/1969

Die Himmelsmechanik minimum duration 16’ 1965

composition for stage setsImprovisation ajoutée music for organ 15’ 1961 - 1962

for 1 performer, 2 assistants and three-part choir ad lib. version 1968

Kammermusik für Renaissance-Instrumente 26’ 1965/1966

In memoriam Claudio Monteverdi for 2 - 22 players

Kantrimiusik Pastorale for voices and instruments 48’ 1973/1975

(can also be performed as a stage work)

Kommentar + Extempore soliloquies with gestures 30’ 1966/1967

for two actresses, one actor and 1-3 tape recorders

Ludwig van Hommage to Beethoven 15’ 1969

for any combination of forces

1) The score consists of extracts from a series of close-ups of film props

which have been completely pasted over with scores of Beethoven´s music

2) Film version: West German TV, Cologne (available for hire). 100’ 1969

Match for 3 players 18’ 1964

Film version: West German TV, Cologne (available for hire) 21’ 1964

Metapiece (Mimetics) for piano duration flexible 1961

Mirum for tuba ad. lib (8-20’) 1965

MM 51 Ein Stück Filmmusik für Klavier (und Metronom) 5’ 1976

Film version: Swiss TV, Zurich (available for hire) 2 x 10’ 1976

Morceau de concours for 1 or 2 trumpets 9’ 1972

Musik für Renaissance-Instrumente 26’ 1965 - 1966

for 23 instrumentalists

46

Old / New Etude for solo trumpet 1’15’’ 1986

Pas de cinq Perambulation scene for 5 actors + percussionists 15’ 1965

Phantasie for organ with obbligati (2 tape recorders) 13’ 1967

Phonophonie 4 melodramas for 2 voices and other noise sources 25’ 1963

Videotapes: VHS system (available for hire) 38’ 1963

Prima Vista duration flexible 1991/92

for slide-show and an indeterminate number of noise sources

“Programm. Gespräche mit Kammermusik"

(‘Programme: Dialogues with Chamber Music’)

No. 1 - Abend for double vocal quartet, trombone quintet 6 - 12’ 1972

electric organ and piano

No. 2 - Aus Zungen stimmen for accordion quintet 6’ 1972

No. 3 - Charakterstück for zither quartet 6’ 1971

No. 4 - Gegenstimmen for mixed choir + obbligato harpsichord 6’ 1972

No. 5 - General Bass for continuous instrumental sounds 6’ 1971 - 1972

No. 6 - Die Mutation for male choir and obbligato piano 8’ 1971

No. 7 - Musi for orchestra of plucked instruments 6’ 1971

No. 8 - Rezitativarie for singing harpsichordist 6’ 1971 - 1972

No. 9 - Siegfriedp’ for cello 6’ 1971

No. 10 - Unguis incarnatus est for piano and... (any combination) 6’ 1972

No. 11 - Vom hören sagen for female voice and 6’ 1971-1972

obbligato harmonium

Staatstheater Stage compostionen maximum duration 100’ 1967/1970

No. 1 - Repertoire duration flexible 20 - 60’ 1967 - 1970

Staged concert work for at least five actors or instrumentalists

No. 2 - Einspielungen Music for loudspeakers min. duration 12’ 1967/1970

for instrumental and/or vocal forces ad lib. or as self-sufficient tape piece

No. 3 - Ensemble for 16 voices minimum duration 15’ 1967 - 1969

No. 4 - Debüt for 60 voices minimum duration 25’ 1967 - 1970

No. 5 - Saison ‘Sing-Spiel’ in 65 tableaux mininimum duration 20’ 1970

for mixed choir a cappella

No. 6 - Spielplan mininimum duration 30’ 1967/1970

Instrumental music in action for 5 - 7 actors (predominantly percussion)

No. 7 - Kontra-Danse ballet for non-dancers min. duration 15’ 1967/1970

No. 8 - Freifahrt mininimum duration 10’ 1967/1970

gliding chamber music for 18 to 36 players

No. 9 - Parkett mininimum duration 20’ 1967/1970

concertante crowd scenes for 10 to 76 participants

A selection from the above parts is possible

kagel worklist

47

Tremens theatrical montage of a medical examination 45’ 1963 - 1965

for 2 performers, electric instruments, percussion,

projection and tapes

Musik aus Tremens for 5 players 15 - 20’ 1963 - 1965

(“Music from Tremens” is a purely instrumental version of “Tremens”)

Variaktionen über Tremens 25’ 1963 - 1965

theatrical montage of a medical examinationfor 2 actors, tape and projection

Sexteto de cuerdas for string sextet 8’50’’ 1953

String Quartet I/II 2 x 10’ 1965-1967

Transición II 8 - 24’ 1958/1959

for piano, percussion and 2 tape recorders

Variationen ohne Fuge maximum duration 21 - 25’ 1971/1972

on “Variations and Fugue” on a theme of Handel for piano by Johannes Brahms (1861/62) for large orchestra

Zwei-Mann-Orchester for 2 ‘one-man orchestras’ 45 - 60’ 1971 - 1973

for two ‘orchestral machines’ (constructed by the performers)

The complete work list, with all more specific details, can be found at:www.universaledition.com

kagel worklist

UNIVERSAL EDITION

Austria: A-1015 Vienna, PO Box 3

tel +43-1-337 23 - 0, fax +43-1-337 23 - 400.

UK: 48 Great Marlborough Street, London W1F 7BB

tel +44-20-7437-6880, fax +44-20-7292-9173.

USA: European American Music Distributors LLC

35 East 21st Street, 8th Floor, New York, NY 10010

tel +1-212-871-0230, fax +1-212-871-0237.

Web: www.universaledition.com

Chief Editors: Angelika Dworak and Eric Marinitsch

Contributors: Bálint András Varga, Angelika Dworak, Eric

Marinitsch, Rebecca Dawson, Marion Hermann and Nick Cutts

Design: Egger & Lerch, Vienna

Photo Credits: Biennale di Venezia / G. Zucchiatti, UE Archive,

Eric Marinitsch (4), Peter Manninger, Martina Holmberg, Manon

Praetorius, Teatro Real / Javier del Real, SWR / Wolf-Dieter

Gericke, Barbara Feldman Monk, Raymond Asseo, Amadeus

Gurlitt, Komische Oper Berlin / Monika Rittershaus, Theater

Bielefeld / Matthias Stutte, Mara Eggert, Teatro Colón / Miguel

Micciche, Gisella Salden-Goth, C.F. Peters, Katharina Stögmüller,

Murray Schafer, Residenz München, C.F. Peters / Stefan Conradi

(2); CDs: MDG, ECM New Series, Arthaus, EMI Classics.