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10 Friedrich Cerha 

Eruptive blocks of sound for 

percussion in Salzburg 

11 Cristóbal Halffter 

Carta Blanca for the doyen 

of Spanish music in Madrid 

14 Victoria Borisova-Ollas 

The deer cries in Stuttgart 

16 David Sawer 

Rumpelstiltskin dances 

17 Little Red Violin 

A fairy tale for family concerts 

Pierre Boulez 

“I could understand Wozzeck 

better when I knew Mahler.” 

Boulez opens our series 

of video interviews 

on Gustav Mahler 

(see p. 4 and 5) 

newsletter 

04/09 • autumn 2009

2 

Contents 

WP = World Première 

NEWS 

Gustav Mahler: 

video interviews — 4 

URL-shortener for links — 5 

COMPOSERS 

Staud — 7 

Rihm — 9 

Cerha — 10 

Halffter — 11 

Haas — 13 

Sotelo — 13 

Borisova-Ollas — 14 

Luke Bedford — 14 

Pärt — 15 

Baltakas — 15 

Lentz — 16 

Sawer — 16 

Dudley / Isserlis — 17 

Boulez — 19 

Burt — 20 

Gurlitt — 20 

Birtwistle — 21 

Kurtág — 21 

Kagel — 22 

Stockhausen — 22 

Haubenstock-Ramati — 22 

Festival d’Automne — 23 

Feldman — 23 

Berio — 24 

Bartók — 25 

Kodály — 25 

Weill — 27 

Martin — 28 

Schnittke — 28 

Szymanowski — 29 

Satie — 29 

Webern — 30 

Martinů — 30 

contents 04/2009

Berg — 31 

Zemlinsky — 32 

Schreker — 32 

Schönberg — 33 

Mahler — 34 

Haydn — 35 

Braunfels — 35 

Janáček — 37 

ANNIVERSARIES — 38 - 39 

WORLD PREMIÈRE — 40 - 41 

NEW RELEASES — 42 - 43 

NEW ON CD — 44 - 45 

WORKLIST 

Luke Bedford — 46 

ACKNOWLEDGEMENTS — 48 

Dear Readers, 

delivering a guest performance at 

the Vienna Konzerthaus on 10 Jun, 

the Bamberger Symphoniker held 

its audience captivated with the 

following programme: 

Arnold Schönberg’s Drei Klavierstücke 

op. 11, performed by Pierre- 

Laurent Aimard and Alban Berg’s 

Drei Orchesterstücke op. 6. As a finale, 

they performed Béla Bartók’s 

Concerto for piano and orchestra 

No. 1. The concert was sold out and 

highly acclaimed. 

So, is this really worth mentioning? 

It probably wouldn’t be under ‘normal’ 

circumstances, but in times 

of tight budgets, retreating to the 

supposedly safe territory of classical 

and romantic music may only 

bring deceptive success. Audiences 

are far more open-minded than is 

often assumed, provided modern 

classical works and new music are 

presented in a meaningful context 

and at a high level. To this end, such 

programmes are really no risk at all 

– rather, a strong investment in the 

future. 

The Editorial Team 

3

4 

UNIVERSAL EDITION 

Gustav Mahler – video interviews 

To celebrate the two Mahler anniversaries (150 th birthday in 2010; 100 th 

anniversary of death in 2011) we have launched our new Mahler blog, 

where during the next two years we will be publishing interviews with 

conductors, orchestra managers and musicologists. 

www.universaledition.com/mahler 

news 

Pierre Boulez 

“I could understand Wozzeck better 

when I knew Mahler.” 

Christoph Eschenbach 

“Mahler is certainly the greatest 

symphonist of all time.” 

Daniel Barenboim 

“I started to conduct Mahler out of 

spite.” 

Daniele Gatti 

“For conductors Mahler seems to 

be to be the most personal composer” 

Michael Tilson Thomas 

"I divide my life into before and 

after having heard Mahler for the 

first time."


URL-shortener 

for links 

We’re now using www.bit.ly. You 

asked for additional links in our 

articles so we’re now using a URLshortener, 

enabling us to include 

even more of them. Wherever you 

see something like www.bit.ly/ 

composers, just type it into your 

browser, and you’ll be redirected to 

Franz Welser-Möst 

“The specific sound of the Vienna 

Philharmonic Orchestra influenced 

him in a big way.” 

Jonathan Nott 

“You have to give your whole self 

when conducting Mahler.” 

Kent Nagano 

“Mahler expresses life's reality.” 

the original page, in this case 

www.universaledition.com/ truman/en_templates/en_composer. 

php3. Saves a bit of typing, too … 

(We can’t accept responsibility for 

third party links.) 

news 

5

STAUD 

Klangspuren 

focus 

Segue. Music for cello and 

WP orchestra by Johannes 

Maria Staud was performed 

for the first time in its revised version 

in Berlin on 20 Feb under 

Lothar Zagrosek. “Staud creates an 

astonishing stylistic rupture, which 

practically forces one to listen” 

wrote the Tagesspiegel on Segue. 

The work can now be heard twice 

in Austria: the Klangspuren Schwaz 

perform the Austrian première as 

the start of a feature on Staud 

(Tirol SO Innsbruck, Anssi Karttunen, 

vc, c. Johannes Kalitzke), and 

Wien Modern has programmed it 

on 13 Nov (RSO Wien, Jean-Guihen 

Queyras, vc, c. Bertrand de Billy). 

The Klangspuren Festival Schwaz 

also features Configurations/Reflet 

and A map is not the territory 

(12 Sep, International Ensemble 

Modern Academy, c. Franck Ollu). 

The Festival Musica in Strasbourg 

performs the French première of 

Im Lichte. Music for two pianos and 

orchestra (Philharmonisches Orchester 

Freiburg, c. Fabrice Bollon, 

Tamara Stefanovich, Florent Boffard, 

pno, 20 Sep). Lagrein can also 

be heard there on 30 Sep. 

Incipit receives its Dutch première 

on 20 Oct in Amsterdam, where 

Ensemble Modern perform with 

Uwe Dierksen on trombone. 

There is a further Staud première 

this autumn: The revised version of 

One Movement and Five Miniatures 

for harpsicord, live electronics 

and ensemble is premièred at the 

musikprotokoll in Graz/A on 9 Oct 

(Klangforum Wien under Sylvain 

Cambreling). The same performance 

can be heard again at Wien Modern 

on 3 Nov. www.wienmodern.at 

Johannes Maria Staud 

staud 

7

Video still © Yan Proefrock. Festival d'Automne 

RIHM 

Three women 

When Wolfgang Rihm 

WP was asked to write a kind 

of requiem, he decided on 

a title – ET LUX – taken from the 

Latin requiem text. The composition 

for string quartet and choir 

sees its première on 15 Nov at the 

Cologne Philharmonic, where the 

Arditti Quartet and the Hilliard Ensemble 

perform. 

See www.bit.ly/rihm2 

This work is a commission by Köln- 

Musik, Festival d’Automne in Paris 

and Carnegie Hall. It is performed 

in Paris on 17 Nov. The British première 

is on the programme for the 

opening of this years’ Huddersfield 

Festival on 20 Nov. 

Rihm's most recent music-theatrical 

composition is Drei Frauen 

(Three women), which premières 

on 25 Sep in Basel (director: Georges 

Wolfgang Rihm 

Delnon). The work is in three parts: 

Aria/Ariadne (2002), Das Gehege 

(2006) and Penthesilea-Monolog 

(2005). Rihm has composed additional 

bridge material, and the juxtaposition 

of the three gives new 

perspectives and insights. 

www.bit.ly/rihm3 

The French première of DEUS PAS- 

SUS occurs on 26 Sep at the Festival 

Musica in Strasburg (SWR RSO 

Stuttgart under Jonathan Stockhammer). 

Myung-Whun Chung 

conducts Das Lesen der Schrift on 18 

Sep in Paris (Orchestre Philharmonique 

de Radio France). Male 

über Male 2 gets its Dutch première 

on 22 Oct (Muziekgebouw 

aan 't IJ; Asko/Schönberg Ensemble, 

conducted by Reinbert de 

Leeuw, Jörg Widmann, clarinet). 

Jagden und Formen can be heard in 

Berlin on 20 Nov at the Haus der 

Festspiele in its critically acclaimed 

stage version by dance company 

Sasha Waltz & Guests with Ensemble 

Modern under Franck Ollu. 

rihm 

9

10 

CERHA 

Impenetrable web 

Friedrich Cerha asserts 

WP himself with two world 

premières this autumn 

Instants for grand orchestra “is a sequence 

of spontaneously created 

small elements”, says the composer, 

“which constantly relates back 

to itself in variations, giving rise to 

an impenetrable web of relationships, 

in which – I hope – the ‘sweat 

of the labourer’ cannot be heard”. 

The work is christened on 20 Nov 

by the Kölner Philharmonie (WDR 

Sinfonieorchester Köln, c. Peter 

Rundel). See www.bit.ly/cerha3 

Friedrich Cerha 

cerha 

Cerha wrote his Concerto for Percussion 

and Orchestra in 2007/8 for 

the exceptional young percussionist 

Martin Grubinger. The solo part 

has a different instrumentation in 

each of the three movements, in 

which the percussionist changes 

position each time, before coming 

back to the first position for the 

last movement. “Contrary to the 

usual approach, all the percussion 

instruments – even the tom-toms, 

temple blocks, woodblocks and 

cowbells – are precisely tuned”, 

writes the composer, “the first and 

third sections of the first movement 

and the end of the piece are 

marked by eruptive blocks of 

sound, dominated by drums”. Ivor 

Boton directs the Mozarteum Orchester 

Salzburg at the Salzburg 

première on 4 Oct. 

www.bit.ly/cerha2 

There are three further opportunities 

to hear works by Cerha in Austria 

this autumn: Quellen for ensemble 

on 16 Sep at the Linzer 

Brucknerhaus, 5 Sätze für Klaviertrio 

on 23 Sep in Schwaz and Monumentum 

für Karl Prantl on 13 Nov 

in Vienna – RSO Wien, conducted 

by Bertrand de Billy.

Cristóbal Halffter 

HALFFTER 

Upstanding 

resistance 

A key part of the creative 

WP business these days is 

self-presentation of the 

highest possible degree; the type 

of artist who thinks of his creative 

process as a passion and a duty to 

the intellect has become rare. 

Spanish composer Cristóbal Halffter 

has stayed remarkably faithful to 

his calling as warning voice for his 

country. During Franco's dictatorship 

much of his artistic inspiration 

came about as a result of his resistance 

to tyranny, but he was always 

more than an upstanding musician 

of the resistance. Madrid's Auditorio 

and the Spanish national orchestra 

now honour Halffter with a 

Carta Blanca, which gives an 

overview of the multifaceted 

creativity of the doyen of Spanish 

music in a number of concerts. The 

high point of the festival will no 

doubt be the première of De ecos y 

sombras for orchestra (13, 14, 15 Nov). 

Concierto para violoncelo y orquesta 

no. 2 and Preludio para Madrid 

’92 can also be heard at the same 

concert, where the composer conducts. 

Concierto for piano and orchestra 

and Tiento del primer tono 

y batalla imperial can also be 

heard under Carlos Kalmar, with 

soloist Nicolas Hodges (6–8 Nov). 

Further highlights include a chamber 

concert on 11 Nov, featuring 

Formantes, Ecos de un antiguo 

órgano, El juguete olvidado, Volver 

al listado, among others. More details 

on the programme can be 

found at www.bit.ly/halffter1 

halffter 

11

Georg Friedrich Haas and Friedrich Cerha 

HAAS 

Hommage to 

Mendelssohn 

The 2009 Mendelssohn 

WP Festival will include a 

world première of Georg 

Friedrich Haas’ Traum in des Sommers 

Nacht in Leipzig on 28 and 30 

Aug. Haas admires Mendelssohn, 

particularly when “the composition 

of the sound is the main part 

of the musical composition”. According 

to Haas, “Mendelssohn 

forestalled Schönberg’s utopia of a 

‘sound-colour-melody’. He opened 

doors to a room that the serial music 

of the 1950s was to enter later.” The 

Gewandhaus Orchestra will perform 

his new work under Riccardo 

Chailly. www.bit.ly/haas1 

The Klangspuren Schwaz festival 

will include a performance of ins 

Licht for violin, cello and piano on 

23 Sep. Open Spaces II for 12 string 

instruments and 2 percussion can 

be heard at the same festival on 27 

Sep with Ensemble Resonanz. 

SOTELO 

Wailing wind 

The Festival de Mùsica de 

Alicante is one of the 

most important of its kind 

in Spain. For its 25th anniversary, 

the festival honours Mauricio Sotelo 

with a series of performances. The 

central part of the series is the première 

of La mémoire incendiée: la 

guitare for string quartet (Diotima 

Quartett, 23 Sep), but Sotelo's guitar 

concerto Como llora el viento is 

also presented for the first time in 

a chamber version (Grup Instrumental 

de Valencia, Canizares, guit, 

18 Sep). Alicante also sees the 

Spanish première of Chalan. 

(musikFabrik, c. Anu Tali, Dirk Rothbrust, 

perc, 19 Sep). 

www.bit.ly/sotelo2 

To mark the 25th WP 

birthday of the 

Klangforum Wien, Sotelo wrote 

Klang-Muro-for-Klangforum, which 

premières at the musikprotokoll in 

Graz/A on 9 Oct, and can be heard 

again on 3 Nov at the Wien Modern: 

www.wienmodern.at 

haas / sotelo 

13

14 

BORISOVA-OLLAS 

The deer cries 

in Stuttgart 

Mendelssohn considered 

his setting of the 42nd Psalm to be his best sacred 

work. In continuation of Mendelssohn’s 

200th WP 

anniversary celebrations, 

the Bachakademie Stuttgart 

presents a concert of Mendelssohn’s 

music combined with contemporary 

compositions. Hans-Christoph Rademann 

conducts the RIAS Chamber 

Choir Berlin and the RSO Berlin 

in the world première of Victoria 

Borisova-Ollas’ Psalm 42 (As the Deer 

Cries) for orchestra, mixed choir 

and soloists (commissioned by the 

International Bach Academy Stuttgart). 

Caroline Stein and Christof 

Fischesser are the soloists on 13 Sep 

in the Domkirche St. Eberhard, 

Stuttgart. The concert is repeated 

two days later at the Konzerthaus 

in Berlin. See www.bit.ly/borisova1 

Victoria Borisova-Ollas 

LUKE BEDFORD 

Birmingham 

commission 

Luke Bedford, whose unique, 

assured style has won 

him many accolades, continues 

to be much in demand. The 

CBSO Youth Orchestra is the latest 

ensemble to commission a work 

from him: they will be performing 

the world première of his new orchestral 

piece, Più Mosso, later this 

year, conducted by Thomas Søndergård. 

The concert will take place 

on 1 Nov, at Birmingham’s Symphony 

Hall, where there will also be a chance 

to hear Bedford discuss the work in 

a pre-concert talk with Simon 

Webb. See www.bit.ly/bedford1 

Bedford continues his fruitful relationship 

with the London Sinfonietta 

with Great Bass Rackett for solo bassoon 

commissioned by the group in 

celebration of its 40th WP 

birthday. 

Details will be announced shortly. 

borisova-ollas / 

luke bedford

Arvo Pärt 

PÄRT 

Premières 

of No. 4 

Arvo Pärt’s Symphonie No. 4 ‚Los 

Angeles' (dedicated to Mikhail 

Khodorkovsky) has already been 

performed ten times since it premièred 

in January ‘09, and seven 

further performances are scheduled 

for the autumn, with premières 

in Germany and Latvia (Kremerata 

Baltica, T. Kaljuste), Canada 

(Toronto Philharmonia, K. Stratton) 

and Estonia (Tallinn Chamber Orchestra 

& Sinfonietta, E. Klas) and 3 

performances in the Netherlands 

(Noord Nederlands Orkest, A. Hermus). 

As part of a CD project, two major 

works for choir and orchestra can 

be heard at the Konzerthaus Berlin 

on 14 and 15 Nov: Cantique des degrés 

(commissioned by Princess 

Caroline for her father Prince 

Rainier of Monaco, 1999) as well as 

the German première of the 2008 

version of Stabat Mater for choir 

and string orchestra. K. Järvi will 

conduct the Rundfunk-Sinfonieorchester 

Berlin and Rias 

Kammerchor. 

BALTAKAS 

Urban sound 

collage 

"He collected sound material, altered 

it and pasted it together as 

an urban music and sound collage, 

without any panic and without any 

emotional response to the social 

environment." This is how Achim 

Ost descibes Vykintas Baltakas' latest 

work, Lift to Dubai, for Ensemble 

Modern, composed after his 

four week stay in Dubai and premièred 

on 27 May in Berlin. It is at 

the same time a raw and direct, yet 

lyrical and warm work. Score and 

recording are available for perusal. 

pärt / baltakas 

15

16 

LENTZ 

A hundred 

million suns 

Georges Lentz' new work for orchestra, 

Guyuhmgan, was premièred 

in Luxembourg this summer. 

Contact us for a perusal score 

and recording. This September, his 

viola concerto, Monh, will be given 

its Polish première as part of the 

2009 Warsaw Autumn. Antoni Wit 

conducts the Warsaw Philharmonic 

Orchestra (18 Sep); Lawrence 

Power is the soloist. Lentz gives the 

music a “sense of perspective … as 

though a barely registered noise 

represented the collapse of a hundred 

million suns.” (Sydney Morning 

Herald) See www.bit.ly/lentz1 

SAWER 

A grotesque 

fable ... 

On 14 Nov the world pre- 

WP 

mière tour of Rumpelstiltskin 

by David Sawer opens 

– with two performances – at the 

CBSO Centre in Birmingham, UK. 

David Sawer, Richard Jones (director) 

and Stewart Laing (designer) 

re-tell the familiar Brothers Grimm 

David Sawer 

lentz / sawer 

tale about greed and come-uppance 

in a completely new way, 

using dance, action and music 

alone. Performed by 6 dancers and 

the 14 players of BCMG (which 

commissioned the work), conducted 

by Martyn Brabbins, Rumpelstiltskin 

takes a fresh look at the 

age-old themes of transformation, 

ritual and revelation. (Four further 

performances: 20 & 21 Nov, 

Tramway, Glasgow; 22 Nov, Bates 

Mill, HCMF. See www.bcmg.org.uk) 

Prior to the BCMG tour comes a 

performance of Satz by the Wiener 

Klaviertrio (23 Sep, Schwaz/A) as 

well as a performance of Between, 

for solo harp (1 Oct, Louise T. Blouin 

Institute, London).

DUDLEY / ISSERLIS 

Music for 

family concerts 

“Once upon a time there was a 

beautiful little violin. She was covered 

with deep red varnish and she 

was known as Little Red Violin. She 

had a lovely tone and played such 

sweet music that everybody loved 

her, especially her Grandmother, 

Grandmother Stradivarius …” 

These are the opening lines of our 

new work for narrator, solo violin, 

solo cello and string orchestra by 

Anne Dudley and Steven Isserlis: 

Little Red Violin (and the Big Bad 

Cello) – also available in a version 

with piano accompaniment. This 

exquisite fairytale, perfect for family 

concerts, is an original and witty 

variation on the Little Red Riding 

Hood story. 

Anne Dudley and Steven Isserlis 

Anne Dudley Steven Isserlis 

hardly need any introduction. Dudley, 

founding member of Art of 

Noise and keyboard player for 

Frankie Goes to Hollywood in the 

1980s, is internationally renowned 

as a composer of music for film 

and television, writing for The Crying 

Game, Jeeves and Wooster, and 

more recently for the HBO drama 

The Tenth Kingdom. Her soundtrack 

for The Full Monty won her an 

Oscar in 1998. 

Isserlis is known on the world’s 

concert stages as a first-class ‘cellist. 

His recent recording of Schumann’s 

Music for cello and piano (with 

Dénes Várjon) was highly praised 

by Gramophone Magazine and 

BBC Music magazine. 

Little Red Violin is now available for 

performance worldwide. Listen to 

an excerpt (of the piano trio) at 

www.bit.ly/dudley1 The first ten 

pages of the score are online at 

www.bit.ly/dudley2 online. 

Also visit www.annedudley.co.uk 

and www.stevenisserlis.com 

dudley / isserlis 

17

BOULEZ 

Homage 

to the master 

“Boulez is a joy to listen to” – such 

were Igor Stravinsky’s words after 

hearing Pierre Boulez’ Le Marteau 

sans maître for the first time. This 

classic piece of modern music for 

alto and six instruments is just one 

item on the programme (hr-Ensemble 

for New Music, c. Arturo 

Tamayo, 21–22 Nov) of an extensive 

portrait of the composer, which the 

Alte Oper Frankfurt will be holding 

for Boulez at the start of the new 

Pierre Boulez 

season. 

www.alteoper.de, 

www.hr-online.de 

The programme also includes: 

Structures for 2 pianos (with Pierre- 

Laurent Aimard, Tamara Stefanovich, 

19 Sep); Dérive 1 (c. Gilbert 

Varga, 20 Sep); Domaines for clarinet 

and orchestra (Junge Deutsche 

Philharmonie, c. Susanna Mälkki, 

Alain Damiens, clar, 20 Sep); Incises 

(Ueli Wiget, pno, 21 Sep); Dérive 2 

(Ensemble Modern, c. Franck Ollu, 

21 Sep); Messagesquisse for solo 

cello and 6 cellos (Ensemble Modern, 

Eva Böcker, vcl, 21 Sep); sur Incises 

for 3 pianos, 3 harps and 3 percussionists 

(Ensemble Modern, c. 

Franck Ollu, 27 Sep). Violinist Carolin 

Widmann will perform Anthèmes 

1 and Anthèmes 2 on 29 

Sep. 

Rotterdam will also be hosting 

some remarkable Boulez performances. 

Arie van Beek is to conduct 

Doelenensemble on 5 Oct, with Improvisation 

I and Improvisation II, 

Éclat and Rituel in memoriam 

Bruno Maderna. On 23 Nov, Reinbert 

de Leeuw will conduct Répons 

with Asko|Schönberg Ensemble. 

Hae-Sun Kang will perform Anthèmes 

2 in Seoul on 24 Oct. 

boulez 

19

20 

BURT 

Great loneliness 

Francis Burt wrote Unter der 

blanken Hacke des Mondes in 1974. 

The work, for baritone and orchestra 

is based on five poems by the 

poet Peter Huchel, who emigrated 

from East Germany in 1972. The 

composer was moved by the “expression 

of great loneliness” in the 

text. The Orchester der Kunstuniversität 

Graz performs the work 

under Martin Sieghart on 27 Oct in 

the Stefaniensaal in Graz/A. The 

baritone is David Park. 

Francis Burt is currently completing 

his full-length opera Mahan. 

Francis Burt 

GURLITT 

The other 

Wozzeck 

burt / gurlitt 

Several unfortunate circumstances 

caused the opera Wozzeck by Manfred 

Gurlitt, who was born in Berlin 

in 1890, to be almost forgotten. The 

world première – in Bremen, 1926 – 

was preceded by the première of 

Alban Berg’s identically-named 

opera a year earlier. Without this 

overwhelming competition, there 

is no doubt that Gurlitt’s scoring 

would have won a fixed place in 

the repertoire as a major contribution 

to expressionist music theatre. 

There are several astonishing parallels 

between Berg and Gurlitt’s 

works, such as the first “Marie” 

scene, where both composers employ 

a march and a lullaby. In his 

Wozzeck, Gurlitt dispensed with 

traditional structures, instead aiming 

to match Büchner’s text with 

his sequences, which often only 

last a few minutes. The Lucerne 

Theatre will open its season with 

this masterpiece on 6 Sep. 

www.bit.ly/gurlitt1

BIRTWISTLE 

Successful 

celebrations 

In honour of Harrison Birtwistle’s 

birthday, the last few months have 

seen some exciting programmes of 

his works, including a highly successful 

series at Aldeburgh Festival, 

and two prestigious concerts at 

the BBC Proms. 

Over the autumn, several pieces 

are set to feature in performances 

across Europe. Silbury Air can be 

heard at the Amsterdam Concertgebouw, 

conducted by Oliver 

Knussen (8 Sep). The rhythmically 

entrancing, Stravinskian chamber 

orchestra work, Carmen Arcadiae 

Mechanicae Perpetuum, receives 

two outings. The first is at the 

Sacrum Profanum Festival in 

Krakow, with the ever-engaging 

London Sinfonietta under David 

Atherton (16 Sep, Museum of 

Urban Engineering); the latter will 

Harrison Birtwistle 

be performed by Alarm Will Sound 

(23 Oct, Hamburg, Kampnagel). The 

Sinfonietta concert will also include 

Cortege, Secret Theatre, and 

Ut heremita solus. 

KURTÁG 

Ghosts on CD 

Marino Formenti’s new KAIROS-CD 

Kurtág’s Ghosts examines how 

some of the major composers from 

the 14 th to the 20 th century have influenced 

György Kurtág. ”If the 

construction of this program was a 

phenomenal creative act, Formenti 

proved no less formidable in the 

execution" (Joshua Kosman, San 

Francisco Chronicle www.bit.ly/ 

kurtag1). Order the CD at 

www.kairos-music.com 

This autumn, the Wiener Klaviertrio 

performs Varga Bálint Ligaturája 

in Schwaz/A (23 Sep). 

Heinz Holliger conducts Kurtág’s 

Capriccio in Geneva/CH (30 Oct). 

birtwistle / kurtág 

21

22 

KAGEL 

Musical match 

The sporty-sounding title hints at 

the fact that Mauricio Kagel’s 

Match (1964) for 3 players is a 

musical game in which the musicians’ 

movements of play become 

mimicking actions and the percussionist 

takes on an umpire-like 

role. The piece will be performed 

on 4 Oct (Berlin) by Kammerensemble 

Neue Musik Berlin and 

on 14 Oct (Brussels) by musikFabrik. 

Kagel’s MM 51 (1976), film music for 

piano (and metronome) can be 

heard on 12 Nov at the Kasseler 

Musiktage festival with Ulrich 

Roman Murtfeld at the piano. 

STOCKHAUSEN 

Time and space 

Pierre Boulez and Ensemble Intercontemporain 

perform Kreuzspiel 

and Kontra-Punkte by Karlheinz 

Stockhausen at the Festival 

d'Automne in Paris on 17 Oct. 

Kreuzspiel (1951) is written for oboe, 

bass clarinet, piano and three percussionists, 

and realises the idea of 

a crossroads between temporal 

and spatial events. The single 

movement of Kontra-Punkte 

(1952/53) for 10 instruments is set 

in a multi-faceted sound world 

where individual tones and temporal 

relationships resolve into one 

another until only unity can be 

heard. www.festival-automne.com 

HAUBENSTOCK-RAMATI 

Musical 

anxieties 

Roman Haubenstock-Ramati wrote 

Symphonie ‘K’ in 1967, based on 

four orchestral fragments from his 

opera Amerika. He uses “K” to symbolise 

Kafka’s “every man”, as well 

as the anxieties of modern man, 

the inner conflict of the individual 

and the inability to escape the alllevelling 

machine. The piece can be 

heard at the Rainy Days festival in 

Luxembourg on 28 Nov, with the 

Orchestre Philharmonique de Luxembourg 

under Emilio Pomàrico. 

More information: 

www.philharmonie.lu 

kagel / stockhausen / 

haubenstock-ramati

Notre Dame de Paris 

FESTIVAL D’AUTOMNE 

UE in Paris 

The Paris Festival d’Automne presents 

the French première of Wolfgang 

Rihm’s – ET LUX – for four 

voices and string quartet, which 

takes place on 17 Nov (Hilliard Ensemble/Arditti 

Quartet). On 18 Sep 

Myung-Whun Chung and the Orchestre 

Philharmonique de Radio 

France perform Rihm’s Das Lesen 

der Schrift (The Reading of the 

Scripts) – four movements performed 

in between the movements 

of Brahms’ Deutsches Requiem. 

Rihm comments, “It's as if 

there were four monochrome panels 

hanging in a Gothic chapel or, 

somewhat more colourfully, four 

large canvasses by Anselm Kiefer.” 

www.bit.ly/istwidmann 

Carolin Widmann takes UE’s violin 

music to Paris, performing Luciano 

Berio’s Sequenza VIII, Wolfgang 

Rihm’s Über die Linie VII and Morton 

Feldman’s For Aaron Copland 

(30 Nov). 

Emilio Pomàrico and the Frankfurt 

RSO join her for Feldman’s Violin 

and Orchestra (19 Oct). 

Full programme and dates: 

www.bit.ly/paris1 

FELDMAN 

Weaving sounds 

“Though these fragments [of knotted 

carpets found in Turkestan] 

were too small to indicate either its 

design or provenance, they did convey 

a long tradition of carpet weaving. 

This is to a large degree the extended 

metaphor of my composition: 

not the suggestion of an actual 

completed work of ‘art’, but 

the history in Western music of 

putting sounds and instruments 

together.” The Turfan Fragments by 

Morton Feldman is performed in 

Lisbon (12 Sep) and Munich (2 Oct). 

See above and www.bit.ly/feldman1 

for more performances. 

23 

festival d’automne / 

feldman

24 

BERIO 

Key work of the 

20th century 

Luciano Berio’s Sinfonia for eight 

voices and orchestra (1968/9) is 

one of the key works of 20 th century 

musical history. The third movement 

is introduced by a collage of 

Mahler's Symphony No. 2, and it is 

performed on 7 Sep at the Lucerne 

Festival Academy as part of the 

Festival Forum. Pierre Boulez 

directs the Lucerne Festival Orchestra; 

Ward Swingle leads the singers 

of the Lucerne Festival Academy; 

Roland Wachter chairs the Academy 

Forum. Sinfonia is then performed 

in full on 10 Sep. 

Venezuelan conductor Gustavo 

Dudamel has introduced two of 

Berio's works into the repertoire of 

the two orchestras he now leads as 

principal conductor: Folk Songs 

with the Göteborgs Symfoniker 

and mezzo-soprano Malena Ernman 

(Gothenburg/S, 5 Sep) and 

also with the Los Angeles Philharmonic 

Orchestra and Dawn Upshaw 

(Los Angeles, 11–15 Nov). Also 

on the programme in Los Angeles 

is Rendering, a reconstruction of 

Schubert's sketches for his Symphony 

No. 10, meticulous and radical 

at the same time. 

Laborintus II for voice, instruments 

and recording holds a particular 

place in Berio's musical dramatic 

berio 

Luciano Berio 

output. The work can be performed 

as a theatrical event, as an allegory, 

as documentation, as mime, in theatres, 

in concert halls, on television, 

on the radio, outdoors, etc. Ensemble 

Intercontemporain under Susanna 

Mälkki gives a concert performance 

of the work in Paris and 

Strasbourg on 20 Sep and 3 Oct.

BARTÓK 

London – 

Mailand – Paris 

ENO introduces a new production 

of Blubeard’s Castle by Béla Bartók 

this season, opening on 6 Nov in 

London. Conducted by music director 

Edward Gardner and directed 

by Daniel Kramer (who won a 

South Bank Show Award for his 

production of Birtwistle’s Punch 

and Judy last year), Bartók’s only 

opera features Clive Bayley in the 

title role and Michaela Martens as 

the wife who sacrifices herself for 

truth. Also 10, 12, 14, 20, 25 & 28 Nov. 

See www.eno.org.uk 

Before this, the Filarmonica della 

Scala and Maurizio Pollini, under 

the direction of Pierre Boulez, undertake 

a run of concerts in Milan 

and Paris, each featuring the Piano 

Concerto No. 2 and The Miraculous 

Mandarin (27, 29, 31 Oct, Teatro alla 

Scala, Milan; 16 Nov, Salle Pleyel, 

Paris). The day before the last concert, 

also in Paris, Peter Eötvös conducts 

the Orchestre Philharmonique 

de Radio France in 3 Dorfszenen 

(15 Nov). 

KODÁLY 

Béla Bartók by László Marton, Budapest 

Music belongs 

to everybody! 

Zoltán Kodály’s motto was “music 

belongs to everybody!” At the start 

of the 20 th century, together with 

Béla Bartòk, he researched Hungarian 

folk music and integrated it 

into his own work. In Tänze aus 

Galánta (1933), maybe his most 

popular work, he uses sound impressions 

from Galánta, a Hungarian 

village where he spent seven 

years of his childhood. The piece 

will be performed 15 times in Europe 

in the next few months alone. 

Please visit our website for more 

information: www.bit.ly/kodaly1 

bartók / kodály 

25

WEILL 

Collected 

critical edition 

Composers whose legacy – their 

oeuvre – is looked after with dedication, 

love and musical expertise 

are truly lucky. Kurt Weill is one 

such composer, thanks to the New 

York-based Kurt Weill Foundation 

for Music. For decades, the foundation 

has been ensuring that the 

works by the exiled composer (who 

found a home from home in the 

USA, where he went on to write a 

whole series of compositions, 

mainly works for stage) are performed 

true to the scores all over 

the world. In 1992, the foundation 

began an epic, long-term undertaking 

– to make the composer’s 

complete works available to practising 

musicians and musicologists 

in exemplary editions. Although it 

Kurt Weill 

is almost inconceivable, Weill’s 

legacy was only available in print in 

flawed editions or not at all after 

his death in 1950. Just two of his 

works for stage were published 

posthumously as scores, meaning 

that countless major compositions 

could not be distributed. The same 

applied to his concert music. The 

Kurt Weill Edition is therefore truly 

epoch-making, especially since 

Weill’s versatile work will call for a 

new definition of a “collected critical 

edition”. Weill’s life’s work is to 

be published in four series: for 

stage, concert, screen and “various”. 

Comprising 24 volumes, the 

first will also be the most extensive. 

Zaubernacht, Der Protagonist, 

The Threepenny Opera and The 

Firebrand of Florence are already 

available. Weill’s complete chamber 

music and two impressive volumes 

of facsimiles have also been 

published. More information: 

www.kwf.org 

weill 

27

28 

MARTIN 

Tempestuous 

Sounds 

Frank Martin’s Trois Danses, for 

oboe, harp, string quintet and 

string orchestra, was composed in 

1970 for Heinz and Ursula Holliger 

(oboe and harp). The work now comes 

to Japan for the first time. The Kansai 

Philharmonic Orchestra is conducted 

by Maurice Bourgue in 

Osaka on 8 Oct (Hansjörg Schellenberger, 

ob, Margit-Anna Süß, hrp). 

20 years earlier, Martin concerned 

himself with Shakespeare's Tempest. 

The first musical result was 

the Five Songs of Ariel, which were 

Frank Martin 

premièred in 1950. Five years later, 

Martin completed his opera Der 

Sturm, which still remains a very 

valuable interpretation of the 

Shakespeare work. The Ariel Songs 

will be performed at the Prinzregententheater 

in Munich on 3 Oct. 

Peter Dijkstra conducts the Bavarian 

Radio Choir. 

SCHNITTKE 

Sombre 

desperation 

Alfred Schnittke's Historia von D. 

Johann Fausten (1987/1994) is 

based not on Goethe's Faust, but 

on the popular Faust text of the 

16 th century. In his quest for knowledge 

Faust makes a pact with the 

devil, who appears in the opera as 

two separate characters, 

Mephistophiles (male soprano) 

and Mephistophilia (female contralto). 

The desperation of the title 

character is expressed with elements 

of Bach, Wagner, Mahler and 

Shostakovitch in a melancholy, 

sometimes almost sparse musical 

language. Excerpts of the opera are 

performed by the London Philharmonic 

Orchestra under Vladimir 

Jurowski on 18 Nov (soloists: Anna 

Larsson, Marco Lazzare and 

Stephen Richardson; Royal Festival 

Hall, London, UK première). 

www.lpo.org.uk 

martin / schnittke

SZYMANOWSKI 

Monumental 

uncertainty 

12 th century King Roger II of Sicily's 

authority is threatened by the arrival 

of a young shepherd who is converting 

the inhabitants of the island 

to his pagan ideas. Karol Szymanowski's 

1924 opera Król Roger 

(King Roger) presents this material 

in a monumental, dense and virtuosic 

score, and stands as one of the 

major operas of the 20 th century. 

Following its première performances 

at the Bregenz Festival in August, 

David Pountney's new production 

of Król Roger (stage design: 

Raimund Bauer) now comes to the 

Liceu in Barcelona for eight performances, 

conducted by Josep 

Pons. 

Pons joins the Symphony Orchestra 

and Chorus of the Liceu on 15 Nov 

for a Szymanowski concert including 

his Stabat Mater and Symphonie 

No. 3. www.bit.ly/liceu1 

SATIE 

Stage set: 

Pablo Picasso 

Three works by Eric Satie, a great 

original composer, are scheduled for 

performances. 1926 saw the world 

première of Satie’s ballet Mercure. 

Poses plastiques (choreographer: 

Léonide Massines; stage set and 

costumes: Pablo Picasso). The ballet 

was commissioned by the Count 

de Beaumont, who wanted to use 

the exclusive cast to compete with 

Diaghilev’s Ballets russes. The piece 

will be performed in Rouen/F on 19 

Nov under Johannes Debus. In 

1928, Roger Desormière arranged 

Satie’s Geneviève de Brabant, a 

pièce en vers et en prose, which will 

be presented by “Die Oper im 

Knopfloch” on 17 Oct in Oberengstringen/CH. 

The same year, 

Darius Milhaud orchestrated Jack 

in the Box, Satie’s pantomime ballet 

for piano. The 3-movement 

work lasts 6 minutes and can be 

heard on 18 Oct in Reutlingen/D. 

Eric Satie 

szymanowski / satie 

29

30 

WEBERN 

Concentrated 

expression 

Anton Webern’s Passacaglia op. 1 

for orchestra, which he composed 

as a tonal piece as late as 1908, already 

carries the hallmarks of his 

later style. The piece marks the 

starting point for Webern’s characteristic 

musical language, which 

became increasingly marked by 

highly concentrated expression on 

all levels between loud and soft, 

coupled with an aphoristic form. 

Zubin Mehta and the Vienna Philharmonic 

will be presenting Pas- 

Zubin Mehta 

sacaglia twice: on 3 Sep at the 

Wolkenturm Grafenegg/A – where 

it will be combined with 6 Stücke 

op. 6 (1909) – and on 6 Oct at the 

Vienna Musikverein. Mehta is to 

perform 6 Stücke, in which Webern 

uses the instruments according to 

Schönberg’s sound-colour-melody 

concept, with Staatskapelle Berlin 

in Berlin (Philharmonie, 26 Nov and 

Konzerthaus, 30 Nov). 

MARTINU 

Fantastical 

developments 

Bohuslav Martinů‘s The Epic of Gilgamesh 

is based on the Assyrian- 

Babylonian poem of the same 

name, and the colossal power of 

the source material – wrestling 

with forces of nature, social power 

struggles, sexuality, love and death 

– inspired Martinů to tremendous 

vocal creativity. There are lyrical 

and dramatic elements, meditative 

sections and sections based on archaic 

motifs – all of which provide 

fertile ground for fantastical developments. 

This oratorio can soon be 

experienced in Prague and Basel: 

National Theatre Prag, 10 Sep, Orchestra 

and Choir of the National 

Theatre, c. Tomás Netopil; Basler 

Martinskirche, 20 and 21 Nov, Basel 

Sinfonietta and Bach Chor Basel, 

c. Joachim Krause. 

webern / martinu

Alban Berg Wozzeck Opéra Bastille Paris 2008 

BERG 

Berg for 

any stage 

It goes without saying that the 

work of Alban Berg is a fixture in 

the international concert and 

opera repertoire. However, the fact 

that there are, for example, four 

versions of Wozzeck, of which two 

have been written in the last few 

years, demonstrates the undiminished 

power and influence of this 

masterpiece. The reduced version 

by Erwin Stein, which was completed 

in Berg's lifetime, made it 

possible for smaller theatres to 

stage the work. Almost seven 

decades later (1995), John Rea fulfilled 

the need for a chamber version, 

which made the piece even 

more widely accessible. The composer 

Eberhard Kloke had the 

same goal in mind when he pro- 

duced a new version in 2004, with 

an orchestra slightly larger than 

Rea's but slightly smaller than 

Stein's. Koblenz has decided on 

Rea, Gera on Kloke, while Berg's 

original version is performed in 

Paris. The same is true of Lulu. Theatres 

can decide on Berg's unfinished 

version, or on the three-act 

opera completed by Friedrich 

Cerha (coming up in Japan and 

Madrid). 

The Lyrical Suite offers similar options, 

has the same issues, since 

Dutch composer Theo Verbey 

arranged the movements No. 1, 5 

and 6 for string orchestra, expanding 

on Berg's incomplete sketches. 

This new orchestration is beginning 

to make its mark – although 

the upcoming performance with 

Ingo Metzmacher in Berlin (5 Oct) 

is the original version. 

For more performances see 

www.bit.ly/berg3 

berg 

31

32 

ZEMLINSKY 

Immense impact 

When Alexander Zemlinsky composed 

his op. 20 in 1929, based on 

African American poems (by 

Langston Hughes among others), 

he did not suspect that he himself 

would become a victim of the 

racism targeted in the poems and 

would end his days in the USA 

where the poems were written. 

The Afrika singt anthology was 

published in Vienna in 1929 and 

must have had an immense impact 

on the composer: he went on to 

write Sinfonische Gesänge later 

that year. He did not live to see the 

world première however, as it was 

not held until 1964 in Baltimore. 

Compared to Lyrische Symphonie 

or Die Seejungfrau, the piece is still 

heard only rarely. Dietrich Henschel 

will sing it at the Musikfest Berlin 

(13 Sep) with the Philharmonia 

Orchestra under Vladimir Ashkenazy. 

Markus Stenz 

SCHREKER 

Sound is the key 

If music primarily meant thoughts 

for Arnold Schönberg, for Franz 

Schreker it mainly meant sound. In 

the wake of Schreker’s great renaissance 

on the opera house stages, 

his symphonic oeuvre is also becoming 

more and more wellknown. 

And not just the frequently 

performed Vorspiel zu einem 

Drama, which Markus Stenz will be 

conducting in Cologne (Gürzenich- 

Orchester, 6–8 Sep) and Christoph 

Eschenbach at the Usedom Music 

Festival (Peenemünde/D, NDR- 

Symphonieorchester, 3–4 Oct). 

Philippe Hui will be presenting 

other key works by Schreker on 11 

Oct at the Théâtre des Champs- 

Elysées in Paris, with the Orchestre 

Pasdeloup: Ein Tanzspiel (Rokoko), 

Suite and Chamber Symphony. 

David Zinman performs this last 

work in Zurich with the Tonhalle 

Orchester on 11 Sep. 

zemlinsky / schreker

Simon Rattle 

SCHÖNBERG 

External elements 

Arnold Schönberg’s Drei 

WP 

Klavierstücke op. 11 (1909) 

can be seen as an early example 

of Schönbergian atonality – 

it was one of the first works where 

the composer set the music free 

from its conventional structures. 

Richard Dünser, under commission 

from the Viennese Arnold Schönberg 

Centre, has now arranged the 

Drei Stücke for ensemble. 

The Austrian premiere is at the 

Arnold Schönberg centre on the 16 

Sep with Ensemble Kontrapunkte 

under Peter Keuschnig. 

Dünser's arrangement is influenced 

by several external elements: 

“autobiographical sketches, 

literary references, pictures, moods 

… force their way into the work and 

use its integral structures to weave 

a tapestry of relationships and mutual 

influences. Everything amalgamates 

and forms a larger whole, 

which dialectically can also include 

its opposite, breaches, un-relationships, 

fragmentation” (Dünser). 

More information at 

www.schoenberg.at 

At an artists conference in 1909, 

Schönberg asked Viennese author 

and doctor Marie Pappenheim to 

write him a libretto, which she 

promptly delivered. This is how the 

expressionistic solo drama Erwartung 

came about, written in 

only 17 days, which Schönberg 

packed with tightly composed 

music. Simon Rattle performs the 

work with the Berlin Philharmonic 

in Berlin (5 and 6 Nov) and New 

York (7 Nov). Evelyn Herlitzius takes 

the vocal part. 

schönberg 

33

34 

MAHLER 

Dramatic flow 

Two years ago in Lucerne when 

Gustavo Dudamel conducted the 

Vienna Philharmonic for the first 

time, he boldly began with Gustav 

Mahler’s Symphony No. 1 – the 

Philharmonic’s very own repertoire. 

The rehearsal ended with the 

orchestra applauding the young 

Venezuelan. This autumn, audiences 

will have the chance to judge 

this Mahler conductor in the making, 

with his unmistakeable flair 

for proportions and for the dramatic 

flow of the work. Dudamel will 

conduct the Göteborgs Symfoniker, 

performing the Rückert-Lieder 

(Bonn, 22 Sep and Hamburg, 23 Sep, 

soloist: Anna Larsson). 

Mention should also be made of 

the fact that Simon Rattle will be 

conducting the same orchestra 

shortly beforehand, with Mahler’s 

Symphony No. 3 (Gothenburg/S, 

17–18 Sep). Prestigious Mahler performances 

this autumn include: 

Josep Pons conducting Symphony 

No. 2 in Madrid (Orquesta Nacional 

de España, 2–4 Oct). Daniele Gatti 

(“I am more attracted by Kubelik, 

Klemperer – the new Boulez I absolutely 

adore”) performing the original 

version in 3 movements of Das 

klagende Lied – considered by 

many to be Mahler’s only piece of 

instrumental theatre – with the 

mahler 

Gustavo Dudamel 

Orchestre National de France on 29 

Oct in Paris. 

Daniel Harding and the Concertgebouworkest 

present Symphony 

No. 1 in Verona on 5 Oct. 

A performance of Robert Schumann’s 

Symphony No. 3 in Gustav 

Mahler’s instrumentation also deserves 

a mention (Salzburg, c. Christoph 

König, 19 Nov). 

Remember to take a look at our 

new Mahler blog for all the latest 

performances and interviews: 

www.universaledition.com/mahler

BRAUNFELS 

Mozart variations 

It was not until the 1970s, when 

the music world became aesthetically 

more open, that Walter 

Braunfels’ music made a return to 

concert halls and opera house 

stages. His orchestral variations 

Don Juan op. 34 (1922/1924) are laid 

down over a melody from Mozart’s 

Don Giovanni. A number of themes 

from Mozart appear throughout 

the classical-romantic phantasmagoria, 

as the piece is subtitled. 

The world première was conducted 

by Wilhelm Furtwängler in Leipzig 

in 1924. The piece will be performed 

in Magdeburg/D on 10 and 

11 Sep by the Magdeburg Philharmonic 

under Rory Mcdonald. 

HAYDN 

Drama with a 

happy ending 

The culmination of the celebrations 

marking the 200 th anniversary 

of Joseph Haydn’s death 

(1732–1809) will be a series of performances 

of his dramma giocoso 

La vera costanza – an international 

co-production by Teatro Real 

Madrid and the opera houses of 

Treviso, Regensburg, Liège, Rouen 

and Sofia. The performances begin 

in Madrid on 11 Oct under the musical 

direction of Jesús López Cobos 

and the stage direction of Elio de 

Capitani, before heading to the 

cities of the co-producers up until 

January 2012. For La vera costanza 

(True Constancy), librettist 

Francesco Puttini drew on one of 

Giovanni Boccaccio’s Decameron 

novellas in which a Count successfully 

tests the constancy of his 

humbly-born wife by humiliating 

her and threatening to murder 

their child, before the piece reaches 

a happy ending. 

Joseph Haydn 

braunfels / haydn 

35

JANÁČEK 

Opera highlights 

One of opera’s most visionary 

directors makes his debut at the 

Met this autumn: Patrice Chéreau, 

where his acclaimed production of 

From The House of the Dead by 

LeoššJanáček comes to the stage 

for the fifth time (after Vienna, Aixen-Provence, 

Amsterdam and Milan). 

“I don't think I've ever seen a staging 

of this work that is so consistently 

alert to the shifting emotional 

perspectives of the characters, 

most of them dysfunctional 

outcasts, but all of them with the 

'Spark of God'”, wrote Nigel Simeone 

in the International Record Review. 

The new performances are 

conducted by Esa-Pekka Salonen, 

who is also making his debut at 

the Met. 

See www.bit.ly/janacek1 

From The House of the Dead is also 

on stage in Basel this November, in 

a new production by Calixto Bieito. 

Gabriel Feltz conducts. 


Jonathan Miller’s production of 

Katya Kabanova comes to Chicago 

in November. “Why can’t we fly like 

birds do?” sings Katya, sung in 

Chicago by Karita Mattila. Judith 

Forst and Brandon Jovanovich join 

her in the lead roles. Paula Williams 

directs, and Markus Stenz is the 

conductor. 


Janáček’s opera suites are also well 

represented this autumn, with the 

Orchestral suite of From the House 

of the Dead being performed by 

the Orchestre Philharmonique de 

Luxembourg as part of their Rainy 

Days festival. Emilio Pomàrico conducts. 


Leoš Janáček From The House of the Dead Vienna Festival 2007 

janáček 

37

38 

2009 

50 th Anniv. of Death George Antheil † 12 February 1959 

75 th Birthday Sir Harrison Birtwistle * 15 July 1934 

75 th Anniv. of Death Frederick Delius † 10 June 1934 

80 th Birthday Edison W. Denisow * 06 April 1929 

150 th Anniversary Joseph Bohuslav Foerster * 30 Dec 1859 

90 th Anniversary Roman Haubenstock-Ramati * 27 Feb 1919 

50 th Anniv. of Death Josef Matthias Hauer † 22 September 1959 

200 th Anniv. of Death Joseph Haydn † 31 May 1809 

50 th Anniv. of Death Bohuslav Martinu † 28 August 1959 

50 th Anniv. of Death Ennio Porrino † 25 September 1959 

80 th Anniversary Henri Pousseur * 23 June 1929 

75 th Birthday Bernard Rands * 02 March 1934 

100 th Anniversary Karl Scheit * 21 April 1909 

75 th Anniversary Alfred Schnittke * 24 November 1934 

75 th Anniv. of Death Franz Schreker † 21 March 1934 

100 th Anniversary Alfred Uhl * 05 June 1909 

90 th Anniversary Roman Vlad * 29 December 1919 

50 th Anniv. of Death Eric Zeisl † 18 February 1959 

2010 

50 th Anniv. of Death Hugo Alfvén † 08 May 1960 

75 th Anniv. of Death Alban Berg † 24 December 1935 

85 th Anniversary Luciano Berio * 24 October 1925 

85 th Birthday Pierre Boulez * 26 March 1925 

80 th Birthday Paul-Heinz Dittrich * 04 December 1930 

80 th Birthday Cristóbal Halffter * 24 March 1930 

100 th Anniversary Rolf Liebermann * 14 September 1910 

150 th Anniversary Gustav Mahler * 07 July 1860 

75 th Birthday Arvo Pärt * 11 September 1935 

100 th Anniversary Mario Peragallo * 25 March 1910 

100 th Anniversary Ennio Porrino * 20 January 1910 

150 th Anniversary Emil Nikolaus von Reznicek * 04 May 1860 

80 th Anniversary Toru Takemitsu * 08 October 1930 

125 th Anniv. of Death Egon Wellesz * 21 October 1885 

anniversaries

2011 

75 th Birthday Gilbert Amy * 29 August 1936 

75 th Birthday Sir Richard Rodney Bennett * 29 March 1936 

100 th Anniversary Paul Burkhard * 21 December 1911 

85 th Birthday Francis Burt * 28 April 1926 

75 th Anniversary Cornelius Cardew * 07 May 1936 

85 th Birthday Friedrich Cerha * 17 February 1926 

80 th Anniversary Mauricio Kagel * 24 December 1931 

75 th Birthday Ladislav Kupkovic * 17 March 1936 

85 th Birthday György Kurtág * 19 February 1926 

200 th Anniversary Franz Liszt * 22 October 1811 

100 th Anniv. of Death Gustav Mahler † 18 May 1911 

75 th Birthday Steve Reich * 03 October 1936 

75 th Anniv. of Death Ottorino Respighi † 18 April 1936 

50 th Birthday David Sawer * 14 September 1961 

50 th Birthday Daniel Schnyder * 12 March 1961 

125 th Anniversary Othmar Schoeck * 01 September 1886 

50 th Birthday Mauricio Sotelo * 02 October 1961 

25 th Anniv. of Death Alexandre Tansman † 15 November 1986 

75 th Birthday Hans Zender * 22 November 1936 

2012 

125 th Anniversary Kurt Atterberg * 12 December 1887 

75 th Birthday David Bedford * 04 August 1937 

50 th Anniv. of Death Hanns Eisler † 06 September 1962 

25 th Anniv. of Death Morton Feldman † 03 September 1987 

50 th Birthday Silvia Fómina * 1962 

75 th Birthday Peter Kolman * 29 May 1937 

80 th Birthday Richard Meale * 24 August 1932 

50 th Anniv. of Death Caspar Neher † 30 June 1962 

75 th Birthday Gösta Neuwirth * 06 January 1937 

75 th Birthday Bo Nilsson * 01 May 1937 

60 th Birthday Wolfgang Rihm * 13 March 1952 

80 th Birthday Rodion K. Shchedrin * 16 December 1932 

anniversaries 

39

40 

LUKE BEDFORD 

Più mosso for orchestra, CBSO Youth Orchestra, c. Thomas Søndergård 

01 November 2009 · Symphony Hall Birmingham/GB 

VICTORIA BORISOVA-OLLAS 

Psalm 42 (As the Deer Cries) for orchestra, mixed choir and soloists, 

Rundfunk-Sinfonieorchester Berlin, c. Hans-Christoph Rademann, 

Rias Kammerchor, Caroline Stein, S, Christof Fischesser, B 

13 September 2009 · Domkirche St. Eberhard, Stuttgart/D 

FRIEDRICH CERHA 

Concerto for percussion and orchestra 

Mozarteum Orchester Salzburg, c. Ivor Bolton, Martin Grubinger, perc 

04 Oktober 2009 · Grosses Festspielhaus Salzburg/A 

Instants for orchestra 

WDR SO Köln, c. Peter Rundel 

20 November 2009 · Philharmonie Köln/D 

GEORG FRIEDRICH HAAS 

Traum in des Sommers Nacht for orchestra 

Gewandhausorchester Leipzig, c. Riccardo Chailly 

28 August 2009 · Gewandhaus Leipzig/D 

WOLFGANG RIHM 

Drei Frauen (Three women) music theatre in 3 monodramas and 2 

interludes for dramatic soprano, tenor and orchestra 

SO Basel, c. André de Ridder, Yeree Suh, Rayanne Dupuis, 

Renate Behle, dir. Georges Delnon, set Roland Aeschlimann 

25 Sep. 2009 · Theater Basel/CH (in cooperation with Festival Musica) 

Versuchung Hommage à Max Beckmann for cello and orchestra 

Les Siècles, c. François-Xavier Roth, Sonia Wieder-Atherton, vlc 

01 October 2009 · Cité de la musique et de la danse Strasbourg/F 

– ET LUX – for string quartet and choir 

Arditti Quartet and Hilliard Ensemble 

15 November 2009 · Philharmonie Köln/D 

DAVID SAWER 

Rumpelstiltskin for dance and chamber orchestra 

Birmingham Contemporary Music Group, c. Martyn Brabbins 

dir. Richard Jones, set Stewart Laing 

14 November 2009 · CBSO Centre Birmingham/GB 

world premières

CRISTÓBAL HALFFTER 

De ecos y sombras 

for orchestra 

Orquesta Nacional de 

España 

c. Cristóbal Halffter 

13 November 2009 · 

Auditorio Nacional 

de Música Madrid/E 

ARNOLD SCHÖNBERG / RICHARD DÜNSER 3 Stücke for ensemble 

ANTON WEBERN / THOMAS PERNES 4 Lieder for soprano and ensemble 

Ensemble Kontrapunkte, c. Peter Keuschnig, Christine Whittlesey, S 

16 September 2009 · Arnold Schönberg Center Wien/A 

MAURICIO SOTELO 

Como llora el viento for guitar and chamber ensemble 

Grup Instrumental de Valencia, c. Joan Cerveró, Juan Manuel Cañizares, guit 

18 September 2009 · Teatro Principal Alicante/E 

La Mémoire incendiée : la guitare for string quartet 

Quatuor Diotima 

23 September 2009 · Teatro Arniches Alicante/E 

Muros de dolor V for violin and live electronics 

Raquel Rivera, vln, Mauricio Sotelo, electr 

24 September 2009 · Teatro Principal Ourense/E 

Klang-Muro-for-Klangforum for flute, double bass and ensemble 

Klangforum Wien, c. Rolf Gupta, Vera Fischer, fl, Uli Fussenegger, cb 

09 October 2009 · musikprotokoll, Helmut List-Halle Graz/A 

Jerez desde el aire for piano 

Juan Carlos Garvayo, pn 

28 November 2009 · Teatro Manuel de Falla Cádiz/E 

JOHANNES MARIA STAUD 

One Movement and Five Miniatures for cembalo, live electronics and 

ensemble (world première of the revised version) 

Klangforum Wien, c. Rolf Gupta, Florian Müller, hps, Peter Böhm, electr 

09 October 2009 · musikprotokoll, Helmut List-Halle Graz/A 

world premières 

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42 

PLAY ALONG VIOLIN 

World Music – Klezmer 

for violin with CD or piano accompaniment by Yale Strom 

UE 34163 

CENTRE STAGE 4 

JOSEPH HAYDN Poco adagio cantabile (Kaiser Quartet) 

MARC-ANTOINE CHARPENTIER Prelude (Te Deum) 

for ensemble in variable instrumentation 

score and parts UE 21463 

ALBAN BERG 

Sieben frühe Lieder for high voice and piano 

version for medium voice and piano 


ALBAN BERG 

Studien ed. by Rudolf Stephan 

Rudolf Stephan on his 80 th Birthday ed. by Regina Busch & 

Klaus Lippe 


JOHANN (BAPTIST) WENZEL KALLIWODA 

Divertissement op. 58 

version for oboe and piano ed. by Hansjörg Schellenberger 


GUSTAV MAHLER / ARNOLD SCHÖNBERG 

Lieder eines fahrenden Gesellen for chamber ensemble 

arr. by Arnold Schönberg 

score UE 34382 

ARVO PÄRT 

The Deer’s Cry for choir SATB 

choral score UE 33723 

MAURICE RAVEL 

Menuet sur le nom d’Haydn for piano 

ed. by Jochen Reutter, fingering and interpretation notes 

by Peter Roggenkamp, preface by Theo Hirsbrunner 

UT 50265 

new releases

NICOLAI PODGORNOV 

Graded pieces 

for piano 

Volume 1 – EASY for piano 


Magical music – traditional to 

modern 

This three-volume series of piano 

pieces is aimed at all levels, from 

beginner to advanced. Nicolai Podgornov’s 

compositions are a delight 

for musicians with their attractive 

and entertaining melodies, 

and are also ideal for improving 

piano skills. The series is based on 

tried-and-tested, traditional forms 

– from preludes to waltzes – while 

also integrating modern sounds. 

Each of the three volumes (EASY, 

INTERMEDIATE and ADVANCED) is 

arranged in an increasing order of 

difficulty, but with the focus firmly 

on the joy of music. 

Volumes 2 (UE 34552) and 3 (UE 

34553) will be published in 2010 

Bestsellers already: 


Romantic Piano Album 

incl. Can you Feel the Love Tonight? 

by Elton John & La Valse d'Amélie 

from the movie Amelie. 



Piano Album for piano 


new releases 

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44 

ALBAN BERG Wozzeck 

Walter Berry, Isabel Strauss, Fritz Uhl, Carl Doench 

Orchestre et Choeur de l’Opéra de Paris, c. Pierre Boulez 

The Sony Opera House CD 886974461920 

ALBAN BERG Wozzeck 

Tito Gobbi, Dorothy Dow, Mirto Picchi, Petre Munteanu, Italo Tajo 

RSO Rom, c. Nino Sanzogno Line 2 CDs 7740906 

ARAM KHATCHATURIAN Concerto for violin and orchestra, 

Concert Rhapsodie Nicolas Koeckert, vln, Royal Philharmonic 

Orchestra, c. José Serebrier Naxos CD 8.570988 

GUSTAV MAHLER Symphony No. 1 

Bamberger Symphoniker, c. Jonathan Nott Tudor SACD Hybrid 7147 


Anna Larsson, S, Tiffin Boys Choir, London Symphony Chorus & 

Orchestra, c. Valery Gergiev hänssler classic CD 101.970.289 


Miah Persson, S, Budapest Festival Orchestra, c. Iván Fischer 

Channel Classic SACD CCSSA26109 


Bamberger Symphoniker, c. Jonathan Nott Tudor SACD Hybrid 7151 


Bamberger Symphoniker, c. Jonathan Nott Tudor SACD Hybrid 7162(2) 

GUSTAV MAHLER Das Lied von der Erde 

Christian Gerhaher, Bar, Klaus Florian Vogt, T, Orchestre Symphonique 

de Montréal, c. Kent Nagano Sony CD 88697508212 

FRANK MARTIN Cantate pour le temps de Noël, Trois Chants de Noël 

Simone Stock, S, Karola Hausburg, A, Atrium-Ensemble Berlin, 

Mozart-Ensemble Luzern; Luzerner Kantorei-Knabenchor, Festival 

Strings Lucerne, Hans Adolfsen, cemb, Mitsumi Ueno, org, 

Klaus Durrer, fl, c. Alois Koch Musiques Suisses MGB CD 6259 

FRANK MARTIN Golgotha 

Barbara Locher, S, Rolf Romel, T,Michel Brodard, B-Bar, Lilian Zürcher, 

MS, René Koch, B, Peter Baur, pn, Kay Johannsen, org, Musikhochschule 

Luzern, Luzerner Knabenkantorei, Akademiechor Luzern, Kantorei 

der Stiftskirche Stuttgart, Berliner Symphoniker, c. Alois Koch 

Musiques Suisses MGB 2CDs 6221 

FRANK MARTIN Le Mystère de la Nativité 

Barbara Locher, S, Phillipe Huttenlocher, Bar, Mozart-Ensemble der 

Musikhochschule Luzern, Akademiechor Luzern, Luzerner Sinfonieorchester, 

c. Alois Koch 

Musiques suisses MGB 2 CDs 6173 

new on cd

BOHUSLAV 

FOERSTER 

Symphony No. 4 

Osnabrück 

Symphony 

Orchestra, 

c. Hermann 

Bäumer 

MDG CD 632 

1492-2 

LEOŠ JANÁČEK 

The Cunning 

Little Vixen 

Böhmová, Domanínská, 

Asmus 

Chor&Orchester 

Nationaltheater 

Prag, c. Václav 

Neumann 

Supraphon 

SU CD 3981-2 

DMITRI SCHO- 

STAKOWITSCH 

The Nose 

Sulinsky, Tanovitski, 

Kravtsova, 

Chor&Orchester 

Mariinsky-Theater, 

c. Valery 

Gergiev 

Mariinsky 2 

SACDs MAR0501 

IAN WILSON 

Sullen Earth, Limena, 

The Capsizing 

Man and 

Other Stories 

The Belgrade 

Strings, Hugh 

Tinney, c. Ian 

Wilson 

Riverrun Records 

RVRCD80 

WOLFGANG RIHM Erscheinung 

Bamberger Symphoniker, c. Jonathan Nott Tudor CD 7132 

ARNOLD SCHÖNBERG Verklärte Nacht, Chamber Symphony No. 1 and 2, 

Erwartung, Variationen Birmingham Contemporary Music Group, 

c. Simon Rattle, c. Jeffrey Tate, English Chamber Orchestra, Artemis 

Quartet, Phyllis Bryn-Julson, S EMI Classics CD 2067852 

KAROL SZYMANOWSKI Sonate, Romance, Notturno und Tarantella, Mythes, 

La Berceuse d'Aitacho Enia , Trois Caprices de Paganini 

Joanna Madroszkiewicz, vln, Paul Gulda, pno MDG CD 6031555-2 

ANTON WEBERN Fuga, Zwei Lieder (op. 8 and op. 19) , Fünf Sätze, Fünf 

Stücke, Vier Lieder, Sechs Lieder, Fünf geistliche Lieder, Das Augenlicht, 

Variationen, 2. Kantate 

Tony Arnold, S, 20 th Century Classics Ensemble, Simon Joly Chorale, 

Philharmonia Orchestra, c. Robert Craft Naxos CD 8.557531 

ALEXANDER ZEMLINSKY Die Seejungfrau, Sinfonietta 

New Zealand SO, c. James Judd Naxos CD 8.570240 

new on cd 

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46 

Luke Bedford (born 1978) 

Worklist 

5 Abstracts for 14 players (18’) 2000–2001 

By the Screen in the Sun at the Hill on the Gold 2008 

for 18 players 17’ 

Catafalque for large ensemble (10’) 2002 

Catafalque for piano (5’) 2002 

Chiaroscuro for violin, cello and piano (8’) 2000/2005 

Good Dream She Has 2007–2008 

for soprano, mezzo soprano, tenor and 14 players 15’ 

Great Bass Rackett for bassoon (2’30’’) 2009 

Man Shoots Strangers from Skyscraper for 8 players (6’) 2002 

Of the Air for string quartet (8–10’) 2008–2009 

On Time for choir and orchestra (13’) 2008 

Or Voit Tout En Aventure for soprano and 16 players (14’) 2005–2006 

Outblaze The Sky for orchestra (6’) 2006 

Più Mosso for orchestra (10’) 2009 

Rode with Darkness for orchestra (12’) 2003 

Self-Assembly Composition No. 1 2009 

for any instruments 

Slow Music for 8 players (5’) 2005 

Upon St. George's Hill for tenor and guitar (1’30’’) 2008 

Vivo for violin (1’30’’) 2008 

(only available in the UE collection Violin Project, spring 2010) 

Wreathe for orchestra (18’) 2007 

More information available at: 

www.universaledition.com/bedford 

bedford worklist


Austria: Boesendorferstr. 12, A-1010 Vienna, Austria (Musikverein) 

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

UK: 48 Great Marlborough Street, London W1F 7BB 

tel +44-20-7292-9171, fax +44-20-7292-9173 

USA: European American Music Distributors LLC 

254 West 31st Street, 15th Floor, New York, NY 10001-2813 

tel +1-212-461-6940, fax +1-212-810-4565 

www.universaledition.com, promotion@universaledition.com 

Chief Editors: Angelika Dworak and Eric Marinitsch 

Contributors: Eric Marinitsch, Wolfgang Schaufler, Jonathan Irons, 

Angelika Dworak, Daniela Burgstaller, Flora Death, Kieran Morris, 

Rebecca Dawson, Kerstin Schwager and Elisabeth Bezdicek 

Design: Egger & Lerch, Vienna/Austria 

Photo credits Eric Marinitsch (7), UE Archive (11), Mateo Taibon, 

Festival d’Automne, Biennale di Venezia, Theater Kiel, Marion 

Kalter, Marcello Antico, Kevin Davis, Anne Dudley, Ville de Paris, 

Photo by Stone / courtesy of the Kurt Weill Foundation for Music 

New York, Raymond Asseo, www.superlocal.ch, G.L.Moggi 

Firenze, Opéra Bastille, www.guerzenich-orchester.de, 

www.img.epochtimes.com, DG/Mathias Bothor, Haydns Geburtshaus 

Rohrau/A, Vienna Festival, Auditorio Nacional de Musicá 

Madrid, Ben Ealovega, Tom Bedford. 

CDs: MDG, Supraphon, Mariinsky CD, Riverrun Records. 

DVR: 0836702

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