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05 Newsletter Survey
Tell us what you think!
07 Mauricio Sotelo
Homage to Luigi Nono
09 Johannes Maria Staud
Visionary short stories
11 Wolfgang Rihm
Proserpina at the Rokoko Theatre
14 Luke Bedford /
Vykintas Baltakas
into Johannesburg and Dubai
Mauricio Sotelo
Sonnets of Dark Love
in Salzburg
newsletter
02/09 • spring 2008/2009

2
Contents
WP = World Première
NEWS
New Study Scores — 4
Editors’ report — 4
Newsletter survey — 5
COMPOSERS
Sotelo — 7
Staud — 9
Rihm — 11
Pärt — 12
Haas — 13
Luke Bedford — 14
Baltakas — 14
Sawer — 15
Lentz — 15
Schwartz — 16
Borisova - Ollas — 16
Cerha — 17
Pousseur — 17
Halffter — 18
Schnyder — 18
Boulez — 19
Birtwistle — 20
Reich — 20
Berio — 21
Kagel — 22
Stockhausen — 22
Ligeti — 23
Feldman — 23
Einem — 24
Messiaen — 24
Krenek — 24
Weill / Brecht — 25
Milhaud — 26
Tansman — 26
Shostakovich — 26
Martinu — 27
Martin — 27
Eisler — 28
Kodály — 28
content 02/2009

Braunfels — 29
Dallapiccola — 29
Bartók — 30
Schönberg — 31
Webern — 32
Atterberg — 32
Berg — 33
Casella — 34
Zemlinsky — 34
Szymanowski — 35
Schmidt — 35
Schreker — 36
Delius — 36
Mahler — 37
Janáček — 38
ANNIVRESARIES — 39 - 40
WORLD PREMIÈRES — 41 - 42
NEW RELEASES — 43 - 44
NEW ON CD & DVD — 45 - 46
WORKLISE
Lentz — 47
ACKNOWLEDGEMENTS — 48
Dear Readers,
The persistent question of a composer’s
final intention is closely
linked to questions of how the
music can be presented in general.
Scores for large-scale symphonic
works are full of thousands of instructions
– pitch, tone length,
directions for performance, interpretation
and so on – all of which
must correspond to the vocal
material: a Herculean task. There is,
however, still more besides, as
musicologists are constantly unearthing
new findings that must
be included in critical editions. Performers
ordering material from a
reputable publisher have a right to
this detailed information. UE has
taken on the task of not merely
publishing new works in an easily
readable quality, but of also constantly
updating and improving
editions of works that have long
since had their place in the repertoire.
Page 4 features our new
editors’ report – an impressive
overview of last year’s musical
score production.
The Editorial Team
3

4
UNIVERSAL EDITION
New study
scores
We have been tremendously pleased
by the positive reactions to our
first 20 study scores (see last newsletter).
The collection of works offers
a unique insight into the
music of the 20 th and 21 st century.
Our music editors have not been
resting on their laurels though, and
we are now happy to report the
next nine new editions to be
added to the series. They are:
Béla Bartók Cantata profana
Béla Bartók Konzert für Klavier und
Orchester Nr. 1
Béla Bartók Tanz-Suite
Alban Berg Lulu-Suite
Pierre Boulez sur Incises
Pierre Boulez Pli selon Pli – No. 3,
Improvisation II
Olivier Messiaen Oiseaux exotiques
Arvo Pärt Fratres
Kurt Weill Die Dreigroschenoper
Once again, these new editions present
key works from the last 100
years in beautiful, newly designed
and carefully prepared, practical
study scores.
See www.universaledition.com/
studyscores for a list of all available
editions.
news
UNIVERSAL EDITION
Editors’ report
For the first time ever, we are offering
an insight into the activities of
our team of music editors. It’s not
always clear what a publisher’s
responsibilities consist of, and this
brief overview might help give an
impression of what we’re up to
behind the scenes.
In 2008, we produced 29 completely
new works, from the first engravings
to the finished, corrected instrumental
parts. We also produced
10 new arrangements of existing
works, including Berg’s Der Wein
by Eberhard Kloke, a ‘Symphonic
Synthesis’ of The Makropulos Case
by José Serebrier, and a children’s
version of The Cunning Little Vixen
by Alexander Krampe. In addition,
considerable time was spent on refreshing
and re-editing older works
– new editions of Berio’s Compass
and Eindrücke, Boulez’ … explosante
fixe … and Feldman’s Patterns in a
Chromatic Field were produced.
As is natural in the life of a work,
composers often make changes to
existing works. As a result of this,
we also produced 13 revised materials
in 2008. And if that weren’t
enough, our editors also found time
to produce 29 new study scores for
our new series! We’ve prepared a
full list of scores prepared in 2008.
See www.universaledition.com/
editorsreport for full details.

UNIVERSAL EDITION
Complete our
2-minute News-
letter survey
Our newsletter has been appearing
in the current format for over
four years now. We recently put the
whole archive online, which is
really useful for finding out about
past premières and other major
events. We are of course always
happy to hear from our readers
about how useful it is for concert
programming and learning about
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just how useful is it? We want you
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or, as Goldilocks said, “just right”?
We've prepared an online survey
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www.universaledition.com/
questionnaire
All of us in the editorial team enjoy
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reflect on the rich content of the
UE catalogue of works. We hope
you enjoy reading it as much as we
do writing it – now’s your chance
to let us know!
The survey will be online until the
31 st March 2009. We will report on
the results in the next issue of the
newsletter.
news
5

SOTELO
Sonnets of
dark love
Spanish philosopher
WP Emilio Lledó once wrote
that his friend Luigi Nono’s
work lives on “in Mauricio Sotelo’s
wonderful universe of sounds”. The
Sonnets of Dark Love by Federico
Garcia Lorca – a work that Nono
loved and wanted to set to music –
becomes a fascinating experience of
space and sound in Mauricio Sotelo’s
‘musical mausoleum’ for his teacher.
The piece is infused with cante
jondo, the intensive flamenco vocal
style that Nono introduced his Spanish
student to: music of heartfelt
humanity in the “chambers of
dawn”. Cripta – música para Luigi
Nono will receive its world première
in a new version on 5 Mar at the
new Biennale festival in Salzburg/A,
Mauricio Sotelo
where Beat Furrer – another of
Sotelo’s important peers – will conduct
the Österreichisches Ensemble
für Neue Musik. Audéeis for voice
and string quartet will also be performed
at the same venue. As in
Cripta, the soloist for this performance
is the great Spanish flamenco
singer Arcangel (7 Mar).
Arcangel also has a major role in
Arde el alba for soprano, flamenco
singer and orchestra (2008) – a love
song that weaves verses by José
Ángel Valente into a dialogue of
incredible devotion. Principle conductor
Josep Pons is to conduct the
world première with the Orquesta
Nacional de España in Madrid (13–
15 Mar).
With his musicality and sonorous tone,
Roberto Fabbriciani has exerted a
profound influence on Sotelo’s
music over the last 15 years. On his
60 th birthday, Sotelo dedicated a
new piece, A Roberto: la chiarezza
deserta, to him as an expression of
his deep gratitude and affection.
The work will receive its world première
on 26 Apr in Zagreb/HR.
sotelo
7

STAUD
In memory of
visionary Bruno
Schulz
The world premières of
WP two large orchestral
works by the Cleveland
Orchestra and the Gewandshaus
Leipzig bring Johannes Maria Staud
into the international spotlight
this summer. Both are inspired by
Bruno Schulz' (1892–1942) great
short story collections, along with
his graphic works. Together they
will form a diptych in memory of
this great visionary.
The Cleveland carries the title On
Comparative Meteorology, and is
sparked off by Schulz's hypertropic
descriptions of nature as well as
their peculiar reflections in the
inner life of humans. It isn’t an
attempt to replicate Schulz’ images,
however, but rather to present the
unique process by which Staud
approaches this mysterious world.
Première: 28 May, further performances
on 29 and 30 May, Cleveland/USA,
conducted by Franz
Welser-Möst.
In his Leipzig work, entitled Über
trügerische Stadtpläne und die Versuchungen
der Winternächte,
Staud adds a solo string quartet
(the Gewandhaus-Quartett) to the
orchestral forces. The inspirations
Johannes Maria Staud
here were Schulz' infamous demiurgic
manipulations and bizarre
interpersonal interactions, continuously
oscillating between dream
and reality. Performances: 21 and 22
May, under Riccardo Chailly.
Both of these works will also attempt
to traverse Bruno Schulz's
many temporal sidetracks and
dead ends, and consist together of
12 miniatures and an “illegal” thirteenth.
Violent Incidents has its Dutch première
in Amsterdam on 21 May
(conductor: Kasper de Roo, Marcus
Weiss (sax), Windkraft Tirol).
Ensemble Recherche performs
Lagrein for violin, clarinet, cello and
piano on Mar 19 in Freiburg.
staud
9

RIHM
The stigma
of despair
The girl abducted by the
god of the underworld
carries the stigma of
despair. As Goethe’s monodrama
Proserpina opens, she is aware
that: “endless realms of grief lie
ahead of you and what you are
searching for lies always behind
you”. Wolfgang Rihm composed
this monodrama, for soprano,
female choir and small orchestra,
for the Schwetzinger Festspiele.
Proserpina is set to première on 2
May in the Rokokotheater (soloist:
Mojca Erdmann, conductor: Jonathan
Stockhammer, director: Hans
Neuenfels).
Here follow other world premières
in chronological order:
Nietzsche-Notate for the Bayerischer
Rundfunk choir can be heard
on 9 May in Munich/D, conducted
by Rupert Huber. Commissioned by
the Berliner Philharmonie, Rihm is
writing Mnemosyne, for 13 musicians
and coloratura soprano, to celebrate
the 75th WP
birthday of Claudio
Abbado (world première on 20
May, Berlin/D).
Der Maler träumt, for baritone and
small orchestra, will be performed
for the Zatertag Matinee concerts
in Amsterdam with soloist Matthias
Goerne on 23 May. Reinbert de Leeuw
Wolfgang Rihm
is to conduct Asko|Schönberg.
Rihm is currently composer in residence
for the Philharmonie Essen
and the Ensemble Resonanz will
soon be performing Ricercare, Cantus
firmus, In nuce, Male über Male,
abgewandt 2 and other works
under Peter Rundel (4 and 5 Apr). In
Essen, the Michael Pattmann
Schlagzeugensemble will perform
Tutuguri VI on 7 May.
The Staatskapelle Halle will present
La lugubre gondola/Das Eismeer,
for two orchestral groups
and two pianos, on 29 April. Soloists
from the Ensemble Intercontemporain
will perform Paraphrase
for cello, percussion and piano in
Paris on 4 Apr.
rihm
11

12
PÄRT
New sounds
from old wood
Arvo Pärt’s Symphony
WP No. 4 ‘Los Angeles’ is
arousing considerable
international interest: the world
première on 10 Jan (and 11 Jan, Los
Angeles Philharmonic, Esa-Pekka
Salonen) was followed by three
other performances in the USA
between 22–24 Jan, again under
Esa-Pekka Salonen (Chicago Symphony
Orchestra). The Finnish première
is now set to take place on 16
Apr in Helsinki under Turkish conductor
Cem Mansur (Helsinki Philharmonic
Orchestra).
Two chamber music pieces
received their world première in
February 2009, the first being the
new piano duet version of Pari
Intervallo, which was heard for the
Arvo Pärt
pärt
first time at the piano festival “Keys
to the Future” in New York on 9 Feb.
The second traces the unusual tale
behind Sei gelobt, du Baum as inspiration
– a story that begins with
the discovery of an ancient piece of
wood in the early 1960s during
water excavations in Switzerland.
Scientific investigations showed
that the silver fir wood was some
2,000 years old. With tiny annular
rings and barely any branches, the
wood made perfect tonewood. It
was used to make a quinterne
(Mediaeval stringed instrument
resembling a lute) and a baroque
violin. The story of this ancient
piece of wood inspired Estonian
writer Viivi Luik and composer Arvo
Pärt to work together on Sei gelobt,
du Baum (for baritone, violin, quinterne
and double bass). The world
première took place on 27 Feb in
Willisau/CH.

HAAS
Complex harmonics
Georg Friedrich Haas
WP grew up in the mountains
– an interesting fact,
considering the Alpine theme of
his new Orchesterstück. For Haas,
the Alps are not just a sanctuary
for tourists: he is also aware of the
dark side of the idyll (world
première on 29 Apr in Dornbirn/A).
In Musik für Sopran und Kammermusik,
which he is writing for
Cologne, Haas is setting texts by
Georg Trakl, Theodor Storm, August
Stramm and Else Lasker-Schüler to
music. The soprano part will be
microtonal and performed by soloist
Sarah Wegener. Haas is also working
on a version for soprano and
piano, to be premièred on 3 May in
Cologne/D.
Nach-Ruf ... ent-gleitend ... will be
played by students at the University
for Music and Performing Arts on
20 Mar at the Musikverein in Vienna.
“In iij. Noct”, the string quartet
performed in total darkness, is
lined up for the festival “Imago Dei.
Music at Easter” (10 Apr in
Krems/A).
Open Spaces II (for 12 stringed instruments
and two percussion; in
memoriam James Tenney) will be
performed by the Ensemble Resonanz
on 19 Apr in Hamburg’s Johanniskirche
church.
Georg Friedrich Haas
Open Spaces (here the musicians
are not dispearsed, instead playing
in a compact group) is interpreted
in a scenic production this spring.
In a total of ten performances (18–
30 Mar) choreographer Sasha
Waltz, together with 70 dancers
(the soloist ensemble Kaleidoskop
and the dance company Sasha
Waltz & Guests), explores the
currently empty rooms of the Neue
Museum in Berlin. In a way, it’s the
artistic inauguration of the building,
before the valuable exhibits of
the Egyptian Museum (such as the
papyrusm collection) are displayed
there.
haas
13

14
LUKE BEDFORD / BALTAKAS
into Johannes-
burg and Dubai
Ensemble Modern’s into …
WP project was launched last
year with the first performances
of into Istanbul. This
spring, it is the turn of Johannesburg
and Dubai to be portrayed in
musical form, including new works
by Luke Bedford (Johannesburg)
and Vykintas Baltakas (Dubai). Of
his time spent in South Africa, Bedford
says he was “quite shocked by
the extreme contrasts between
how people lived: some people living
in large, high-security palaces,
whilst numerous others live in the
most abject poverty imaginable.
I loved the energy and vibrancy of
the city and met some amazing
people – but found that the constant
fear of violent crime really
Luke Bedford
luke bedford /
baltakas
started to weigh me down.” The resulting
work, By the Screen in the
Sun at the Hill on the Gold, can be
heard on 6 Mar in Berlin and 7 Mar
in Frankfurt. Sian Edwards conducts.
Baltakas was in Dubai twice last
year. He describes the fascination
of the city as the fact that “there
are so many different kinds of people,
so many different ideas, everything
is so fast. This creates many
independent processes which are
impossible to completely control.”
Baltakas’ new work will be performed
by Ensemble Modern on 27
May in Berlin and 28 May in Frankfurt.
Franck Ollu conducts.

S
David Sawer Skin Deep
Opera North Leeds 2009
SAWER
Feast for
the senses
“A potent brew in every sense …
[the] score buzzes with Stravinskylike
rhythmic energy, ingenious orchestral
textures and clever ways
of drifting between speech and
song” (The Times). “Sawer’s orchestration
… is beautifully subtle”
(The Observer).
Evidently, these were not the only
reviewers present at the first night
of David Sawer’s new work Skin
Deep that felt this way: The Telegraph
also agrees, recognising the
“highly gifted composer” and his
“Stravinskyan clarity”, but singles
out “some particularly beautiful
choral writing” as favourite.
Several reviewers had specific
praise for the musical direction:
“Opera North do it proud musically”
writes The Guardian, whilst The
Times salutes the maestro himself
– “Richard Farnes conducts it
superbly.” The good news is that
you’ve still got time to enjoy this
feast for the senses: Newcastle/UK,
4 Mar; Glasgow/UK, 10 and 11 Mar;
Bregenz/A, 17 Aug.
www.goskindeep.com
LENTZ
Three stars
for orchestra
Georges Lentz’ Mysterium is the
last part of the cycle Caeli enarrant
… and is itself an ever-evolving
conceptual work. Three pieces
resulting from this process are:
Ngangkar (2000), which mirrors
Lentz’ passion for the wide spaces
of the Australian outback;
Guyuhmgan (2001), influenced by
contemporary Aboriginal art; and
Monh (2005), a concerto for viola
and orchestra in which the viola
acts more as a guide through the
work. The titles are taken from Aboriginal
words for ‘star(s)’.
www.universaledition.com/lentz
sawer / lentz
15

16
SCHWARTZ
Echoes of Germany
On 29 Nov 2008, Jay Schwartz’
Music for Voices and Orchestra was
premièred in Stuttgart. The work
opens a window to another world,
another kind of musical thought.
Schwartz works with broad brushstrokes
– ‘sound-scapes’, if you like
– with the sound itself playing a
fundamental role in the work. With
the singers placed amongst the orchestral
players, you often couldn’t
tell whether you were hearing
voices or instruments. The audience
received the piece with great
enthusiasm.
On 24 Jan, Music for Five Stringed
Instruments II was premièred at the
WDR’s ensemble[:E:]uropa series in
Cologne by the NYYD Ensemble
from Tallinn.
The composer is currently working
on a new version of his chamber
Victoria Borisova-Ollas
schwartz /
borisova-ollas
opera Narcissus & Echo, which will
be performed at the Opernfestspiele
in Munich this July.
BORISOVA-OLLAS
Orchestral
highlights
Victoria Borisova-Ollas’ Angelus
(2008) for orchestra is “a refined
mixture. In the end, the orchestra is
transformed into the full but
never-violent ringing of a bell, with
an intoxicating effect.” (Süddeutsche
Zeitung) Open Ground
(2006) is a 10-minute preface to the
larger work The Ground Beneath
Her Feet based on the novel by
Salman Rushdie. Kingdom of Silence
is a 15-minute work evoking something
between a dream and a
nightmare. Ask us for perusal
scores and recordings.
See www.universaledition.com/
borisova-ollas for more information.

Henri Pousseur
CERHA
Uninhibited
sensuality
Alban Berg's first inspiration for
the composition of the opera Lulu
proved a decisive experience for
the twentyyear-old composer. On
29 May 1905 he saw a performance
of Frank Wedekind’s Büchse der
Pandora staged by Karl Kraus in
Vienna, and was entranced by the
play's uninhibited sensuality and
sexuality – a theme which still
grips audiences today.
Friedrich Cerha's three-act completed
version of Lulu sees a significant
new interpretation in Lyon
from 20 Apr (conductor Daniele
Gatti, director Peter Stein).
Cerha's Saxophonkonzert sees its
German première on 4 Mar in Meiningen/D
with soloist Theodore
Kerkezos and Stefanos Tsialis conducting
the Meininger Hofkapelle.
POUSSEUR
Interactive opera
Henri Pousseur’s Votre Faust (new
version 1981), a “variable performance
in the manner of an opera”
(libretto by Michel Butor), questions
everything we accept about
‘normal’ opera. It is what we would
today call an ‘interactive’ opera,
with the audience deciding how
the narrative is to continue. The
Frankfurter Allgemeine Zeitung
was convinced “that the authors
[had] succeeded in creating a work
that can be regarded as one of the
significant works of the century”.
Contact us for more information.
Henri Pousseur celebrates his 80 th
birthday on 29 June.
cerha / pousseur
17

18
HALFFTER
Meditative
depths
Critics sung the praises of Cristóbal
Halffter's Lázaro after its première
at the Oper Kiel in May 2008: “the
work opens up new sound worlds
of iridescent, subtly orchestrated
structures. Halffter's composition
gives the piece meditative depths.
With Lazaro, Halffter has produced
an opera which is a worthy successor
to the great works of the confessional
tradition”, wrote the
Frankfurter Allgemeine Zeitung.
Cristóbal Halffter Lazáro
Oper Kiel 2008
The work is heard for the first time
in Greece in a concert performance.
The composer conducts the
State Orchestra of Athens on 8 Mar.
Also in Athens, Oda para felictar a
un amigo is performed by the
Internationale Ensemble Modern
Akademie (14 Mar, Kasper de Roo).
Martin Haselböck brings Ricercare
for solo organ to the rostrum of the
great organ of Konzerthaus in
Vienna on 18 Mar.
SCHNYDER
Gripping drama
Swiss composer Daniel Schnyder's
Violin Concerto (1997) is a technically
demanding work full of complex
tensions, with dreamy romantic
passages standing alongside
wild runs of gripping drama and
great passion. Interpreted by the
MDR Sinfonieorchester, with soloist
Nora Chastain, under Michael
Sanderlin, the work will receive
two performances on 8 Mar in
Dessau/D and on 10 Mar in Leipzig.
halffter / schnyder

Pierre Boulez
BOULEZ
Birds of
a feather
This May, three American ensembles
join forces for the continuing
celebration of Olivier Messiaen’s
100 th birthday, in a concert featuring
US premières of four of his
leading protégés, including Pierre
Boulez. The Stony Brook Contemporary
Chamber Players perform
Messiaen’s Oiseaux exotiques with
Gil Kalish at the piano. Michel
Galante conducts the Argento
Chamber Ensemble in the US première
of Boulez’ Improvisé – pour le
Dr. K. (a four minute work for fl, cl,
pno, vla, vc). Face the Music is the
third ensemble at the concert on 5
May in New York.
The Leipzig Ballet pays tribute to
its former ballet director Uwe
Scholz, who would have been 50 in
December 2008. A quartet of
Scholz choreographies includes
music by Stravinsky, Pergolesi and
Schumann, alongside Boulez’
Notations I–IV for orchestra. Andreas
Schüller conducts the Gewandhausorchester
on 21, 24 and 30
May.
On 11 Mar, the Birmingham University
New Music Ensemble presents
a concert of music by Dallapiccola,
Hoyland, Reich and Boulez,
amongst others. Jonty Harrison
conducts Éclat along with a performance
of Vic Hoyland’s Pierrot for
Boulez – premièred in 2008 during
a visit by Boulez to Birmingham.
The concert is at the CBSO Centre,
Birmingham.
This spring, two new study scores
of works by Pierre Boulez are
published in our new study score
series: sur Incises and Pli selon Pli –
No. 3, Improvisation II.
Finally, a reminder of Boulez’
85 th birthday on 26 March: just one
year away.
boulez
19

20
BIRTWISTLE
Birthday
preparations
2009 marks the 75 th birthday of
one of Britain’s most distinguished
living composers, Harrison Birtwistle.
The occasion, on 15 July, is
already surrounded by a wealth of
performances across America and
Europe. Here are just some of the
highlights coming up over the next
few months: Klangforum Wien
takes the seven-player Tombeau in
memoriam Igor Stravinsky to the
Lincoln Centre (4 Apr) and then
back to Hamburg’s Laeiszhalle (12
Apr), under Jean Deroyer; the Kuss
Quartet features 3 Movements in
Salzburg’s Mozarteum on 12 May;
Ensemble Recherche presents the
1981 work, Pulse Sampler for oboe
and claves, on 15 May in Donaueschingen;
on 23 May, BCMG present
Birtwistle’s UE commission for
Steve Reich
the occasion of Dr. Kalmus’ 80 th
birthday, Some Petals from my
Twickenham Herbarium; and finally,
on the same day, Ensemble Contrechamps
performs the 1984 chamber-work
Secret Theatre in Geneva.
REICH
Steve by Reich
In a thrilling collaboration, the
principal Salzburg concert organisers
have joined forces to present
the first ever Salzburg Biennale.
The festival is championing four
composers over its four weekends
and, from 12–15 Mar, Steve Reich
takes centre-stage. His 4 Organs,
Piano Phase and Clapping Music
(performed by the composer!) are
all presented during the weekend,
the opening two concerts complemented
by choreography from
Anne Teresa De Keersmaeker and
her dance ensemble Rosas. For
further information visit
www.salzburgbiennale.at
birtwistle / reich

Luciano Berio
BERIO
Paris,
14 March 1959
Exactly 50 years ago, a concert held
in the Salle Gaveau in Paris made
musical history. During his “Domaine
musical”, Pierre Boulez conducted
the first piece ever to use
electronic music and live instruments
simultaneously: Différences
(for five instruments and tape) by
Luciano Berio. The complexity of
the resulting sound-mix was due
to the combination of instrumental
transformations played live and
the electronically transformed
sounds on the tape. The revised
edition of Différences has just been
released.
SOLO for trombone and orchestra
was written in 1999 for trombonist
Christian Lindberg. “It’s not a concerto
in the real sense of the word,
even if the solo part is extremely,
almost absurdly difficult”, wrote
Berio. “The orchestral element is
partially generated from the trombone
voice, but the development
and substance of the discourses
differ enormously. The trombone
and orchestra occasionally share
the same key note, but they do not
communicate with each other.
SOLO is thus less of a concerto and
more of an encounter between
two solitudes.” It can be heard on
28 Mar during MaerzMusik at the
Philharmonie Berlin and on 31 Mar
at the Ars Musica festival in the
Palais des Beaux-Arts, Brussels/B.
On both occasions the work will be
performed by the SWR Sinfonieorchester
Baden-Baden/Freiburg
under Sylvain Cambreling, with
soloist Frederic Belli on trombone.
On 24 Oct Luciano Berio would
have celebrated his 85 th birthday.
berio
21

22
KAGEL
Exotic
playfullness
Mauricio Kagel’s Exotica offers six
instrumentalists the opportunity
to play, and the freedom to indulge
their vocal improvisational talents.
The framework for this is an ingenious
score and an incomparably
varied instrumentation with exotic
instruments from four continents.
The central idea of the piece is the
dismantling of the word “exotic” –
an entirely relative term. Performed
on 15 May in the Auditorium
Parco della Musica in Rome,
here is a rare opportunity to hear
this work live!
STOCKHAUSEN
progetto pollini
Under the title progetto pollini,
star pianist Maurizio Pollini has
produced a number of top-class
interpretations of contemporary
music in new configurations. Now
he puts Karlheinz Stockhausen at
the centre of a series of concerts
with Klangforum Wien under Peter
Eötvös in Paris (7 Mar, Salle Pleyel),
Cologne (11 Mar, Philharmonie) and
Milan (16 Mar, Teatro alla Scala).
Klavierstücke VII, VIII and IX are on
Maurizio Pollini
the programme, along with Kreuzspiel,
Zeitmaße and Kontrapunkte.
Stockhausen's Dr. K-Sextett is one
of the musical miniatures that
Luxemburger filmmaker Bady
Minck used in her opulent crossover
project “Free Radicals – Music
and Film in poetic form”. The project
caused a furore in 2007 at the
Venice Biennale and at the Festival
Wien Modern. It will be shown in
New York (Lincoln Center, 4 Apr),
Hamburg (12 Apr) and Luxemburg
(Grand Auditorium, 13 Apr), again
with the Klangforum Wien under
Jean Deroyer.
kagel / stockhausen

LIGETI
Sonic dream
When Stanley Kubrick was looking
for music for his film 2001: Space
Odyssey, he came across György
Ligeti’s Atmosphères and was
enraptured by this dream in sonic
form. An orchestra had never sounded
like this before - colourful; spacious;
evocative. Ligeti did not compose
events, but states of being;
not contours or figures, but only
imaginary musical spaces. This modern
classic can be seen in the near
future in Hamburg, Berlin, Liège
and Graz.
FELDMAN
Complex solutions
The notation of Morton Feldman’s
music is often extremely complex,
and the polymetric passages present
particular problems for the
performers. The new practical
edition of Neither, edited by Emilio
Pomàrico, offers a solution to these
difficulties. The polymetric passages
in the manuscript have been
rewritten using a single time signature
for all instruments, so that
the latter always follow the metre
of the vocal part. Whilst the notation
has been changed, the resulting
sound does not differ from the
original version. The study score is
now available in our new series.
Pomàrico conducts Feldman’s
Coptic Light in Saarbrücken with
the Deutsche Radio Philharmonie
in a concert entitled “AMERICAN
DREAMS”.
Klangforum Wien performs his
Madame Press Died Last Week at
Ninety in New York and Hamburg.
See www.universaledition.com/
feldman for full details.
2001 - Odyssee im Weltraum
ligeti / feldman
23

24
EINEM
Delicious
chocolate
Gottfried von Einem wrote the
musical fairytale Prince Chocolat in
1982 in memory of his pastry-chef
ancestors, and inspired by the creations
of Swiss chocolatier Camille
Bloch. Lotte Ingrisch's libretto is
dreamy and adventurous by turns.
The story of a lonely boy, lured by
the chocolate prince into his sweet
kingdom, is combined with the
charming, vivid music, together
creating an entertaining play. The
Théâtre de la Sinne with the
Orchestre Symphonique de Mulhouse
performs this chocolatey
treat as part of a cycle of
family concerts from 29–31 May in
Mulhouse/F.
MESSIAEN
Natural art
Olivier Messiaen was a passionate
ornithologist. He saw this fascination
as an opportunity to examine
a form of art entirely based on
nature, performed only by completely
natural creatures. This
inspired him to write three works
based almost entirely on birdsong
in the 1950s, including the 1953
Oiseaux exotiques, which can be
heard on 23 Mar in Vienna (Musikverein)
and 5 May in New York
(Merkin Concert Hall).
KRENEK
Vocal work
in Berlin
The vocal works of Ernst Krenek
are the subject of a special concert
in the Kammermusiksaal of the
Philharmonie Berlin on 16 May, performed
by the RIAS Kammerchor
under Hans-Christoph Rademann.
The programme consists of Fünf
Gebete for a cappella female choir,
Kantate von der Vergänglichkeit
des Irdischen for solo soprano,
mixed choir and piano, Drei
Gemischte Chöre for a cappella
choir and O Lacrimosa ... for soprano
and piano. The soprano soloist will
be Caroline Stein, accompanied by
Philip Mayers.
einem / messiaen /
krenek

WEILL / BRECHT
A secular
requiem
In 1928, the Frankfurter Sender
commissioned a new work from
Kurt Weill. The result was the Berliner
Requiem, based on existing
texts from Bertolt Brecht's Hauspostille.
Weill was working at the
time on the opera Aufstieg und Fall
der Stadt Mahagonny, and used
the Berliner Requiem as a welcome
opportunity for a stylistic study for
the longer opera. But the Berliner
Requiem is also a powerful and important
work in its own right. “The
Kurt Weill
title The Berliner Requiem is in no
way ironic – rather, we wanted to
try to express what the citydweller
thinks about death. The
piece is a series of laments, memorials
and epitaphs – so, in the end,
a secular requiem.” (Weill)
The version most often played in
concert halls has six parts – 1. Chorale
of Thanks Lobet die Nacht,
2. Ballad of the drowned girl,
3. Shrine – Hier Ruht die Jungfrau, 4.
First report and 5. Second Report on
the unknown soldier under the
triumphal arch, 6. Chorale of
Thanks Lobet die Nacht. ... (da capo).
An alternative authorised version
(the Lucerne version) also includes
the sections Die Rote Rosa and Zu
Potsdam Unter Den Eichen. This
version is performed in a staged
production on 7 Mar in Dessau/D
as part of the Kurt Weill Fest 2009
(dir: Errico Fresis).
www.kurt-weill-fest.de
weill / brecht
25

26
MILHAUD
Swedish beats
Sweden’s Karlstad University plays
host to a performance of Darius
Milhaud’s Concerto for Percussion
and small orchestra this spring.
Milhaud’s seven-minute work
scores an array of percussion
alongside a small chamber orchestra,
with a note explicitly stating
that no cadenzas or other additions
should augment the musical
text. Music students from the Ingesund
College of Music, which joined
Karlstad University in 2002 to form
its music department, will perform
the concerto under the direction of
Karl Viktorin on 28 Mar.
TANSMAN
Le Serment –
The Solemn Oath
A man comes home unexpectedly
one night and orders a wardrobe to
be walled shut, after his wife
swears that no-one is hiding in it.
However, both of them know that
this will condemn her lover to a
terrible death. In Le Serment,
Alexandre Tansman arranges this
material in dazzling post-impressionist
style into a melancholy play
in a carefully surrealist manner.
The polish Teatre Wielki performs
this rarely seen “lyrical episode” in
a new staging by Laco Adamik in
Warsaw on 14, 15 and 24 Feb.
SHOSTAKOVICH
Incredibly
daring music
For his first opera Die Nase (The
Nose, 1927/28), a gem of absurdly
manic, burlesque musical theatre,
Dmitri Shostakovich used Nikolai
Gogol’s satire on the Russian
bureaucracy from 1836 which tells
of the loss of a nose (ie identity).
With incredibly daring music dripping
with sophistication and
aggression, expressionistically unleashed
theatre is presented in a
cinematic production. The Opera
Boston is presenting the piece on
27 Feb, 1, 3 Mar at the Cutler Majestic
Theatre.
milhaud / tansman /
shostakovich

MARTINU
Questions and
feelings as ever
When Bohuslav Martinu set the
Epic of Gilgamesh – the great Assyrian-Babylonian
legend – to
music, his view was that people
had not changed “despite the enormous
progress made in technology
and industry”. The questions and
feelings have remained the same.
Matthias Bamert is now presenting
the piece with the Kammerorchester
Basel in Basel/CH (30
Apr), Essen/D (1 May) and Dresden/D
(2 May). Les Fresques de Piero della
Francesca is scheduled for 26–27
March in Turin/I.
MARTIN
New magic
“Even today, Le Vin herbé by Frank
Martin is surrounded by the aura
of being an ‘insider secret’: truly a
‘magic potion’ of crystal-clear
purity, a Tristan setting with its
very own attraction; beyond the
narcotic delights of Wagner, but
nonetheless suggestive.” (Kerstin
Schüssler-Bach)
Following the success of Willy
Decker’s staged version at the
Ruhtriennale 2007, we are happy to
present the study score of the work
Frank Martin Le vin herbé
Ruhrtriennale 2007
in our new study score series.
See www.universaledition.com/
studyscores for more information.
The coming months see a wide
range of performances of Frank
Martin’s works. In Switzerland, the
Orchestre de Chambre de Genève
and the Cercle Jean Sébastien Bach
de Genève perform Golgotha,
Martin’s ‘Oratorio in two parts’ on 5
Apr in Genève/CH. In Montpellier/F
(10/11 Apr) and Langogne/F (12 Apr),
the Orchestre National de Montpellier
performs the Maria-Triptychon
for soprano, violin and orchestra.
martinu / martin
27

28
EISLER
The technique
of the teacher
In 1924's Palmström, based on texts
from Christian Morgenstern's
Galgenliedern, Hanns Eisler plays
with the techniques of his teacher
Arnold Schönberg. Palmström is a
parody of Schönberg's Pierrot
lunaire. The instrumentation,
except for the piano and bass clarinet,
is the same as Pierrot, and
Eisler uses the system of “composition
with twelve related tones”
that Schönberg had developed
only a short while earlier. The
Salonorchester Odeon interprets
the piece on 23 Mar in the Tonhalle
Zurich.
KODÁLY
Heroic deeds
Several popular works by Zoltán
Kodály are set to be performed
over the coming months, including
the Marosszéker Tänze. In these,
Kodály transforms Transylvanian
folk material into a free rondo form
with a finishing coda. The dances
are a marvellous example of how
the improvisation potential of folk
music can be brought to life. The
piece will be presented in Sweden
by the Respons Sinfonietta (28–29
March).
After serving in the Imperial
Austrian Army, Háry János told of
the heroic deeds that only took
place in his imagination. These
tales are the basis for Kodály’s
musical comedy Háry János and
the Háry János-Suite for large-scale
orchestra, which he wrote a year
later and which is being performed
on 27 and 28 May in Bonn/D.
eisler / kodály
Zoltán Kodály

Walter Braunfels
Szenen aus dem Leben der
Heiligen Johanna
Deutsche Oper Berlin 2008
BRAUNFELS
Flight of
conquest
The magazine Opernwelt described
Walter Braunfels' Szenen aus dem
Leben der Heiligen Johanna as the
most important re-discovery of
2008. The composer's revival continues
with a number of top-class
concerts: the cycle of variations
Phantastische Erscheinungen eines
Themas von Hector Berlioz is performed
by both the Staatsorchester
Stuttgart, directed by
Manfred Honeck (8 and 9 Mar) and
the Gewandhausorchester Leipzig
under Dennis Russell Davies (7 and
8 May). This piece was composed in
1914–17, and has been hailed by
critics as ingenious, dramatic and
splendidly orchestrated.
Die Vögel (The Birds) fly off to
conquer America. James Conlon
conducts the première of this
lyrical and fantastical piece at the
Los Angeles Opera on 11 Apr (director:
Darko Tresnjak).
DALLAPICCOLA
Smuggled cello
music
It was his dachshund that had the
task of distracting the border officials
when UE’s director Alfred
Schlee smuggled the engraving
plates for Luigi Dallapiccola’s solo
cello piece Ciaccona, Intermezzo e
Adagio over the border into Austria
just after the end of the war in
1945 – a time when there was no
legal way of sending such items.
Ciaccona can be heard – legally –
on 7 Apr, played by Asa Akerberg as
part of a portrait concert at the
Festival Printemps des Arts de
Monte Carlo.
29
braunfels /
dallapiccola

30
BARTÓK
Indisputable
masterpieces
When the première of Béla Bartók’s
Duke Bluebeard’s Castle did not
achieve the success he had hoped
for, the composer withdrew for a
long time from public life. Today,
the work is one of the undisputed
masterpieces of the 20 th century.
Jean-Paul Scarpitta directs a new
staging in Montpellier (première:
24 Apr). The opera can also be seen
in Seattle (director: Robert Lepage,
from 1 Mar).
Béla Bartók Duke Bluebeard’s
Castle Teatro alla Scala 2008
bartók
The Opera National du Rhin (Strasbourg,
Colmar, Mulhouse) performs
Der Wunderbare Mandarin
with choreography by Lucinda
Childs from 2–29 May. The once
infamous ballet is also enjoying a
revival elsewhere – Kent Nagano
conducts it on his European tour
with the Orchestre Symphonique
de Montréal (Vienna, 21 Apr).
Der holzgeschnitzte Prinz can be
seen twice in Paris – at the Salle
Pleyel on 15 May by the Orchestre
Philharmonique de Radio France
under Philippe Jordan and at the
Théâtre des Champs-Elysees on 19
May by the Oslo Filharmoniske
Orkester under Jukka-Pekka Saraste.
Saraste also conducts the piece in
Vienna on May 16.
Different interpretations of the
Tanz-Suite are also on offer – by the
Munich Philharmonic under Tan
Dun (2–4 Apr) and the hr-Sinfonieorchester
under Paavo Järvi. (24–26
May).
The Chinese star pianist Lang Lang
performs the Piano Concert No. 2
twice in April: on 11 Apr in Berlin
with the Orchestra del Teatro alla
Scala under Daniel Barenboim, and
20 Apr in London with the London
Symphony Orchestra under Daniel
Harding.

SCHÖNBERG
As relevant
as ever
Arnold Schönberg’s monodrama
Erwartung, based on a text by
Marie Pappenheim, tells the tragic
tale of a woman who is waiting for
her lover and who searches madly
for him, only to find him dead.
Die glückliche Hand, based on a
text by the composer, centres
around a lonely man who tries in
vain to find happiness with a
woman once again, despite warnings
to the contrary. Both one-act
works still remain as relevant as
ever. This spring sees them featured
once again in concert programmes.
Erwartung can be heard in Seattle
(dir: Robert Lepage), Gelsenkirchen,
Seville, Berlin and Leipzig (here
with Die glückliche Hand).
Pelleas und Melisande, a work analysed
in depth by Alban Berg, who
presented the symphonic poem as
an immense sonata movement,
will be performed by Leon Botstein
(12 Mar, Jerusalem), Christian
Thielemann (17–19 Apr, Munich) and
Bertrand de Billy (29 May, Vienna).
Verklärte Nacht will be performed
in concert in London, Paris, Vienna
(4, 12, 14 Mar, conductor: Esa-Pekka
Salonen) and Lucerne (11–12 Mar,
conductor: Jonathan Nott). A dance
version will be presented in Gelsenkirchen
(1, 15 Mar, choreography:
Bernd Schindowski) and Mannheim
(31 May, choreography: Robert
Glumbek).
Pierre Boulez is to conduct the
Chamber Symphony No. 1 with Ensemble
Intercontemporain in Paris
(23 May). Maurizio Pollini also has a
musical treat in store with Schönberg.
He will be playing 3 Klavierstücke,
op. 11 in Cologne, Paris and
Milan (7, 11, 16 Mar).
Arnold Schönberg with wife
Gertrud
schönberg
31

32
WEBERN
Journeyman's piece
Anton Webern acknowledged only
31 works as his official oeuvre. The
works with opus numbers have a
total duration of just over three
hours – the result of uncompromising
selection and extremely high
standards. Webern only began to
give his works opus numbers once
he had completed his studies in
composition with Arnold Schönberg.
Opus 1 is Webern’s “journeyman's
piece” – Passacaglia for
orchestra, composed in 1908. The
work represents both an end and a
new beginning: inspired by Brahm's
Symphony No. 4, the work is firmly
in the tradition of late romanticism.
Ingo Metzmacher and the
Deutsche Symphonie-Orchester perform
Passacaglia in Hong Kong
(5 Mar), Seongnam/Korea (14 Mar)
and Kuala Lumpur/Malaysia (17 Mar).
Anton Webern and Ludwig Zenk
The UE catalogue also includes a
version of the piece for small
ensemble, arranged by Henri Pousseur
in 1987.
ATTERBERG (1887–1974)
Dollar Symphony
Swedish composer Kurt Atterberg
became an international name
with his Symphony No. 6. In 1928,
on the 100th anniversary of Franz
Schubert’s death, the Columbia
Gramophone Company organised
an international composers’ competition
for works inspired by
Schubert. Atterberg won first prize
and $10,000, which earned the
symphony the nickname “the Dollar
Symphony”. The piece will be
performed by the Osaka SO under
Hiroshi Kodama on 18, 20 and 23
Mar in Osaka and Tokyo.
webern / atterberg

Alban Berg Lulu Oper Frankfurt 2003
BERG
Full sounds
and structural
clarity
It is the 75 th anniversary of Alban
Berg's death on 24 Dec 2010. In
1927 Berg made arrangements for
string orchestra of Drei Stücke (II, III
and IV) from his own Lyric Suite for
string quartet. Thanks to Theo Verbey's
2005 arrangements of the
three remaining movements (I, V
and VI), it is now possible to perform
the whole Lyric Suite for string
orchestra on the concert stage.
“The adaptation has kept to the
style of the Berg original as far as
possible. These ‘six very short
movements, more lyrical than symphonic
in tone’, as Berg put it, are
more easily played by a large group
than by a string quartet. The piece
gains in fullness of sound and
structural clarity” (Theo Verbey).
Roberto Abbado presents the complete
Lyric Suite for string orchestra
for the first time in the USA with
Dawn Upshaw (secret vocal part in
the final movement) and the St
Paul Chamber Orchestra (Minnesota,
24–26 Apr). All six movements
can also be heard in Amsterdam on
19 and 20 Mar: Ed Spanjaard conducts
the Koninklijk Concertgebouworkest
with soloist Christianne
Stotijn.
Peter Stein directs Berg's opera
Lulu at the Opera Lyon from April
20 in the three-act version completed
by Friedrich Cerha in 1978.
Cerha completed the third act
from numerous documents, including
plans, sketches and already
instrumented sections.
berg
33

34
CASELLA
Amusing
movements
Alfredo Casella interwove many
elements of other composers’
styles into his early works, which
he later combined with his own
style. His Serenata for clarinet, bassoon,
trumpet, violin and cello is
slightly reminiscent of Stravinsky,
while containing a very personal,
southern Italian flavour as well.
The five amusing movements
showcase a wide range of sound
registers and a wealth of themes.
The piece will be performed on
27 May at the Théâtre de la Sinne in
Mulhouse/F.
ZEMLINSKY
“Ich bin
friedlos, …
… ich bin durstig nach fernen
Dingen” (I am restless, I am thirsty
for far-off things) – these are the
opening words of the Lyric Symphony
by Alexander Zemlinsky. In
June 1921, Nobel Prize winner
Rabindranath Tagore visited
Prague on his tour of Central and
Northern Europe, where he read
from his poems. After his encounter
casella /
zemlinsky
Esa-Pekka Salonen
with Tagore, Janáček wrote: “We
didn’t understand him, but from
the sound of his words, from the
melodies, I felt and recognised the
bitter pain in his soul.”
Zemlinsky was living in Prague at
the time and based his Lyric Symphony
on seven of Tagore’s poems.
In this specific composition, the
poems relate the development of a
chronological act, from the passionate
beginning to the ending of a
romantic relationship. The Philharmonia
Orchestra under Esa-Pekka
Salonen will perform the piece in
March in Paris (4), London (12) and
Vienna (14).

SZYMANOWSKI
Exquisite
colouration
The Theater der Stadt Bonn is presenting
a new staging of Karol
Syzmanowski's opera King Roger on
10 and 16 May with the Beethoven
Orchestra Bonn under Stefan Blunier.
The Bregenz Festival also stages
the opera from the 23 July – festival
director David Pountney directs,
and the Wiener Symphoniker play
under Mark Elder. At the centre of
King Roger is the conflict between
rationality and sensuality, between
sensible behaviour and ecstasy.
Christian, Arabic and classical cultures
meet, and their interplay is
brought to life by the exquisite colouration
of Szymanowski's orchestration.
King Roger is somewhere
between Byzantine church music,
impressionist sound painting, oriental
Karol Szymanowski King Roger
Teatr Wielki Warsaw 2007
melodies, late Romantic pathos
and expressive song. In Bregenz,
Syzmanowski's orchestral works
will also be presented in 3 concerts.
SCHMIDT
Three Books
in Dresden
Fabio Luisi is a valuable champion
of the music of Franz Schmidt. We
are now looking forward to his
ninth performance of The Book
with Seven Seals. The Dresdner
Staatskapelle is joined by Herbert
Lippert (ten.), Annette Dasch (sop.)
and others to perform the work at
the Frauenkirche in Dresden on the
eve of Palm Sunday; and then for
two performances at the Semperoper.
In Amsterdam this March, Schmidt’s
Chaconne for orchestra is performed
by the Radio Filharmonisch Orkest,
conducted by Edo de Waart.
35
szymanowski /
schmidt

36
SCHREKER
Unpublished
piano music
Franz Schreker was not a trained
pianist and piano music was not
central to his work – but the piano
nevertheless plays a major role in
his fifty songs, as well as in innumerable
chamber music works,
choral and orchestral works and
operas, and occasionally has solo
parts. UE has released Schreker’s
piano works in collaboration with
pianist Manfred Wagner-Artzt and
Schreker expert Christopher Hailey.
The pieces are perfect examples of
genuine light music, traces of
which can also be heard in
Schreker’s later orchestral works,
such as Festwalzer und Walzerintermezzo
and Valse lente. The
new release includes two rare
gems for piano, which were previously
unpublished: two impromptu
waltzes and three early
works (Walzer No. 1 and 2, Melodie,
Adagio in F, Appassionata), UE 33685.
DELIUS
An Italian
English folksong
Frederick Delius’ English rhapsody
Brigg Fair is to receive a European
reception this spring, when it
receives two performances in
Turin/I. Delius was inspired to
write this set of orchestral variations
after hearing Percy Grainger’s
choral arrangement of this traditional
English folk tune. First performed
in 1908, Delius’ variations
refer to and expand upon Grainger’s
original setting. Jeffrey Tate will
conduct the Orchestra Sinfonica
Nazionale della RAI Torino on 19
and 20 Mar.
schreker / delius

MAHLER
Dancing to Mahler
“My symphony will be something
the world has never heard before!
In it Nature herself acquires a voice
and tells secrets so profound that
they are perhaps glimpsed only in
dreams! I assure you, there are passages
where I myself sometimes
get an eerie feeling; as if I hadn’t
written them myself.” These were
the words of Gustav Mahler on his
Symphony No. 3, which, with its
unusual division into two movements,
departed from the established
four-movement classical symphony.
The first part consists of one
single large symphony movement,
while the second part comprises
five relatively short movements.
Mahler wanted to give the work
and its individual parts titles which
he later discarded to avoid any
misunderstandings.
Gustav Mahler Third Symphony by John Neumeier
In 1975, John Neumeier choreographed
his first ballet to a Mahler
symphony. The production Third
Symphony by Gustav Mahler has
constantly delighted audiences
and been celebrated on international
tours. From 13 May, this choreography
will also be performed
at the Opéra National de Paris.
All of Gustav Mahler’s symphonies,
accompanied by his song cycles,
are being performed by the Staatskapelle
Berlin under the alternating
conductorship of Daniel
Barenboim and Pierre Boulez. This
major project, which was presented
in 2007 in Berlin and began at the
Musikverein in Vienna on 28 Oct
2008, continues in spring 2009.
More information:
www.universaledition.com/
performances
mahler
37

38
JANÁČEK
Cunning Little
Vixen as a
children's opera
Leoš Janáček’s The Cunning Little
Vixen can be seen in a new version
for children for the first time in
Paris in a co-production between
the Opéra National de Paris and
the Théâtre Musical de Besançon,
following the Zurich staging in
2006. Denis Comtet conducts the
Ensemble Justiniana and Charlotte
Nessi directs. Composer Alexander
Krampe had already produced a
children's version of The Magic
Flute. To adapt The Cunning Little
Vixen into a children's opera, Krampe
orchestrated Janáček’s score for
chamber orchestra (string quartet,
brass quintet, accordion and percussion)
and, with librettist Ronny
Dietrich, greatly shortened and
simplified the text.
“Just as we tried to keep the richness
of colour of the music when
we adapted it for chamber orchestra,
we took great care with the
text, to be sure that on the one
hand it fits Janáček’s original
melodic line, but also keeps the
vowel sounds as close as possible
to those of the original Czech, to
preserve Janáček’s characteristic
speech rhythms.” (Ronny Dietrich)
janáček
At the Zurich Opera, the work was
greeted with great enthusiasm by
the audience of children. The huge
popularity of this work demonstrates
the need for more musical
theatre for children.
You can find more details of a
number of current stagings and
concerts of Janáček’s work at
www.universaledition.com/
janacek
Leoš Janáček Cunning Little Vixen
Opernhaus Zürich 2006

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 Birthday 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 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
39

40
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
75 th Birthday 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 Birthday 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. Schtschedrin * 16 December 1932
anniversaries

VYKINTAS BALTAKAS
Neues Werk for ensemble (into ... Project)
Ensemble Modern
27 May 2009 · Konzerthaus Berlin/D
LUKE BEDFORD
By the Screen in the Sun at the Hill on the Gold for 18 players
Ensemble Modern, c. Sian Edwards
6 March 2009 · (into ... Project) Konzerthaus Berlin/D
GEORG FRIEDRICH HAAS
New work for chamber orchestra
Münchener Kammerorchester, c. Alexander Liebreich
29 April 2009 · Kulturhaus Dornbirn/A
Music for soprano and chamber music
musikFabrik, c. Enno Poppe, Sarah Wegener, sop.
3 May 2009 · WDR Funkhaus Köln/D
ARVO PÄRT
Pari intervallo for four handed piano or two pianos
Manon Hutton-DeWys, pno; Evi Jundt, pno
9 February 2009 · Mannes College of Music New York/USA
Sei gelobt, du Baum for baritone, violin, quinterne and double bass
Derek Lee Ragin, bar; Maya Homburger, vln; Peter Croton, quinterne;
Barry Guy, cb · 27 February 2009 · Willisau/CH
WOLFGANG RIHM
Nietzsche-Notate for choir cappella
Bavarian Radio Choir, c. Rupert Huber
9 May 2009 · Prinzregententheater Munich/D
Der Maler träumt for baritone and small orchestra
ASKO|Schönberg, c. Reinbert de Leeuw, Matthias Goerne, bar
23 May 2009 · ZaterdagMatinee, Concertgebouw Amsterdam/NL
JOHANNES MARIA STAUD
On Comparative Meteorology for orchestra
Cleveland Orchestra, c. Franz Welser-Möst
28 May 2009 · Cleveland/USA
world premières
41

42
WOLFGANG RIHM
Proserpina monodrama for
soprano, choir and chamber orchestra,
Schwetzingen Festival,
RSO Stuttgart, c. Jonathan
Stockhammer, SWR Vokalensemble
Stuttgart, Mojca Erdmann,
sop, dir. Hans Neuenfels,
set. Gisbert Jäkel
2 May 2009 · Rokokotheater
Schwetzingen/D
JOHANNES MARIA STAUD
Über trügerische Stadtpläne und die Versuchungen der Winternächte
for string quartet and orchestra
Gewandhausorchester Leipzig, c. Riccardo Chailly, Gewandhaus
Streichquartett · 21 May 2009 · Leipzig/D
MAURICIO SOTELO
Cripta – música para Luigi Nono (new version 2008)
for cantaor, choir (SATB), instrumental ensemble and tape
Österreichisches Ensemble für Neue Musik, c. Beat Furrer
Salzburger Bachchor, Arcángel, cantaor
5 March 2009 · Salzburg Biennale Mozarteum Salzburg/A
Arde el alba for soprano, cantaor and orchestra
Orquesta Nacional de España, c. Josep Pons
Milagros Poblador, sop, Arcángel, cantaor
13 March 2009 · Auditorio Nacional de Música Madrid/E
“A Roberto – ” for flute
Roberto Fabbriciani, fl · 26 April 2009 · Zagreb/HR
world premières

JOHANN SEBASTIAN BACH
Sonatas and Partitas for violin solo
BWV 1001–1006
Editor and notes on interpretation: Dagmar Glüxam
UT 50255
ALBAN BERG / MARVIN WOLFTHAL
Lulu Fantasy for piano
UE 33970
FLORIAN BRAMBÖCK
Celtic Recorder Duets for 2 descant recorders
UE 34190
LEOŠ JANÁČEK
The Makropulos Case Symphonic Suite for orchestra
arr. by José Serebrier
study score UE 33395
ARVO PÄRT
Collected Choral Works Complete Scores
for choir SATB and instruments/orchestra
22 reduced size scores for study purposes
UE 33880
DAVID SAWER
The Source for soprano, mezzo-soprano and tubular bells
performance score UE 21474
New Karl Scheit Guitar Edition
ROBERT DE VISÉE
Suite d-Moll for guitar
ed. by Olaf van Gonnissen, Thomas Müller-Pering
and Johannes Monno
UE 34480
KURT WEILL
Songs for violin and piano
arr. by Martin Reiter
UE 34324
new releases
43

44
ALEKSEY IGUDESMAN
Latin & More -
Violin Duets
for 2 violins
UE 33653
Exotic with “masterhand and
mastermind”
In his own inimitable way Aleksey
Igudesman takes us on a musical
journey from Tango via Rumba up
to Samba. In his brilliant pieces he
introduces us to the special techniques,
sounds and expressive
forms of the different Latin styles
with an amazing knowledge of violin
technique and lots of tricks for
creating a real latin feeling.
“With this new edition of duets,
Aleksey shows once more his
‘masterhand’ and ‘mastermind’ –
each chapter is full of wit and intelligence.
It is a great book for amateurs
and students, as well as for
professionals. If I had more free
time, I would play a duet every day
to reduce stress, instead of doing
gymnastics or practising scales!
Whether you perform these duets
in private or on stage in a concert,
you will always be successful.
Enjoy!“ Gidon Kremer
new releases

ALBAN BERG Drei Orchesterstücke, Lulu-Suite
Royal Concertgebouw Orchestra, c. Daniele Gatti; Ana Efraty, s
RCO LIVE SACD 08004
ALFREDO CASELLA Scarlattiana (arr. for two pianos by A. Groethuysen)
Yaara Tal & Andreas Groethuysen, pno CAvi CD 8553115
JOSEPH BOHUSLAV FOERSTER Concerto for violin and orchestra No. 1
Ivan Zenaty, vln; BBC SO, c. Jiří Bělohlávek SU CD 3961-2
MORTON FELDMAN Palais de Mari
Siegfried Mauser, pno CAvi CD (3 CDs) 42 6008553150 9
LEOŠ JANÁČEK String quartet No. 1 Pavel Haas Quartet
SU CD 3922-2 131 – Winner of MIDEM Classical Awards 2009
LEOŠ JANÁČEK The Excursions of Mr. Brouček
BBC Singers, BBC SO, c. Jiří Bělohlávek Deutsche Grammophon
DG CD 4777387 – Winner of MIDEM Classical Awards 2009
LEOŠ JANÁČEK Lachische Tänze, Suite aus “Das schlaue Füchslein”
Brünner Philharmoniker, c. Jakub Hrůša SU CD 3923-2
ERNST KRENEK Kleine Suite op.13a
Franz Vorraber, pno Thorofon/BM CD 4003913125484
GUSTAV MAHLER Das Lied von der Erde (first version)
Hermine Haselböck, ms, Bernhard Berchtold, t, Markus Vorzellner, pno
CAvi CD 8553125
GUSTAV MAHLER Symphony No. 1
London Symphony Orchestra, c. Valery Gergiev LSO SACD LSO0663
GUSTAV MAHLER Symphony No. 1
Bamberger Symphoniker, c. Jonathan Nott Tudor SACD 7147
GUSTAV MAHLER Symphony No. 3
Anna Larsson, Tiffin Boys’ Choir, Ladies of the LSO, London Symphony
Orchestra, c. Valery Gergiev LSO/Note 1 2 SACD 822231166023
GUSTAV MAHLER Symphony No. 3
Lucerne Festival Orchestra, c. Claudio Abbado, Anna Larsson, a
EuroArts DVD 880242563385 – Winner of MIDEM Classical Awards
FRANK MARTIN Violin Concerto, Danse de la peur
Musikkollegium Winterthur, c. Jac van Steen,
Michael Erxleben, vln; Adrienne Soós, Ivo Haag, pno
MDG CD 601 1280-2 / MDG SACD 901 1280-6
EMIL NIKOLAUS VON REZNICEK 4 Bet- und Bußgesänge
Marina Prudenskaja, Brandenburgisches Staatsorchester
Frankfurt, c. Frank Beermann cpo 777 CD 223-2
WOLFGANG RIHM Male über Male 2
WDR SO Orchester, c. Emilio Pomàrico, Jörg Widmann, cl
WD CD 2008 (Wittener Tage für Neue Kammermusik 2008)
new on cd & dvd
45

46
CRISTÓBAL
HALFFTER
Lázaro
Philharmon.
Orchester Kiel,
c. Georg Fritzsch
Theater Kiel
2008
NEOS DVD
50802
ARVO PÄRT
In principio, La
Sindone, Cecilia
virgine romana,
Mein Weg u. a.
Estonian National
SO, c. Tõnu
Kaljuste
ECM CD New
Series 2050
KARL SCHISKE
Synthese, Candáda,
Ensemble
Kontrapunkte,
c. Peter Keuschnig,
RSO Wien,
ORF Edition
Zeitton CD
3028
JAY SCHWARTZ
Music for orchestra,
Music for Six
Voices, Music
for 12 Cellos etc.
SO des hr, c.Diego
Masson, Neue
Vocalsolisten
Stuttgart
WERGO 6572 2
ALFRED SCHNITTKE Concerto for four handed piano and chamber orchestra
Ewa Kupiec, Maria Lettberg, pno, Rundfunk-Sinfonieorchester Berlin,
c. Frank Strobel Phoenix/Naxos SACD 0811691011035
ARNOLD SCHÖNBERG / JOHANNES BRAHMS Piano quartet op.25
Staatsorchester Rheinische Philharmonie, c. Daniel Raiskin
cpo/jpc CD 761203735624
JOHANNES MARIA STAUD Berenice. Lied vom Verschwinden
Klangforum Wien, c. Emilio Pomàrico, Petra Hoffmann, sop
KAIROS 6CD Box 0012852KAI
KURT WEILL Concerto for violin and wind orchestra op.12
Pavel Eret, vln, Czech Police Band, c. Vaclav Blahunek
VA-CD-2008-02
EGON WELLESZ String quartet No. 4
Artis Quartett Wien Nimbus Records CD 710357582127
Winner of MIDEM Classical Awards 2009
new on cd & dvd

GEORGES LENTZ (born 1965)
Worklist
Alkere from ‘Mysterium’ (“Caeli enarrant...” 7) 2002–2004
for prepared piano 10’
Birrung from ‘Mysterium’ (“Caeli enarrant...” 7) 1997–2008
for 11 strings – vln(6), vla(2), vc(2), cb(1) 9’
world première of new version 2008
“Caeli enarrant...” 1 1989–1998
for orchestra – 2 3 2 2 - 4 3 3 0 - timp. perc(5), hp, pno, str 37’
Movements 2 and 4 can be performed separately as Gyaling Fanfares, ca 7 min
“Caeli enarrant...” 3 1990–1996
for 12 strings, 3 percussionists and 1 boy soprano 14’
perc(3), str(3 str.quart)
“Caeli enarrant...” 4 1991–1998
for string quartet and 4 cymbals 29’
“Caeli enarrant...” 5 1992–2000
for prepared piano 8’
Guyuhmgan from ‘Mysterium’ (“Caeli enarrant...” 7) 2000–2001
for orchestra and electronics 12’
0 2 0 0 - 4 3 3 0 - timp, perc(3), pno, str(12 12 0 10 8)
Gyaling Fanfares 1989–1998
for orchestra – 2 2 2 2 - 4 3 3 0 - timp, perc(5), hp, str 7’
Gyaling Fanfares is an excerpt (movements 2 and 4) from “Caeli enarrant..” 1 and
is not published as a separate work.
Ingwe 2007
for electric guitar 55’
Monh from ‘Mysterium’ (“Caeli enarrant...” 7) 2001–2005
for viola, orchestra and electronics 25’
3 0 3 3 - 4 3 3 0 - perc(3), pno, str(11 11 8 8 6), electronics
Ngangkar from ‘Mysterium’ (“Caeli enarrant...” 7) 1998–2000
for orchestra – 1 0 2 0 - 4 3 3 0 - perc(3), hp, cemb, pno, str(14 12 10 8 6) 13’
Nguurraa from ‘Mysterium’ (“Caeli enarrant...” 7) 2000–2001
for clarinet, violin, cello, piano and percussion 9’
More information available at:
www.universaledition.com/lentz
lentz worklist
47

UNIVERSAL EDITION
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, Elisabeth Bezdicek, Daniela Burgstaller,
Kieran Morris and Marion Dürr
Design: Egger & Lerch, Vienna/Austria
Photo credits: Eric Marinitsch (8), Mateo Taibon, Marion Kalter,
Ben Ealovega, Opera North / Alastair Muir, www.kraak.net,
Struck-Foto, www.nailgunmedia.com, Philippe Gontier,
www.sfgate.net, Courtesy of the Kurt Weill Foundation for Music
New York, Ruhrtriennale / Clärchen und Matthias Baus, Imre
Varga, Baltzer/Bildbühne, Teatro alla Scala / Marco Brescia,
Arnold Schönberg Center, UE Archiv (3), Oper Frankfurt,
www.PR2classic.de/Nicho Södling, Teatr Wiekli / Marek Görecki,
ÖNB, Kennedy Center, Opernhaus Zürich, Schwetzinger Festspiele,
Jenny Both; CDs: NEOS, ECM, ORF, WERGO.
DVR: 0836702