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07 Gustav Mahler
As seen by Max Brod
09 Jay Schwartz
Narcissus & Echo at the
Munich Opera Festival
11 Georg Friedrich Haas
Summer’s Night at the Gewandhaus
31 Karol Szymanowski
In the limelight at the
Bregenz Festival
33 Alban Berg
New music for stage and concert
Gustav Mahler
New: Gustav Mahler Blog
newsletter
03/09 • summer 2009

2
Contents
WP = World Première
NEWS
Survey results — 4
New: Gustav Mahler Blog — 5
Editors’ Report — 5
COMPOSERS
Mahler — 6
Schwartz — 9
Haas — 11
Pousseur — 11
Lentz — 12
Luke Bedford — 12
Rihm — 13
Sawer — 14
Boulez — 15
Staud — 16
Eichberg — 16
Pärt — 17
Furrer — 18
Colla — 18
Schnyder — 18
Birtwistle — 19
Kagel — 20
Stockhausen — 20
Berio — 21
Ligeti — 22
Feldman — 22
Foerster — 23
Webern / Pernes — 23
Kuhmo Chamber
Music Festival — 25
Krenek — 26
Schnittke — 26
Weill / Brecht — 27
Poot — 28
Martin — 28
Füssl — 29
Hauer — 29
Casella — 29
Szymanowski — 31
contents 03/2009

Bartók — 32
Berg / Kloke — 33
Schönberg — 34
Rott — 34
Schreker — 35
Zemlinsky — 35
Schmidt — 36
Suk — 36
Delius — 36
Janáček — 37
ANNIVERSARIES — 38 - 39
WORLD PREMIÈRES — 40
NEW RELEASES — 41 - 42
NEW ON CD — 43 - 44
WORKLIST
Sotelo — 45
ACKNOWLEDGEMENTS — 48
Dear Readers,
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The Editorial Team
3

4
UNIVERSAL EDITION
Survey results
82% satisfaction
Many thanks to the 350 readers
who completed our newsletter survey
– a healthy return for this kind
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That’s a gratifying figure, and it
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always, 1 meaning never). The
average reader reads more than
half the whole newsletter (3.4 out
of 5, 5 being everything). 85% of
you found information about composers
and their works important,
ahead of premières (72%) and UE
news (69%). That’s not really a
huge surprise, but gives us confirmation
of what is important.
75% find the articles informative,
and 62% are introduced to new
composers or works. 91% of you
find internet links useful, which
sounds obvious these days, but we
weren’t really sure.
3.4 out of a possible 5 for design
and appearance is good, but shows
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Be assured that we
will!
news
We received a wealth of constructive
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news

UNIVERSAL EDITION
New:
Gustav Mahler
Blog
Exclusive video interviews with
Pierre Boulez and Daniel Barenboim
are just the first two to be
published on our new Gustav
Mahler blog at www.universal
edition.com/mahler In the middle
of the Berliner Staatskapelle’s concert
series of Mahler symphonies,
we asked both conductors to talk
about their personal relationship
with the music of Gustav Mahler.
Interviews with a stunning list of
conductors will follow leading up
to and during the anniversary
years.
The new blog is where we will be
publishing all information regarding
performances, festivals, interviews,
new editions, recordings
and reviews, and where we will be
pointing to content about Gustav
Mahler on the internet. If you are
planning an activity related to Gustav
Mahler in the anniversary years
(or in the run up), let us know, and
we will make sure it is published
on the blog.
www.universaledition.com/mahler
UNIVERSAL EDITION
Editors’ report
In our last newsletter we announced
the first ever publication
of our editors’ report, giving an
overview of the new scores created
last year. The feedback we received
was very generous. Here’s a reminder
of the link:
www.universaledition.com/editors
report
Gustav Mahler
by Emil Orlik, 1902
news
5

6
MAHLER
The original
romantic
“When I first met him in Hamburg
in the autumn of 1894, shortly
after derisive criticism of his Symphony
No. 1 had given me an ardent
longing for the work and its creator,
he seemed to me to be the
original romantic,” said Bruno Walter
in 1956, remembering Gustav
Mahler. Today it is hard to imagine
that Mahler once needed promoting.
This summer will again feature
a wealth of Mahler performances:
Symphony No. 1 can be heard
under young Gustavo Dudamel
(Orchestre Philharmonique de
Radio France) in Paris on 26 Jun and
under the eminent Claudio Abbado
(12, 14–15 Aug, opening concert
at the Lucerne Festival). On 21–22
Aug, Abbado will also be presenting
the Rückert-Lieder and Symphony
No. 4 at the same venue.
Both performances will have the
ethereal Magdalena Kožená as
soloist.
The Vienna Philharmonic also has a
musical treat in store with Symphony
No. 4 on its Spanish tour,
under principle conductor Fabio
Luisi (2–7 Jun, soloist: Mojca Erdmann).
Ingo Metzmacher will be touring
Germany and Paris with Adagio
from Symphony No. 10 (19–24 Jun).
mahler
Gustavo Dudamel
Philippe Jordan is to conduct the
same piece with the Orchester der
Deutschen Staatsoper (25–26 Jun)
in Berlin.
Steven Sloane will be incorporating
Adagio into his Mahler cycle on 18
Jun with the Bochumer Symphoniker.
Manfred Honeck, the new music
director in Pittsburgh, will be
showcasing Symphony No. 2 there
(12–14 Jun). The work will also be
performed at the Flughafenhalle in
Cottbus under Evan Christ (5, 7
Jun).

MAHLER
Jewish melodies
Excerpt from Die musikalischen
Blätter des Anbruch, 2 nd edition,
issue 10, May 1920, p. 378 f.:
Gustav Mahler’s Jewish Melodies
by Max Brod, Prague
Since the Galician refugees came
to Prague, I now often attend the
religious services of the eastern
Jews – absolutely the most sublime
events I have ever been privileged
to experience. In particular, I
can only recommend with the
deepest reverence the mystical
“third meal” (schlosch sude) at the
end of the Sabbath, which a Hassidic
rabbi permitted me to attend
with his congregation several
times. The enthralling holy
melodies sound continuously,
hummed by individuals, taken up
by the choir, from the dark corners
of the unlit suburban room, along
the humble yet dignified table, in
deep male voices and in a bright
children’s descant … suddenly I understood.
In a flash it was as if I had
found the key (long-sought, to
something that might seem remote,
but was also deeply Jewish)
to the art of Gustav Mahler. And, in
particular, to one striking characteristic
of his work, which has often
been discussed and even criticised:
to Mahler’s march rhythms, which
he uses remarkably often. There
have been a number of different
interpretations of the composer’s
particular fondness for marches,
which mount up and expand in almost
every symphony (for example,
in the first movement of the I,
III and VI, in the final movements
of the II, VI and VII symphonies, or
in the song “Revelge”). One biographer
(I think it was Specht) affectionately
attributes this partiality
to the fact that the young Mahler
grew up next to a barracks in Leibmeritz,
where the trumpet commands
Gustav Mahler
mahler
7

8
CONT. P. 7
Jewish meldodies
and military rhythms sank into his
consciousness. Less generous critics
speak instead of banality and
lack of ideas. And at every Mahler
performance one can still see a few
fans of “genteel” music wringing
their hands, who might in the
same way fall upon the less subtle,
but slicker formal talent of Richard
Strauss: “oh, so crude, this eternal
tran-ta-ra!”. Others see Mahler’s
step-wise four-four time signature
as an effort to write in the style of
German folk songs, an attempt at
assimilation. – No! Since hearing
the Hassidic folk songs, I believe
that Mahler had to write in this
way and no other, with his music
springing from the same unconscious
place in his Jewish soul as is
the source of these beautiful Hassidic
songs, which he is unlikely
ever to have heard. The strange
thing is that these songs often use
sharply delineated march rhythms,
even when the text speaks of the
most exalted things, of God and
eternity. The gradual songs and
psalms are also presented in this
way. So these marches are not
banal, base, military, but seem to
me to symbolise the determined,
upright, happy gait of the fulfilled
and godly soul. At the same time
one sees the inestimable crowds of
the host of comrades in the name
mahler
of God approach. And can one not
get the same impression from
Mahler, when one listens closely?
Doesn’t the splendid final movement
of the II Symphony show the
endless armada of souls risen from
the dead hurrying to the Jewish
Last Judgement – expressed by
Mahler in march-time? – Often, on
the other hand, the quiet step-time
represents quiet joy, as in the indescribably
beautiful Sabbath hymn
“Jißmechu bemalchusscho”. It
seems that the Jewish listener has
access to a great variety of different
kinds of march, to express a
great range of emotions. It is only
to the non-Jew that this appears
monotonous – the Jew can hear
nuance. ...

SCHWARTZ
Illusion and
beauty
There’s no real vanity or
WP narcissism in Jay
Schwartz’ chamber opera
Narcissus & Echo, for countertenor,
viola, percussion and organ, sung
in the original Latin from Ovid’s
Metamorphosis. Schwartz’ interpretation
deals much more with
the fact that Narcissus never
recognised himself in the water,
and fell in love with an illusion and
above all with beauty itself. The musical
instrumentation of counter-
Jay Schwartz
tenor and viola produces a duet of
both harmony and tension – two
independent voices that nevertheless
create a homogenous sound.
The Bavarian State Opera has commissioned
a new version of this
work for the Munich Opera Festival
2009. Christiane Pohle directs a
performance designed by Raimund
Orfeo Voigt. Charles Maxwell is the
countertenor, with Lila Brown on
viola. The première is on 2 July at
the Allerheiligen Hofkirche in Munich.
For more information, see the
Bavarian State Opera website:
tinyurl.com/nandecho
In Narcissus & Echo, Schwartz
makes use of his “highly sensuous
musical language”, as the earlier
version of the work was described.
On the world première of his earlier
work, Music for Chamber Ensemble,
in 2006, the Estonian composer
and music critic Märt-Matis Lill
wrote “In Jay Schwartz’ music we
find a very successful synthesis of
American and European traditions.
In a sense, the way in which the
contrasting musical elements of
his works are united demonstrates
the way America and Europe themselves
are united.”
schwartz
9

HAAS
Dark side
of the summer
As well as commissioning
WP Johannes Maria Staud
(see Newsletter 2/2009),
the Gewandhaus Orchestra has
given Georg Friedrich Haas an assignment.
The world première is
set for 28 Aug under Riccardo
Chailly. The title of the new piece,
Traum in des Sommers Nacht, naturally
makes a reference to Felix
Mendelssohn-Bartholdy, while at
the same time distancing itself
from him. It targets the obvious
difference between midsummer’s
night and the summer’s night (i.e.
its end) itself, while also referring
to a constant element of Haas’
work: night. Haas has written several
works that are performed in
total darkness – as a tribute to his
love of obscurity and the resulting
heightened awareness.
At the opening concert of the
Wiener Festwochen in early May,
Clemens Hagen played Haas’ microtonal
cadence in Joseph Haydn’s
Cello Concerto with the Vienna
Philharmonic under Nikolaus
Harnoncourt.
Henri Pousseur
POUSSEUR
Henri Pousseur
dies
Festival and concert organisers,
journalists and publicists all
around the world were busy
preparing tributes to Henri Pousseur
for his 80 th birthday when his
death was announced on 6 Mar
2009. Dedicated to Pousseur this
year, the Festival Ars Musica in
Brussels became a memorial event
in his honour, with his new book
presented and many of his works
performed.
Universal Edition mourns a great,
sophisticated composer who was a
central figure in the development
of modern music.
haas / pousseur
11

12
LENTZ
Pensées
australiennes
The new version of
WP Guyuhmgan for orchestra
by Georges Lentz will
be premiered on 2 July at the Philharmonie
in Luxembourg. Emmanuel
Krivine conducts the Orchestre
philharmonique du Luxembourg.
Lentz writes of the work,
“Influences behind the composition
of Guyuhmgan include my discovery
of the works of Australian
Aboriginal painter Kathleen Petyarre:
her huge canvasses filled
with innumerable tiny dots, which
look a bit like a night sky, have
made a great impression on me.
The beginning of Guyuhmgan is a
direct reflection of this.” Lentz has
also quoted Blaise Pascal’s Pensées,
with their thoughts on the smallness
of man, as an influence. He
continues: “The title Guyuhmgan
(an Aboriginal word meaning
“stars”) reflects my love of the vast
empty space of the Australian
landscape with its radiantly beautiful
night skies.”
LUKE BEDFORD
New shores
The music of Luke Bedford reaches
new shores this summer as part of
the Tokyo Concerts Summer Festival.
Despite previously working
with the Tokyo Philharmonic, this
marks the first concert performance
of Bedford’s music in Japan.
On 25 Aug, Ryusuke Numajiri will
conduct the Tokyo Metropolitan SO
in the Japanese première of
Wreathe. Bedford found himself
attracted to the “slightly archaic,
decaying quality [of the title] and
also because it describes the way in
which the ideas of the piece entwine
each other.”
Luke Bedford
lentz / bedford

RIHM
Wolfgang Rihm
Sounds
and forms
Forms have a central role in Wolfgang
Rihm’s work, as Form / 2 Formen,
Gedrängte Form, Gejagte
Form, Jagden und Formen and Verborgene
Formen clearly show.
Gejagte Form develops its flow
from the basic contradiction implied
in the descriptive title, which
is mentioned by Rihm in his text
for the world première: “An energy
beyond form, but of the same
essence, leads the music into formal
arrangements, but, taken seriously
as an element, drives it inevitably
back out of them again”.
Ensemble Modern will be performing
Gejagte Form on 8 Jun as part
of the focus on Rihm in Essen. It
will be conducted by Stefan Asbury.
Form / 2 Formen is dedicated to
Edgar Varèse. The instrumentation
of his Déserts has been enhanced
by a double bass, replacing the
piano and tape. Rihm clearly admires
Varèse’s alchemy of sound. In
this work, he builds on Varèse’s
concepts of form with Varèse’s creative
cycle becoming a spiral in
Rihm’s work.
Rihm’s sound productions are
multi-layered, with the individual
layers frequently moving in opposite
directions. We experience the
tension and relaxation of the vertical
dimension or tonal range (as in
Varèse’s work), as well as of the
horizontal or time dimension. Ensemble
Modern will be performing
Form / 2 Formen at the Salzburg
Festival on 11 Aug in a version for 20
instrumentalists in 4 groups of 5
musicians, under François-Xavier
Roth.
Ricercare for 14 instrumentalists,
which received its world première
in Turin/I in 1990, will be returning
to Italy for a performance in Montepulciano
on 24 Jul.
rihm
13

14
SAWER
Fresh tonality
Commissioned by NMC
WP as part of its Songbook
project to celebrate 20
years of innovative recordings of
contemporary British music, David
Sawer’s The Source opens the collection
of some 100 new works, all
on the theme of “Britain”. Receiving
its world première on 1 Apr, the
subtle interplay between two wellmatched
voices (in this case Claire
Booth, sop. and Susan Bickley,
mezzo) contrasts with the vibrant
ringing of tubular bells (Owen
Gunnell) to create an unusual
texture bursting with energy
(CD box set available from
www.nmcrec.co.uk, see p. 44).
Shortly before this first performance,
the Piano Concerto was heard
again in Manchester (19 Mar),
David Sawer Skin Deep Opera North Leeds 2009
sawer
when James MacMillan conducted
the BBC Philharmonic and soloist
Rolf Hind, for whom the work was
composed in 2002.
Later this year Skin Deep – Sawer’s
satirical opera with a libretto by
renowned satirist Armando Iannucci
– will receive its Austrian première
at the Bregenz Festival on 17
Aug, before further performances
at the Royal Danish Opera in
Copenhagen next spring (opening
23 Apr 2010). “He commands a light
touch, a terse rapidity, a witty
scherzando manner that is Stravinskyan
in its biting clarity, but aids
him in emulating those masters of
comic texture Rossini and Offenbach,
whom he cites as models for
Skin Deep. Sawer uses tonality in a
completely fresh way, while drawing
freely on more acerbic, modernist
sounds native to him.” (The
Sunday Times)

Pierre Boulez
BOULEZ
Giving his all
“In a disquieting way, it’s impossible
to imagine the music world
without Boulez. His age has a
youthfulness. He gives his all.”
(diary entry by Wolfgang Rihm,
2000).
Pierre Boulez will be giving his all
this summer – whether working
with top orchestras or on his friend
Daniel Barenboim’s project, the
West-Eastern Divan Orchestra.
In early June, he will be conducting
his Notations I–IV and Notation VII
(4–6 Jun) from the rostrum of the
Berlin Philharmonic. These brilliant
orchestral works are based on
Douze Notations for piano, written
in 1945, and a stroke of genius by
the young Boulez. He is also working
to complete the cycle.
Boulez can be experienced as a
teacher at the Salzburg Festival: Le
Marteau sans maître and Messagesquisse
will be performed on
16 Aug (West-Eastern Divan Orchestra).
The Helsinki Festival will
also be showcasing Boulez: ... explosante-fixe
... for flute with live
electronics, 2 flutes and ensemble
and Dialogue de l'ombre double
(13–14 Aug).
The Tanglewood Festival of Contemporary
Music will present the
US première of the solo piano piece
une page d'éphéméride as well as a
performance of Incises (11 Aug,
soloist Nicolas Hodges). Thomas
Zehetmair is to conduct Éclat in
Gateshead/GB on 18 Jun (Northern
Sinfonia).
boulez
15

16
STAUD
Comparative
meteorology
Like Johannes Maria Staud’s last
world première for the Gewandhaus
Orchestra, his piece written
for the Cleveland Orchestra was
also inspired by Bruno Schulz’s
(1892–1942) visionary collections of
short stories and graphic works. On
Comparative Meteorology is influenced
by his hypertrophic descriptions
of nature and their idiosyncratic
reflections within the human
mind. However, it does not attempt
to duplicate Schulz’s pictures
(world première 28–30 May, Cleveland/USA).
Chief conductor Franz
Welser-Möst will be on the rostrum.
The general high esteem in which
Staud is held has brought him two
awards: the Paul Hindemith Prize
of the Schleswig-Holstein Music
Festival (in conjunction with a
Johannes Maria Staud
portrait concert on 14 Aug with Ensemble
Modern, which will include
Incipit I). Staud is also being awarded
the Emil Berlanda Prize of
Tyrol/A.
EICHBERG
The Inuit
in ecstasy
In his 11-minute violin concerto Qilaatersorneq,
Søren Nils Eichberg
followed the ritual drum dance of
Greenland’s original inhabitants:
the Inuit. Beginning with an elegiac
melody, the ritual develops
into a rhythmic frenzy. The piece
was awarded the Grand Prix de
Composition in the Queen Elisabeth
International Music Competition
of Belgium in 2001. The Danish
RSO performed the piece on 30
May in Copenhagen under Thomas
Dausgaard with Johannes Soe
Hansen as soloist.
staud / eichberg

Arvo Pärt
PÄRT
A summer of
string sounds
A glance at Arvo Pärt’s work reveals
his affinity with and love of the homogeneous
sound of strings. Pärt’s
Symphony No. 4 ‘Los Angeles’,
which premièred this January, was
written for string orchestra, harp,
timpani and percussion. Some of
the works with which Pärt embarked
on his new era of composition
in 1976 (Tintinnabuli) and
which are scored or were later
arranged for string orchestra, have
since become mainstays of international
concert calendars: Tabula
Rasa, Fratres, Summa and Cantus
in Memory of Benjamin Britten.
Christian Lindberg will be presenting
the trombone, string orchestra
and percussion version of Fratres in
London (1 Jul), while Valery Giergiev
is to conduct the London Symphony
Orchestra performing Cantus in
Memory of Benjamin Britten in St.
Paul’s Cathedral in London (9 Jul).
Darf ich … for violin and strings
was written for Yehudi Menuhin
and will be played by Daniel Hope
in Gstaad/CH (25 Jul) at the
Menuhin Festival, where the piece
received its world première.
Silouans Song for string orchestra
will feature in three performances
by the Nederlands Strijkers Gilde:
in Groningen (10 Jul), Delft (11 Jul)
and Amsterdam (12 Jul).
A very special event will be taking
place in Tallinn/EST in July. The Estonian
Song Festival is set to attract
some 20,000 choral singers
to Tallinn. Credo for piano, mixed
choir and orchestra will be performed
at the opening concert (4
Jul) by the Estonian National Symphony
Orchestra under Eri Klas.
pärt
17

18
FURRER
Sounds of noise
Beat Furrer’s ensemble piece
Gaspra (1988) is named after a five
kilometre-wide asteroid which
wanders the gravitational fields of
our solar system. The seven instruments
– flute, clarinet, percussion,
piano, violin, viola and cello – are
formed into smaller groups within
the ensemble. This is the first work
in which the composer used nonmusical
noise and worked with
rhythmic patterns which undergo a
transformation from their initial
constellation to reach a pre-determined
final configuration. The
emex ensemble presents the work
at the Philharmonie in Essen (3
Jun).
COLLA (BORN IN 1963)
Arabian rhythms
The Italian composer Alberto Colla
uses mainly Arabian scales and
rhythms, primarily from Egyptian
music, in his orchestral work Le
rovine di Palmira (The Ruins of
Palmyra) (1999). The composition is
based on the same Arabian tale as
Rimsky-Korsakov’s 2 nd Symphony
‘Antar’. In the piece, Colla unites
various styles and quotations,
familiarising listeners with, or
reminding them of, the experiences
of past generations of composers.
The St. Louis SO performed
the piece in St. Louis/USA under
David Robertson (20 Mar).
SCHNYDER
Out of Africa
The Summer Festival in
Grafenegg/A begins on 11 Jul with
the theme of “Out of Africa”, when
the futuristic cloud structure of the
newly built open-air stage in the
park of Grafenegg Castle hosts
music from the African continent.
Kristjan Järvi and his Tonkünstler
Orchester will also play three
works from Abdullah Ibrahim’s
Symphonic Encounters with South
Africa (Blanton, Ishmael and
Tsakawe) in an arrangement for
orchestra by Daniel Schnyder.
More Information:
www.grafenegg.at
furrer / colla /
schnyder

Harrison Birtwistle
BIRTWISTLE
Happy Birthday
Harry
Following the spring celebrations
we mentioned last time, the 75 th
birthday concerts for Harrison
Birtwistle are now in full swing.
Both Bath and Aldeburgh festival
are presenting the newly restored
and re-mastered Chronometer in
all of its four-channel glory.
Two full days of birthday celebrations
at Bath (31 May, 1 Jun) dedicated
to the composer see a rare
performance of For O, for O, the
Hobby-Horse is Forgot for 6 percussion
players presented alongside a
wealth of the smaller chamber
works.
Aldeburgh marks the occasion
across a series of concerts, the first
of which observes the opening of
the new Hoffmann Building on
13 Jun, featuring performances of
Chronometer and György Ligeti’s
Poème Symphonique for 100
metronomes. Later concerts include:
An Imaginary Landscape (15
Jun), Interludes from The Mask of
Orpheus (17 June), Cortege and
Secret Theatre (22 Jun).
Looking further ahead, the 2009
BBC Proms season begins just two
days after Birtwistle’s 75 th and
there are a number of celebratory
concerts to support the occasion.
On 4 Aug (Prom 27), the London
Sinfonietta are joined by their
founder-conductor David Atherton
to give a birthday concert, including
Birtwistle’s earliest Sinfonietta
commissions, Verses for Ensembles
and Carmen arcadiae mechanicae
perpetuum and Silbury Air will also
feature in this late-night concert of
his major early works.
On 14 Aug (Prom 39), Martyn Brabbins
and Ryan Wigglesworth take
control of the BBC SO and BBC
Singers, leading a performance of
Birtwistle’s gargantuan opera The
Mask of Orpheus. The central act
will be presented, complete with a
newly digitally re-mastered version
of the electronic material.
birtwistle
19

20
KAGEL
Musical knitting
needles
Using an impressive variety of approaches
and methods, Mauricio
Kagel creatively explored what an
instrument can be. An early phase
gave rise to works which could be
placed under the heading of “Instrumental
Theatre” – pieces which
used different non-musical objects,
alongside conventional and
exotic instruments. His String
Quartets I and II (1965/67) use
matches, knitting needles, leather
gloves, wooden poles and coins, to
name but a few. The Quatuor
Bozzini perform the works on 5 and
6 Jun in Montréal/CDN.
STOCKHAUSEN
Time and space
At this year’s Stockhausen courses
in Kurten/D, the music of Karlheinz
Stockhausen will be presented
across a total of 17 concerts. Works
will include Telemusik (1966) for
electronics, which lines up 32 structures,
one after another, without
breaks. Stockhausen introduces
elements of different cultures,
which he extracts from their contexts
and builds seamlessly into
Susanna Mälkki
the electronic composition.
Gruppen (1955/57), one of his
ground-breaking pieces, will be
performed in Tokyo on 31 Aug by
the NHK SO under Susanna Mälkki,
Clement Power and Pablo Heras
Casado: three separate orchestras
each play independently of each
other under three different conductors.
The three orchestras are
situated in a semi-circle around
the listeners. Stockhausen communicates
here for the first time the
conception of sound in the space
using the large symphonic structure.
The changing tempi allow
multiple time periods to be experienced
at once, built together to
form a new, unified time and
space.
.
kagel / stockhausen

BERIO
Berio in Paris
This June sees three of Luciano
Berio’s key works being performed
in concert in Paris: Passaggio, Coro
and Formazioni. Passaggio (for soprano,
two choirs and instruments)
caused a scandal when it premièred
at the Piccola Scala in 1963.
“I knew the audience would lose
their heads so I briefed the choir
accordingly. I told the choir that
they should join in as soon as the
audience starts shouting, echo the
last word and improvise on it. And
that’s exactly what happened.
Some people shouted “Buffoni”.
The choir echoed the word immediately,
sped it up, whispered it,
lengthened the “o” and turned the
improvisation into part of the performance.
The audience became
completely hysterical because they
had lost their chance to protest.”
Passaggio can be heard at the Biennale
d’Art Vocal in the Cité de la
Musique on 9 Jun. Susanna Mälkki
will be conducting Ensemble Intercontemporain
with Julia Henning
as soloist.
In Coro (for choir and orchestra),
highly varied folk techniques and
gestures of sound are combined in
places without referring to any
specific folk songs. Coro can be
heard on 13 Jun, performed by the
Vlaams Radio Orkest & Koor under
Michel Tabachnik. In Formazioni,
Berio questions “conventional” orchestral
arrangement by using a
special configuration of instruments,
creating entirely new “formations”
of orchestral sounds.
Jean Deroyer will be conducting
the Orchestre de Paris on 11 Jun at
the Salle Pleyel.
Luciano Berio
berio
21

22
LIGETI
Historic success
The world première of Atmosphères
in 1961 brought György Ligeti fame
almost overnight. From a compositional
viewpoint, he realised an
idea that he had already had in
mind in Hungary: dazzling, static
music that moves within itself and
avoids traditional categories, such
as melody and metre, completely.
Jonathan Nott, an accomplished
advocate of modernity, will be conducting
Atmosphères on 30 Aug at
Festival Grafenegg/A with the
Gustav Mahler Jugendorchester.
Wolkenturm Grafenegg/A
FELDMAN
Personal
connections
Morton Feldman’s artistic thinking
was greatly influenced by John
Cage. It was at his New York house
on Grand Street that Feldman met
many of the artists who would
later become extraordinarily important
to his work, notably Philip
Guston and also Mark Rothko,
whose 14 pictures in a Houston
chapel moved Feldman deeply, inspiring
him to write Rothko
Chapel. Personal connections play
an important role in the work, Feldman
writing the soprano melody
on the day of Igor Stravinsky’s
funeral service in New York, for instance.
Rothko Chapel (1971) for soprano,
alto, mixed choir and instruments
will be performed at the
Salzburger Festspiele on 7 Aug
with Sylvain Cambreling conducting
Klangforum Wien.
Crippled Symmetry for flute, percussion
and piano (and also celeste),
which was written 12 years
later, will be performed on 28 Aug
in San Sebastian/E with ensemble
recherche.
ligeti / feldman

Josef Bohuslav Foerster
FOERSTER
Great
spiritual power
Josef Bohuslav Foerster
(1859–1951), a contemporary of
Janácek, was a composer who embodied
a great spiritual power, as
well as a vast mental and emotional
range. His Concerto for violin and
orchestra Op. 88 (1910–11) resembles
an extended symphonic poem
with solo violin. Foerster stuck
largely to the sound language of
the late romantic era, and while
the solo part here is clearly integrated
into the orchestra, there is a
distinct use of solo orchestral in-
struments which constantly gives
rise to new musical dialogues.
Dirkjan Horringa and La Pellegrina
will be performing this spiritual
work on 1 Aug in Bechyne Castle in
the Czech Republic.
WEBERN / PERNES
Edited songs
Represented by several works in
the UE catalogue and a composer
in his own right, Thomas Pernes
has edited Anton Webern’s Vier
Lieder für Gesang und Klavier Op. 12
(1915–17) for soprano and chamber
ensemble (2008/09), offering a
new perspective on these rare
miniatures. Performance material
is available now.
On the subject of adaptations,
Nikolaus Harnoncourt will be taking
on Webern’s edition of Schubert’s
Deutsche Tänze this summer.
Opening the first concert of the
Salzburger Festspiele, he will conduct
the Wiener Philharmoniker on
26 and 28 Jul. Salzburg will also
witness some first-class chamber
music on 9 Aug: Mark Steinberg
(vln) and Mitsuko Uchida (pno) are
to perform Vier Stücke, while
Clemens Hagen and Uchida will play
Drei kleine Stücke. Passacaglia has
aroused the interest of Christoph
von Dohnányi, who will conduct
Webern’s Op.1 on 14 and 15 Jun in
Hamburg/D (NDR-Orchestra).
foerster / webern
23

KUHMO FESTIVAL
UE in Kuhmo
The Kuhmo Chamber Music Festival,
the largest in Finland, takes place
for the 40 th time this summer, presenting
around 300 works in over
70 concerts from 12–25 Jul. The
main theme this year is “fairytales
and stories”, and the festival will
also be making a journey following
the path of the Orient Express,
from London all the way eastwards
until it finally reaches New York.
The Kuhmo journey also makes an
extended stop in Vienna, and UE
composers are well represented
during the course of the concerts.
Anton Webern is honoured with a
concert on 18 Jul, with performances
of his Drei Kleine Stücke Op. 11. for
cello and piano, his Four Pieces for
violin and piano Op. 7 and the Six
Bagatelles Op. 9 for string quartet.
Kuhmo/FIN
On 19 July the ‘secret voice’ in Alban
Berg’s Lyric Suite can be heard,
sung by the soprano Salome Haller
with the Enescu Quartet. Berg hid
references to both himself and to
the secret subject of his desires,
Hanna-Fuchs Robettin, in the work.
See our edition UE 70017 edited by
George Perle for more details. Four
songs from Gustav Mahler’s Des
Knaben Wunderhorn are also performed
in the same concerts, with
Jussi Myllys accompanied by
Valeria Resjan.
In addition to works by Webern,
Schönberg, Mahler and Berg,
lesser-known music by Karol Szymanowski
(La Berceuse d’Aitacho
Enia for violin and piano) and
Erwin Schulhoff (Concertino) can
also be heard. For a full list of concerts,
see www.kuhmofestival.fi
kuhmo festival
25

26
KRENEK
Scenes from
the West
In the 1950s, Ernst Krenek composed
several works for young audiences,
such as his ‘four impressions
for orchestra’ Scenes from the West
Op. 134 which were written between
1952 and 1953. These have
been newly included in the UE catalogue
and re-printed – orchestral
material is available now.
His piano song Die Nachtigall Op. 68
is based on a poem by Karl Kraus.
Krenek also arranged the work for
coloratura soprano and ensemble
the same year in which he composed
it (1931). The latest performances
are planned for 3–5 Jul in the
Gasteig, Munich/D. Musicians from
the Münchner Philharmoniker will
be performing under Michael
Tilson-Thomas, with Laura Claycomb
as soloist. Krenek’s song cycle
Reisebuch aus den österreichischen
Alpen can be heard on 28 Jul at the
Sommerliche Musiktage festival in
Hitzacker/D with Jan Kobow as vocalist,
accompanied by Burkhard
Kehring at the piano.
SCHNITTKE
Hans Heinsheimer (UE), Gladys and Ernst Krenek
Juggler of styles
In his Faust cantata “Seid nüchtern
und wachet ...”, Alfred Schnittke
proves himself to be a virtuoso juggler
of musical styles, but also no
stranger to irony. Faust’s unpleasant
end is highlighted by a bizarre
sound effect paired with an exhilarating
tango. Schnittke, however, always
addresses his listeners directly
on an emotional level. His Faust
opera evolved from the cantata and
therefore has considerable parallels
with it. The cantata will be performed
three times in Munich/D.
Andrey Boreyko leads the Münchner
Philharmoniker with soloist Marjana
Prudenskaja (5–7 Jun).
krenek / schnittke

WEILL / BRECHT
Bob Wilson’s
Threepenny Opera
Theatre-maker Robert Wilson delighted
the international press and
Berlin audiences in 2007 with his
idiosyncratic production of The
Threepenny Opera (Kurt Weill /
Bertolt Brecht). The dense, visual
production, supported by the ensemble’s
unbeatable acting, made
for a unique aesthetic experience.
Founded by Bertolt Brecht and Helene
Weigl in 1949, the Berliner Ensemble
chose to celebrate the 80th
anniversary of The Threepenny
Opera with this production. The
Bergen International Festival has
now invited the show to give a
guest performance in Norway. Four
performances are scheduled between
30 May and 2 Jun.
H.K. Gruber and Klangforum Wien
will be heading off on tour in June
with a concert version of The
Threepenny Opera. The star-studded
cast features Ian Bostridge as
Macheath, H. K. Gruber as
Peachum, Hannah Schwarz as Mrs.
Peachum, Dorothea Röschmann as
Polly, Angelika Kirchschlager as
Jenny and Florian Boesch as Tiger
Brown. The tour kicks off on 11 Jun
in Hamburg before heading to
London, Paris and Vienna.
Kurt Weill The Threepenny Opera
Berliner Ensemble 2007
The critical edition of The Threepenny
Opera has now been published
in UE’s new study score series.
As well as providing a detailed
introduction to the work, this contains
a wealth of directions for performance,
the interludes and all of
the spoken text. The study score UE
34304 is available from music
stores and from the UE web shop:
www.universaledition.com
weill / brecht
27

28
MARCEL POOT (1901–1988)
„one hit wonder“
The orchestral works of Belgian
composer Marcel Poot are probably
the strongest works in his oeuvre.
His greatest success was his short
piece Ouverure Joyeuse (1934) for
orchestra, which rather put the rest
of his compositions in the shade
and marked him out as a “one hit
wonder”. The recipe for this hit is
intriguing nonetheless: rapid alternation
between ebullient passages
with a vital motricity and lyrical
moments. The piece was last performed
in Maastricht/NL on 29 Mar.
MARTIN
Austrian
Monologues
Thomas Quasthoff sings the music
of Frank Martin this summer, with
a performance of 6 Monologe aus
Jedermann at the Salzburg Festival
on 18 Aug, accompanied by Lars
Vogt (and again at the Lucernce
Festival on 20 Aug). The monologues
have, as the baritone Dietrich
Henschel puts it, “a broad
palette of expressive values, ranging
from drastic expressionism to
lyric intimacy.”
poot / martin
The Staatsorchester Stuttgart performs
the orchestral version of the
Monologe in Stuttgart (12 & 13 July,
Christian Gerhaher, bar., Manfred
Honeck) and Schwäbisch Gmünd
(18 July, Konrad Jarnot, bar., Timo
Handschuh).
Martin’s Concerto for 7 wind instruments,
timpani, percussion and
strings from 1949 will be performed
three times this summer
by the Vienna Philharmonic conducted
by Seiji Ozawa (22 June,
Théâtre des Champs-Elysées, Paris;
19 June, Musikverein Vienna;
21 June, Konzerthaus Vienna).
Frank Martin

KARL HEINZ FÜSSL (1924–1992)
Emotional
spontaneity
The Carinthian Summer,
Carinthia’s biggest music festival,
celebrates its 40 th anniversary in
2009. The anniversary programme
features Bilder der Jahreszeit by
Austrian composer Karl Heinz
Füssl, whose creativity is mainly
directed towards a freely handled
dodecaphony. This is characterised
by the emotional spontaneity
which continually springs from his
works, despite their structural
rigour. Füssl himself: “the things
that become fashionable regularly
provoke me to violent counter-reaction.”
His four songs for high
voice and string orchestra adapted
from Hölderlin is performed by the
Ensemble Kreativ under Guido
Mancusi with soloist Ursula Langmayr
on the 21 Jul in Ossiach/A.
JOSEF M. HAUER (1883–1959)
Schönberg’s
rival king
Josef Matthias Hauer is one of those
composers who was never really
understood by his contemporaries.
His reputation has been affected
by his bitter fight to be recognised
as “originator and (despite many
poor imitations!) unfortunately
still the only connoisseur and master
of twelve-tone music”. He even
became really aggressive towards
his rival Arnold Schönberg when
the question of the origins of
twelve-tone music arose. Today,
this rivalry seems absurd, as the
two different methods of composition
cannot be reduced to a single
definition. The Ensemble Kreativ
performs Hauer’s Kammermusik
[Chamber Music] on the 20 July, also
as part of the Carinthian Summer.
ALFREDO CASELLA (1883–1947)
Harmonic meeting
point
Alfredo Casella’s Scarlattiana (1926)
is a divertimento for piano and 32
instruments based on 88 themes
from 545 piano sonatas by
Domenico Scarlatti. Casella wrote
in his memoirs, “it is absolutely
possible to find a harmonic meeting
point between the 18 th and
20 th centuries”. Working with Scarlatti’s
ideas, Casella managed to
fuse the two composers’ personalities
into one another and turn
them into a style, “led by internal
impulses”. The Orquesta Filarmónica
de Gran Canaria will enchant audiences
with this work on 8 May in
the Auditorio Alfredo Kraus in Las
Palmas de Gran Canaria/E, under
the direction of Christian Arming with
Andrea Lucchesini at the piano.
29
füssl / hauer /
casella

SZYMANOWSKI
King Roger
“He was a real genius,” says Polish
pianist Pjotr Anderszewski, summing
up the reverence for his countryman
Karol Szymanowski.
Three celebrated new productions
of his opera King Roger stand as a
reminder of Szymanowski’s genuine
understanding of theatre.
The Paris Opera is to stage King
Roger on 18 June as the final première
of the Mortier era. It will be
directed by young Polish star
Krzysztof Warlikowski and conducted
by Kazushi Ono (until 2 July).
The Bregenz Festival will be showcasing
Szymanowski’s only opera
in a production by artistic director
David Pountney (23, 26 July, 1, 3 Aug)
with Mark Elder conducting.
www.bregenzerfestspiele.com
The Oper Bonn also has König
Roger in its concert calendar (5,
14 and 24 June, conductor: Stefan
Blunier).
Some remarkable concerts can be
heard as part of the focus on Szymanowski
in Bregenz: Paul Daniel
is to conduct the Symphony No. 3
and Stabat Mater (27 July, Wiener
Symphoniker) and Gérard Korsten
the Violin Concerto No. 1 (soloist:
Patricia Kopatchinskaja).
Christian Tetzlaff will also be performing
the same piece in Vienna
under Pierre Boulez with the Wiener
Philharmoniker (12 June).
La Berceuse d'Aitacho Enia for violin
and piano can be heard on 20
July at the Kuhmo Chamber Music
Festival/FIN. Mythes (also for violin
and piano) will be performed in
Schwetzingen/D on 5 June. The
Concert Overture can be heard in
Munich/D. Vladimir Fedoseyev will
conduct the BR-Orchester (25–26,
28 June). Stabat Mater receives a
second outing at the London BBC
Proms (Aug 23, BBC SO).
David Pountney
szymanowski
31

32
BARTÓK
Chasing motifs
“In my more recent works, I have
been using more counterpoint
than I used to,” said Béla Bartók in
an interview in 1928. “That way, I
can avoid the 19 th century formulae
that were generally homophonic.
I am studying Mozart.”
Counterpoint techniques play an
important role in many of his later
works, such as the fugue in Musik
für Saiteninstrumente, Schlagzeug
und Celesta. Pierre Boulez will be
presenting the piece several times
with the Berliner Philharmoniker
(4–6 June in Berlin; 5 July at the
Festival d'Aix en Provence).
Der wunderbare Mandarin is partly
a response to Bartók’s interest in
Igor Stravinsky. He admired the
way in which, in Sacre du Printemps,
he “makes these chasing motivic
complexes fit into each other
Béla Bartók Der wunderbare Mandarin Koblenz 2003
bartók
by balancing the weight ratios
with extreme precision”. Bartók’s
pantomime will be performed by
Dennis Russell Davies and the Concertgebouworkest
at the Holland
Festival (19–20 June) and by Pascal
Rophé with the Orchestre Philharmonique
de Liège (5–6 June).
The Kammerorchester Basel is taking
the Romanian Folk Dances on
tour. Winfried Toll will be conducting
the piece between 13 June and
31 Aug in Ludwigsburg, Elmau and
Montreux, among other venues.
Zoltán Kocsis, a celebrated conductor
and pianist, is to present the
Dance Suite with the Hungarian
Symphony Orchestra (7 June, Budapest).
Pierre-Laurent Aimard will
take on the Piano Concerto No. 1 in
Vienna on 10 June with Jonathan
Nott conducting his Bamberger
Symphoniker.

Alban Berg
BERG / KLOKE
New music
for stage
and concert
Owing to their lavish orchestration,
many of Alban Berg’s works
have always been restricted to
large opera houses and large orchestras.
UE has published a series
of reduced versions, on condition
that the specific orchestral sound,
which is of such importance to
Berg, was retained. These new versions
are successfully winning over
new venues and, with them, new
audiences.
John Rea’s version of Wozzeck for
21 instruments has its German première
on 14 June at the Staatstheater
Meiningen.
www.das-meininger-theater.de
Eberhard Kloke has arranged a
whole series of Alban Berg’s works
for smaller orchestras: his version
of the concert aria Der Wein for soprano
(or tenor) and chamber orchestra
can be heard in Austria for
the first time on 8 June at the Vienna
Musikverein, with Peter Keuschnig
and the Ensemble Kontrapunkte.
The soloist will be Gabriele
Fontana.
www.musikverein.at
With Der Wein, Kloke slowly moved
chronologically towards a grander
scheme: his years spent working
on the opera Lulu have resulted in a
fascinating new perspective with a
new version of the third act (world
première in autumn 2010) and an
ensemble version of the entire
opera. While completing the new
version of the third act, Kloke extracted
and transcribed symphonic
pieces from the opera: the Lulu-
Bruchstücke for soprano, mezzo soprano,
tenor, baritone and chamber
orchestra.
berg / kloke
33

34
SCHÖNBERG
Extreme
states of mind
An evening of instrumental theatre
at the Theater Heilbronn (27–28
June and 2–3 July) will focus on
people’s attitude to life during the
era of social upheaval between
1900 and 1914 – and therefore on
composer Arnold Schönberg, who
was able to describe this phase of
re-evaluation and uncertainty in
music like no other. Christian
Marten-Molnár will be staging
Schönberg’s Verklärte Nacht (1899)
and Pierrot lunaire (1912) – works
that both reflect extreme states of
the human mind in music. Ruben
Gazarin will conduct the Württembergisches
Kammerorchester Heilbronn.
The Hertfordshire County Youth
Orchestra and choir have taken on
an ambitious project for 2009:
under their principle conductor,
Peter Stark, they are set to perform
Schönberg’s Gurre-Lieder in a coproduction
with the London Philharmonic
Choir and London Symphony
Chorus in London’s Westminster
Central Hall on 29 Aug.
Hans Rott
HANS ROTT (1858–1884)
Originator of
the new symphony
The works by Viennese composer
Hans Rott, who died in a psychiatric
clinic aged 26, are some of the
most interesting musical discoveries
of the 1990s. Gustav Mahler
regarded his fellow student at the
Vienna Konservatorium, who was
two years his senior, as the “originator
of the new symphony”. His
Pastorales Vorspiel for orchestra
(1880) is a great, highly detailed
crescendo comprising a prelude
and fugue. One passage of bird
song and sustained notes, in particular,
is strongly reminiscent of
the nature scene in Mahler’s Symphony
No. 1. The Beethovenorchester
Bonn will be performing the
piece under Stefan Blunier on 12
June in Bonn/D.
schönberg / rott

SCHREKER
Die Gezeichneten
– reduced version
Like those of Alban Berg (p. 33),
Franz Schreker’s operas have only
ever been performed in large venues
up until now, due to their lavish orchestration.
Die Gezeichneten, perhaps
Schreker’s most exciting work
and a drama of love and uninhibited
sexual desire, is currently being
prepared as a reduced version by
George Stelluto. The opera will be
able to be performed in medium
and small concert halls as of spring
2011. Die Gezeichneten, which premièred
in Frankfurt in 1918, was inspired
by Alexander Zemlinsky,
who requested a “tragedy of being
ugly” (his Der Zwerg followed in
1922). By setting the opera in the
Renaissance period, Schreker – who
always wrote his own libretto –
camouflaged contemporary references
to turn-of-the-century Vienna
Alexander Zemlinsky A Florentine Tragedy
Theater Ulm 2002
and to the ideas of Oscar Wilde,
Arnold Schönberg, Frank Wedekind,
Karl Kraus and Sigmund Freud.
ZEMLINSKY
A Florentine
Tragedy
Alexander Zemlinsky’s scoring of
Oscar Wilde’s tragic love story – A
Florentine Tragedy – is one of the
most exciting one-act operas in
the history of 20 th century music.
Commissioned by UE and the
Alexander Zemlinsky Fund, musicologist
and conductor Antony
Beaumont has been working on a
critical new edition of the opera for
several years. The work is scheduled
for completion in 2010 and
the new orchestral material will be
available internationally as of
2010/2011.
schreker / zemlinsky
35

36
FRANZ SCHMIDT (1862–1939)
Apocalyptic
horrors
Franz Schmidt’s thrilling scoring of
The Book of Revelation – Das Buch
mit sieben Siegeln (1935–1937) – for
soloists, mixed choir, organ and orchestra
can easily be described as
the greatest oratorio of modern
times. Schmidt scored the imagery-rich
text of Revelation for a
large choir and orchestra with
some theatrical effects. The apocalyptic
horrors are reflected in the
musical composition to a certain
extent, using skilfully interwoven
chromatics. The Bavarian Radio
Choir and SO will be performing
the work under Manfred Honeck
on 18–19 June in Munich and on
21 June in Ottobeuren Basilica/D.
Christian Arming will be taking the
piece back to Tokyo after a long absence,
with the New Japan Philharmonic
Orchestra (10–11 July).
JOSEF SUK (1874–1935)
The events of
a summer’s day
Between 1907 and 1909, Josef Suk
worked on a symphonic piece, Ein
Sommermärchen Op. 29, describing
schmidt /
suk / delius
the possible events of a summer’s
day based on a series of impressions.
He was inspired by nature’s
power over mankind. This magnificent
late-romantic and entertaining
piece contains large intervals,
extreme rhythmic contrasts, exotic
sounds and powerful hymns. It can
be heard on 7 June at the Philharmonie
Berlin, performed by the
Deutsches SO under Mikko Franck.
FREDERICK DELIUS (1862–1934)
Joy and
exhilaration
On 27 July The Song of the High
Hills by Frederick Delius will receive
a rare London performance at the
2009 BBC Proms (BBC Philharmonic
and BBC Singers, cond. Sir
Charles Mackerras). Deploying a
wordless chorus, the work was
composed in 1911 and conveys the
impression made upon the composer
by a still summer night in
Norway. “I have tried to express the
joy and exhilaration one feels in
the mountains, and also the loneliness
and melancholy of the higher
solitudes, and the grandeur of the
wide, far distances. The voices represent
Man in Nature – an episode
which becomes fainter and then
disappears altogether."

JANÁČEK
Cunning
Little Renarde
Children across France are being
offered an impressive production
of Leoš Janáček’s Cunning Little
Vixen, in the new version for children
by Alexander Krampe and
Ronny Dietrich. Following Paris
and Besançon, the production by
Charlotte Nessi now comes to Lille
(6, 7, 8 10 June). The joint-production
between Ensemble Justiniana,
Opéra National de Paris and the
Théâtre musical de Besançon is
conducted by Denis Comtet. A
clear, functional stage (by Gérard
Champion) is enhanced by elegant
and versatile video imagery by
Samuel Hercule and Mike
Guermyet.
tinyurl.com/justiniana
www.opera-lille.fr
The Festival de Saint-Denis plays
host to a performance by the Orchestre
de Paris of Janáček’s
Glagolitic Mass. Pierre Boulez
makes a rare appearance conducting
a sacred work, and is joined by
the soloists Melanie Diener, Anna
Stéphany, Simon O'Neill and Peter
Fried, and the Choeur de l'orchestre
de Paris (25 June, Basilique Cathédrale,
Saint-Denis).
tinyurl.com/janacekstdenis
Pierre Boulez returns to the podium
with Janáček at the Lucerne
Festival this year (29 Aug), conducting
Sinfonietta with the Lucerne
Festival Academy Orchestra in a
programme alongside Alban Berg’s
Chamber Concerto.
Janáček’s operas continue in various
German productions this summer,
including both Stein Winge’s
Katya Kabanova and his The
Makropulos Case in Düsseldorf and
Calixto Bieito’s Jenufa in Weimar.
Leoš Janáček Cunning Little Vixen Städtische Bühnen Münster 2009
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 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 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
39

40
GEORG FRIEDRICH HAAS
Traum in des Sommers Nacht
for orchestra
Gewandhaus Orchestra Leipzig, c. Riccardo Chailly
28 August 2009 · Leipzig/D
GEORGES LENTZ
Guyuhmgan (new version 2008)
for orchestra
Orchestre Philharmonique du Luxembourg
c. Emmanuel Krivine
2 July 2009 · Luxembourg
JAY SCHWARTZ
Narcissus & Echo chamber
opera for countertenor, viola,
percussion and organ
Munich Opera Festival
Charles Maxwell, CT,
Lila Brown, vla, c. Jay Schwartz,
dir. Christiane Pohle,
set. Raimund Orfeo Voigt
2, 3 and 4 July 2009 · Allerheiligen
Hofkirche Munich
DAVID SAWER
The Source
for soprano, mezzo soprano and tubular bells
Claire Booth, S, Susan Bickley, MS, Owen Gunnell, perc
1 April 2009 · King’s Place London
world premières

A CELEBRATION OF SONG
An Art Song Festival from Mahler to Webern
for (high) voice and piano
UE 33936
JOHANN SEBASTIAN BACH
Sonatas and Partitas
BWV 1001–1006, ed. by Dagmar Glüxam
UT 50255
MIKE CORNICK
Clever Cat at the Seaside
Pupil & teacher duets to enhance the early stages of learning
for piano 4 hands with CD
UE 21464
RICHARD FILZ
Airdrummers of Tombalesi
for choir SATB
vocal score UE 34186
Beam Me Up!
for choir SATB
vocal score UE 34187
New Karl Scheit Guitar Edition
SANTIAGO DE MURCIA
Suite en ré mineur for guitar
ed. by Olaf van Gonnissen, Thomas Müller-Pering
and Johannes Monno
UE 34481
JAMES RAE
Blue Baroque Saxophone
for alto or tenor saxophone and piano
UE 21465
NIKOS SKALKOTTAS
Sonate A/K 69
for violin solo
UE 21467
new releases
41

42
2008 MUSIC EDITION PRIZE
Complete Edition
of Alban Berg
Alban Berg Gesamtausgabe Musikalischer
Nachlass, vol. 2, “Kompositionen
aus der Studienzeit”, part 2
(UE 18172b) published by Universal
Edition, has been awarded the
Deutsche Musikeditionspreis 2008
in the category ‘Scientific Editions /
Complete Editions’. The jury recognised
the outstanding publishing
achievement of this Complete Edition
and the high quality of its
production. This Prize has been
awarded annually since 1991 by the
German Music Publishers Association.
JOSEPH HAYDN
Sonatas for piano
Editors: Christa Landon and
Ulrich Leisinger; Notes on interpretation:
Robert D. Levin
Fingerings: Oswald Jonas
Vol. 1 / 2 UT 50256 / UT 50257
Revision of the legendary
Haydn Edition
When Christa Landon presented the
first printed version of her edition
of Joseph Haydn's Piano Sonatas,
Haydn's sonata oeuvre was still
overshadowed by the works of
new releases
Mozart and Beethoven. Since then,
Haydn's sonatas have progressed
from the teaching rooms to the
concert halls and Landon's edition
has played a crucial role in that
process. The Haydn anniversary in
2009 is a welcome occasion to
thoroughly revise this 'legendary'
edition for, over the course of more
than forty years, new sources have
come to light and questions of authenticity
have been resolved, not
least because the editorial principles
for 18th-century music have
changed considerably. The new edition
comprises all works of the previous
Wiener Urtext edition plus
the Sonata Hob. XVI:16 edited by
Landon, along with the Sonata in F
major which was rediscovered in
Bozen a few years ago and attributed
to Joseph Haydn. The new edition
is published in four volumes,
the content of each volume being
compatible with the volumes of
the previous edition. Volumes 1 and
2 contain the early sonatas. In the
Notes on Interpretation, Robert D.
Levin explains important aspects
of Haydn's performance practice.

BÉLA BARTÓK Der wunderbare Mandarin, Piano Concerto No. 1 and 2,
Herzogs Blaubarts Burg (extracts), Musik für Streichinstrumente,
Schlagzeug und Orchester
City of Birmingham Symphony Orchestra, c. Simon Rattle,
Peter Donohoe, pno, Anne Sofie von Otter, MS, Willard White, B
EMI 4 CDs 2150372
ALBAN BERG Chamber Concerto
EIC, c. Pierre Boulez, Mitsuko Uchida, pno, Christian Tetzlaff, vln
Decca CD 478 0316
HARRISON BIRTWISTLE Chronometer
restauration: Lieven Bertels, Simon Gibson, EMI Abbey Road Studios
Sound and Music London SAM 0801
MORTON FELDMAN 5 Pianos
Amy Briggs, Helena Bugallo, Benjamin Engeli, Amy Williams,
Stefan Wirth, pno
WERGO CD WER 670822
MORTON FELDMAN For Bunita Marcus
Steffen Schleiermacher, pno MDG CD 613 1522-2
JOSEPH BOHUSLAV FOERSTER Symphony No. 4
Sinfonieorchester Osnabrück, c. Hermann Bäumer
MDG CD 632 1492-2
LEOS JANÁČEK Sinfonietta, Glagolitic Mass
City of Birmingham SO & Chorus, c. Simon Rattle, Felicity Palmer, MS,
Ameral Gunson, S, John Mitchinson, T, Malcolm King, B
EMI Classics CD 5099923760622
MAURICIO KAGEL Kantrimiusik
Nieuw Ensemble, c. Ed Spanjaard, Angela Tunstall, Susan Bickley,
Alan Belk, voc
Winter & Winter/Edel CD 025091015023
ERNST KRENEK Symphony No. 1
Lucerne Symphony Orchestra, c. John Axelrod
Nimbus Records CD NI 5808 DDD
GUSTAV MAHLER Symphony No. 2
Philadelphia Orchestra & Singers, c. Christoph Eschenbach, Simona
Saturova, S, Yvonne Naef, MS
Ondine 2 CDs 1134-2D
FRANK MARTIN Polyptyque, Passacaille, Konzert für Cembalo und
kleines Orchester
Musikkollegium Winterthur, c. Jac van Steen,
Rudolf Scheidegger, hpsd
MDG/Codaex SACD 606231539643
new on cd
43

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BÉLA BARTÓK,
PIERRE BOULEZ,
KARLHEINZ
STOCKHAUSEN
Kurtág’s Ghosts
Marino
Formenti, pno
KAIROS CD
0012902KAI
LUKE BEDFORD
Upon
St. George’s Hill
Estonian
National SO,
c. Tõnu Kaljuste
NMC Songbook
NMC D 150
W. RIHM
La musique
creuse le ciel,
Über Schrift
DSO Berlin,
c. Peter Rundel,
Grau
Schumacher
Piano Duo
NEOS CD 10915
W. RIHM
„CONCERTO“,
Sotto voce 1 + 2
Lucerne SO,
c. Jonathan Nott,
c. John Axelrod,
Arditti Quartet,
N. Hodges, pno
KAIROS CD
0012952KAI
ARVO PÄRT Hymn to a Great City, Da pacem domine
Michael McHale, pno, Callino Quartett
Louth Contemporary Music Society LCMS CD 901
WOLFGANG RIHM Goethe-Lieder
Christoph Prégardien, T, Siegfried Mauser, pno CAvi CD 8553115
DAVID SAWER The Source
Claire Booth, S, Susan Bickley, MS, Owen Gunnell, tubular bells
NMC Songbook CD NMC D 150
FRANZ SCHREKER Der Geburtstag der Infantin, Valse Lente,
Festwalzer und Walzerintermezzo, Der Wind, Ein Tanzspiel
Luzerner Sinfonieorchester, c. John Axelrod
Nimbus Records CD NI 5753 DDD
FRANZ SCHREKER Intermezzo, Scherzo
Luzerner Sinfonieorchester, c. John Axelrod
Nimbus Records CD NI 5808 DDD
KAROL SZYMANOWSKI Concerto No. 1 for violin and orchestra
Warsaw Philh. Orchestra, c. Antoni Wit Sony CD 886974399926
new on cd

Mauricio Sotelo (born 1961)
Worklist
“A Roberto –” for flute 2008–2009
Al fuego, el mar for piano and 4 orchestral groups (25’) 1993–1994/1997–1998
Animales celestes Educational work für 1, 2, 3 or 4 cellos 1996
(variable duration 4–12’)
Appassionato – en un silencio ardiente for flute and ensemble (10’) 2002
Arde el alba for soprano, cantaor and orchestra (24’) 2008
Argo (Argos) for alto or tenor saxophone (22’) 1997
Fragments of Argos:
Cantabile amoroso for (soprano, alto or tenor) saxophone (6’) 1997
Liebeslied I for alto saxophone (8’) 1997
Liebeslied II for tenor saxophone (9’) 1997
Artemis for string quartet (23’) 2004
Audéeis for voice (cantaor) and string quartet (ca 20’) 2004
Cantes Antiguos for voice (cantaor or alto), tape and piano (9’) 2003
Cena de las Cenizas – Abendmahl der Aschen for orchestra (25’) 1999–2000
Chalan for percussion and orchestra (18’) 2003
Como el oscuro pez del fondo for alto flute and percussion (12’) 1988/2001
Como llora el agua ... for guitar (12’) 2008
Como llora el viento ... for guitar and orchestra (23’) 2007
Cripta – música para Luigi Nono 2004–2008
for cantaor, mixed choir, instrumental ensemble and tape (64’)
Cuaderno de danzas for violin and ensemble (20’) 2004
De amore for cello (9’) 1995
De amore – Una maschera di cenere chamber opera (100’) 1996–1999
De imaginum, signorum, et idearum compositione I 1995/1996
for ensemble (14’)
De magia for alto or tenor saxophone, percussion and piano (14’) 1995
De oscura llama for voice (cantaor), ensemble and tape (50’) 2008
De Vinculis: ge-BURT for violin (12’) 2001
De Vinculis: Gong for percussion (14’) 2002
Degli Eroici Furori for string quartet (17’) 2001–2002
Del amor oscuro for voice (cantaor), ensemble and tape (50’) 2004–2008
Del aura al suspirar for contrabass (or alto) flute + tape (12’) 1998–2001
Dulcinea Children’s opera (50’) 2004–2006
basend on Don Quijote by Miguel de Cervantes
El rayo de tiniebla for voice (cantaor), mixed choir and 2008
orchestra (20–25’)
Elegía: fragmento for flute and orchestra (18’) 1999/2003
sotelo worklist
45

46
Epitafio for voice (cantaor) or alto and percussion (8’) 1997
Estremecido por el viento for violin (4–5’) 2003
Frammenti de l'infinito for orchestra and tape (12’) 1998
Lorca-Nono: Dialogo del Amargo
Green Aurora dancing over the night side of the earth for piano (10’) 2006
Interludien zu Lorcas "Canciones populares" for flute, percussion, 1998
guitar, viola and double bass (15’)
Lecturas del libro de Job Sieben Sätze for speaker, flute 1998/2000
and string orchestra (16’)
Memoriae for cello and double bass (12’) 1994
Muros de dolor ... I for tenor saxophone (4’26’’) 2005
Muros de dolor ... II for bass flute 2005
Muros de dolor ... III for orchestra (14’) 2006/2007
Muros de dolor ... IV: Soleá de Utrera for voice (cantaor), 2007
saxophone and percussion (10’)
Night for percussion and ensemble (25’) 2007
Posesión del Ángel for cantaor or baritone, instruments and 1997/2001
tape (50’)
Raíz del aire for voice (cantaor) and ensemble (18’) 2006
Rinconete y Cortadillo for electronics (40’) 2002
Si después de morir ... for voice (cantaor or alto), flute, 1999–2000
tape and orchestra (18’)
Sonetos del amor oscuro – Cripta sonora para 2003–2004/2005
Luigi Nono — Nono Projecto for 2 cantaores, mixed choir,
instrumental ensemble and tape (64’)
Su un oceano di scampanellii for piano (24’) 1994–1995
Supernova – Santa Marina la Real for organ (12’) 2008
Tamquam centrum circuli for flute, harpsichord and orchestra (18’) 1997/2006
Tisra for piano trio (12’) 2006
Trama, il flauto di marsia for flute (22’) 1996
Venta Varga for piano trio (3’) 2007
Wall of light black for saxophone and chamber ensemble (16’) 2003/2006
Wall of light red for saxophone and ensemble (17’) 2003–2004
Wall of light sky for ensemble and tape (12’) 2006
More information available at:
www.universaledition.com/sotelo
sotelo worklist

UNIVERSAL EDITION
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tel +43-1-337 23 - 0, fax +43-1-337 23 - 400
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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, Kieran Morris,
Rebecca Dawson, Kerstin Schwager and Marion Dürr
Design: Egger & Lerch, Vienna/Austria
Photo credits: Internationale Gustav Mahler Gesellschaft,
www.karlkreuzer.de, Eric Marinitsch (7), www.lifepr.de,
UE Archiv (7), Ben Ealovega, Opera North / Alastair Muir,
www.guardian.co.uk, www.ultrasonic.it, Harrison Parrott / Tanja
Ahola, www.grafenegg.at, Kuhmo Festival / Caj Bremer, Hans
Heinsheimer Foundation, Berliner Ensemble / Lesely Leslie-
Spinks, Eric Schaal, Bregenzer Festspiele / Carlos de Mello,
Theater der Stadt Koblenz / Helke Stiebel, Theater Ulm / Hans
Botzenhardt, Städtische Bühnen Münster / Michael Hörnschemeyer,
Münchner Opernfestspiele;
CDs: KAIROS (2), NMC, NEOS.
DVR: 0836702