“While slavery has been outlawed in the United States since 1865, its lingeringeffects have proven over the years that the issues in our country concerning race,class, and the true meaning of freedom are in no way resolved.” On the eve of the2005 world premiere of Richard Danielpour’s historically based-opera MargaretGarner, he shared this insight into one of the ongoing blemishes of Americansociety. Years before Danielpour’s portrayal of this American heroine, TheaMusgrave drew inspiration from another Antebellum figure – Harriet Tubmanof the “Underground Railroad” – in her 1984 opera Harriet, The Woman CalledMoses. In a serendipitous coincidence this month, both composers revisit each ofthese strong American women in orchestral adaptations from their operas.

On 13 May, Musgrave’sRemembering Harrietpremieres at theBrooklyn Philharmonicled by Chelsea TiptonII. “The heroic African-American, Harriet Tubman,” Musgrave shares,“escaped from bondage on the Eastern Shore ofMaryland to become the famous conductor‘Moses’ on the Underground Railroad, rescuingover 300 of her people. Her story is compellingand human. About 20 years ago, Evans Mirageas[Brooklyn’s artistic advisor] saw the opera and was

deeply moved by it, so much so, that many years later, he asked me to write aconcert work based on the opera for the Brooklyn Philharmonic. I kept the keyscenes and added a narrator in order to keep the story line flowing. WhatHarriet did is amazing, and is a testament to what one individual facinginsuperable difficulties is capable of accomplishing.”

On the 19th, mezzo-sopranoTracie Luck and theWheeling Symphony presentthe first performance ofDanielpour’s Triptych fromMargaret Garner, conductedby André Raphel Smith.Danielpour designed thethree-movement work to “feature Margaret Garner’sunderstanding of love. These are Margaret’s three

feature arias in the opera, but each one shows her character’s love in differentways. The first aria is a mother’s love for her children. The second is anunderstanding of herself as a person to be loved. The final movement, orIntermezzo, shows Margaret speak about love to God (or the Cosmos) in termsof a sense of self dignity and self worth.”

G.SchirmerMay ’06

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Strong American Women

Remembering Harriet 55'Soprano, Contralto,

Baritone; Narrator; SATB22(ca).22(cbn)/3330/

timp.2perc/hp.pf/str

credit: Michael Lovett

Pulitzer Prize-Winner

“I’m thrilled, exhilarated, and I’m findingit hard to sleep.” These are the immediatethoughts of our newest Pulitzer Prizewinner Yehudi Wyner, whose Piano Concerto “Chiavi in Mano” won the 2006Pulitzer Prize in Music. “Chiavi,” notes Wyner, “really is the culmination of alife’s work. Of all my pieces, this one most comprehensively reflects the varioussides of me, both the serious and the absurd.” Composed during a summer2004 residency in Italy, Chiavi in Mano draws influencesand ideas from Bach to Mozart to jazz, and is filled withantic reversals, high spirits, deep lows, and thejuxtaposition of life’s extremes, somewhat in the vein ofDante’s Divine Comedy. The Boston Symphony – whichcommissioned “Chiavi” for soloist Robert Levin, premieredthe one-movement work on 17 February 2005, under thebaton of Robert Spano.

Pianist Levin adds, “Tome, what he deliveredis a piece of vintageWyner, rich in emotional communication,eloquence, and vehemence. I felt at thetime that I had hit the jackpot, and now hehas, too.”

Wyner – also a conductor and pianist –says that right now, “my brains are likescrambled eggs, but I must keep working.”That work involves next month’s concert ofhis Dances of Atonement, when he joinsviolinist Brigitte Sulem at the Marc ChagallMuseum in Nice, France.

Piano Concerto “Chiavi in Mano” 20'Piano; 2(pic).2.2.2/4231/timp.perc/str

“Chiavi in Mano – the title ofthe concerto – is the mantraused by automobile salesmenand realtors in Italy: Buy thehouse or the car and the keysare yours. But the more pertinent reason for the title isthe fact that the piano writing isdesigned to fall “under thehand” and no matter how difficult it may be, it remainsphysically comfortable anddevoid of stress. In otherwords: ‘Keys in hand.’”

— Yehudi Wyner

The Pulitzer Prizes

Triptych 15'“Margaret’s Lullaby”

“A Quality Love”“Intermezzo and Soliloquy”

Mezzo-soprano;322+bcl.3+cbn/4231/

timp.3perc/hp.pf/str

Portrait of Thea Musgrave by Victoria Crowe,which was commissioned and entered in theNational Gallery of Scotland earlier this year.Credit: Antonia Reeve

credit: Paul Sirochman

Tracie Luck

2

Mark AdamoLysistrata 120'

Lysistrata...is inspired by Aristophanes’comedy... Adamo, who also wrote thelibretto, invents characters and conflicts andmakes the story a richer human drama...you admire the ambition, sweep and skillthat Adamo has brought to his work....

From the very start, the bustling,hyperrhythmic and harmonically pungentmusic makes clear that Lysistrata is not just going to be some bawdy romp.Adamo seems to be following the model of music theater composers fromMozart to Sondheim, who fill their scores with enriching intricacies that gurgleaway just below the surface, audible to those who want to pay attention, butnever intrusive.... The music is haunting... Lysistrata...wins you over.

Anthony Tommasini, New York Times

Review

New York premiereMichael Kahn, stage director

Emily Pulley, soprano; Jennifer Rivera,mezzo-soprano; Myrna Paris, contralto;Chad Shelton, tenor; James Bobick and

Stephen Kechulius, baritones New York City Opera/Manahan

21 March 2006; New York State Theatre,Lincoln Center, New York City

Panel discussionpictured left to right:Emi Wada, costumedesigner; Wang ChaoGe, co-director; Fan Yue,stage designer; SarahBillinghurst,Metropolitan Opera.

Just released is DaCapo Records’ premiere recordingof Poul Ruders’s opera Kafka’s Trial. Inspired byFranz Kafka’s visionary novel The Trial, Ruders’sopera was commissioned by and premiered in 2005at the Danish National Opera. Those performancesare captured here on disc, with conductor ThomasSøndergård leading the Danish National Orchestraand Opera Choir. US release date: 20 June.

DaCapo Records CD 8226042-43

New on Disc: “Kafka’s Trial”

On 2 June, Anthony Davis’s groundbreaking opera X: The Life and Timesof Malcolm X begins its run of eight performances at Oakland OperaTheatre. Michael Mohammed directs and Deirdre McClure conductsDavis’s searing political drama. Baritone Joseph Wright stars as politicalactivist Malcolm X. “I am very excited and honored,” Davis comments,“that the Oakland Opera Theatre has chosen to present the upcomingproduction of X: The Life and Times of Malcolm X. It has been almost 20years since the premiere of X at New York City Opera and it is verygratifying to me that the opera continues to resonate with the public.”

Going Up on Stage: “X”credit: courtesy Oakland Opera Theatre

In April, orchestral and educational workshops of Tan Dun’s new opera TheFirst Emperor took place in Shanghai. Commissioned by the MetropolitanOpera and premiering in December, The First Emperor features an Englishlibretto by the composer and Ha Jin, and stage direction by Zhang Yimou. TanDun conducts. Placido Domingo stars in the title role of China’s great leader.

First Peek

credit: courtesy Parnassus Productions

Bastien and Bastienna. All singers know Mozart’sshort, three-character singspiel about two younglovers and the mischievous but benevolentsoothsayer who toys with them. It’s easy to stageand fun to sing, but goes by oh so quickly. Nowit has a companion piece in Robert X. Rodriguez’s La Curandera as OperaColorado premieres it on 13 May. Inspired by Mozart’s opera, Rodriguez’swork is an original story set in Mexican folk tradition. Mozart’s soothsayer is

replaced here with the village “curandera” or folk-healer(and magician), and there are three additionalcharacters. Rodriguez set his own English libretto,which is peppered throughout with Spanish words andphrases. “There are many popular proverbs andidiomatic expressions from both Mexico and Spain,”Rodriguez explains. “The libretto also incorporatesactual curandera incantations, rituals and proceduresfrom Mexican folklore as well as current practice inMexico and the United States”.

The music of La Curandera, likewise, pays homage to Mozart with a Mexicanflavor. There are arias, spoken dialogue, accompanied recitatives, and intricateopera buffa ensembles. Yet, there are also sounds of mariachi, and authenticMexican melodies used throughout including folksongs, textures, harmonicpatterns, and the Mexican national anthem Mexicanos al grito de Guerra.

Inspired by MozartLa Curandera c.60'

Soprano, Mezzo-soprano, Contralto, Tenor, Baritone, Bass

cl(asx).tpt.btbn.perc/acc.pf/vn.vc

HL 50338530

Lysistrata

credit: Carol Rosegg, courtesy New York City Opera

3

Aprés Premiere:Avner Dorman

joins the PercaDuensemble and

conductor ZubinMehta after theIsrael Philhar-monic’s world

premiere in Aprilof Dorman’s

Spices, Perfume,Toxins!.

credit: courtesy Avner Dorman

Schoenberg composed the Suite in G for String Orchestrain 1934 shortly after his arrival in Los Angeles uponfleeing Germany in the wake of the growing Nazi regime.Martin Bernstein, a young bass player from New YorkUniversity, urged him to write something for collegeorchestras and the Suite became his first piece in the NewWorld. Schoenberg overestimated the modest abilities ofthe students who’d play the piece, so that it was up to the Los Angeles SymphonyOrchestra, under Otto Klemperer, to perform the work for its premiere.

J.S. Bach inspired Schoenberg throughout his life and his era was brilliantlyreflected in this work im Alten Stil or in the Olden Style. The Suite in G forString Orchestra is marked by a hectic counterpoint, richly chromaticizedharmony based on traditional foundations, and constructed in five movementsin the Baroque manner. The complexity of the work surprised no one, but itsunabashed tonality did. Critics at the time did a double-take upon hearing thisclearly tonal creation from the father of atonalism and puzzled over itsmeaning. However, Schoenberg anticipated their speculation in the forward tothe autograph of the score, which was never quoted in any publications aboutthe piece at the time, and at once acknowledges his temporary departure totonality and dispels any thought it might have reflected a change of heart:“This piece indicates no renunciation of my previous creations.”

This work belongs in the string orchestra canon as more than a novelty from thisgiant – it is a piece of the American legacy, (along with his Concerto for Violin,Op. 36 and the Chamber Symphony No. 2, Op.38) which Schoenberg created inhis new life, in between tennis games with his neighbors the Gershwins...

(Re)View — Arnold Schoenberg:“Suite in G for String Orchestra”

Suite in G for String Orchestra (1934) 30'

1. Ouverture [Overture] 2. Adagio [Slow]

3. Menuet [Minuet] 4. Gavotte [Gavotte]

5. Gigue [Gigue]

East Coast. Heartland. West Coast. Three world premieres this month span thebreadth of the United States.

The Orpheus Chamber Orchestra kicks things offin New York City with the May 6th premiere ofJoan Tower’s Chamber Dance. Tower describesthe piece as “a work for large chamber group without conductor. I chose theword ‘dance’ because Orpheus rehearses and performs like chamber musicians.They dance as partners in their movements and playing – there’s lots of giveand take. The piece has rhythmic patterns, solos, and a number of duets thatpair the players like dance partners.” Ronnie Bauch, Orpheus’s manager andviolinist adds, “The strength of Joan’s chamber music and orchestral works,and her close personal connections with many of our members, make her aparticularly attractive choice to help us in our commitment to expand thechamber orchestra repertoire.”

Robert X. Rodríguez’s new Agnus Dei marks the Mozart250th birthday anniversary. Commissioned by theDayton Philharmonic and Chorus, and led by NealGittleman, the work was written for Mozart’s unfinished“Great Mass” in C-Minor and is scored for the same forcesas Mozart’s mass, with additional optional instruments.“Scholars have long debated why Mozart never completed this masterpiece,”Rodríguez opines. “...Another lingering question about Mozart’s mass concernswhat provisions were made for its missing portions (parts of the Credo and theentire Agnus Dei) at the Salzburg premiere... I cast the Agnus Dei in a modifiedsonata form... I [also] used three of Mozart’s own melodies from the mass... MyAgnus Dei is a synthesis of three stylistic worlds: Medieval, Classical andContemporary. All themes, styles and performing forces join at the end in atranquil, extended canonic setting of words which continue to be appropriate forour own troubled times: Dona nobis pacem.” (See Inspired by Mozart, p.2)

Premiere number three is Bright Sheng’s Wild Swan,presented by the New West Symphony under thecomposer’s baton. (The work is based on Sheng’sConcertino for Clarinet and String Quartet.) “The NewWest Symphony commissioned Bright to write Wild Swan for two very goodreasons,” comments artistic administrator Charles McDermott. “Bright is acomposer at the very top of his craft. Call it ‘fusion’ or ‘fission’ – his ability tocombine Eastern and Western sensibilities is at once fascinating and thoughtprovoking. Secondly, Bright has been a guest composer, artist, and conductorwith the Symphony twice before.... Simply said, we have greatly enjoyed eachother’s company...” Sheng’s May orchestral schedule also includes thecomposer as pianist when he joins Gerard Schwarz and the Seattle Symphonyon 11 May for the West Coast premiere of his piano concerto Red Silk Dance.

Orchestral Firsts

Chamber Dance c.15'2(pic).2.2.2/2200/timp.perc./str

Agnus Dei c.8'2 Sopranos, Tenor,

Bass; SSAATTBB1202/2230/timp/org/str

Optional: chimes, crotales, handbell choir

Wild Swan c.15'2(pic).2(ca).2(bcl).2(cbn)/3.2.2.0/timp.2perc/hp/str

Shostakovich’s Unfinished Quartet, dating fromthe early 1960s, is a substantial portion of what wasinitially meant to be the first movement of hisNinth String Quartet, but was set aside. Completedby composer RomanLedenyov using thecomposer’s manuscripts, themovement (Allegretto, EbMajor) has now beenpublished in a performingedition by DSCH. Alreadyperformed in Europe, the

Unfinished Quartet awaits its American premiere.

Naxos marks the centenary with two new CDs. TheSeattle Symphony and music director GerardSchwarz hosted a Shostakovich birthday festivalduring which Naxos released Seattle’s recording ofThe Execution of Stepan Razin and October, alongwith the Five Fragments. Naxos has also produced thehistoric volume Dmitry Shostakovich: A Portrait. The 2-CD set is acollection of 26 tracks featuring the composer performing his own works,as well as an excerpt from a 1941 radio address.

Our rental library has acquired new performing materials from Symphonies10 and 13, prepared by Internationale Musikverlage Hans Sikorski.

Shostakovich Centenary Update

DSCH, MoscowScore 50486190 $24.95Parts 50486191 $24.95

Naxos CD 8557812

Naxos CD 8558188-89

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1 Samuel BarberThe Virgin Martyrs premiered 1939

2 Sergei ProkofievPeter and the Wolf premiered 1936

3 Henry Cowell Quartet for Flute, Oboe, Cello and Harppremiered 1963

4 Joan TowerIsland Prelude premiered 1989

7 Virgil ThomsonThe Mother of Us All premiered 1947

8 Gian Carlo MenottiThe Medium premiered 1946

Gunther SchullerThe Fisherman and His Wife premiered 1970

9 John HarbisonWords from Paterson premiered 1990

10 Milton Babbitt born 1916

11 Andrew ImbrieSymphony No. 1 premiered 1966

12 Dmitri ShostakovichSymphony No. 1 premiered 1926

13 John HarbisonSymphony No. 2 premiered 1987

14 Philip GlassOrphée premiered 1993

16 Joan Tower Concerto for Orchestra premiered 1991

17 Sergei ProkofievAlexander Nevsky premiered 1939

18 Joan TowerSequoia premiered 1981

19 Paul Cooper born 1926

Charles Ives born 1954

Robert X. RodriguezThe Last Night of Don Juan premiered 2000

20 Gian Carlo MenottiSuite for Two Cellos and Pianopremiered 1973

22 Bright ShengFlute Moon premiered 1999

23 Samuel BarberCommando March premiered 1943

24 Elliott CarterPocahontas premiered 1939

25 Philip GlassVoices premiered 2001

27 Thea Musgrave born 1928

Kaija SaariahoSong for Betty premiered 2001

29 Danny Elfman born 1953

30 Walter PistonThe Incredible Flutist premiered 1938

31 Krzysztof PendereckiThrenody in Memory of the Victims of Hiroshima premiered 1961

Anniversaries

Joan Tower’swhirlwind sea-son includesan honorarydoctorate fromthe NewEnglandConservatoryof Music onMay 21.

The American BrassQuintet premieresJoan Tower’sCopperwave on 4May as part of theJuilliard School ofMusic’s centennial celebrations.

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Meet the ComposerTower (AMP) Chamber Dance ★★★

Orpheus ChamberOrchestraNew York City

Harbison (AMP) Emerson ★

New York VirtuosoSingers/HaroldRosenbaumNew York City

Contemporary MusicFestival Corigliano (GS) The Red Violin: Chaconnefor Violin and OrchestraGlass (DUN) Concerto Fantasy for TwoTimpanists and OrchestraSeattle Symphony/Gerard SchwarzThomas (GS) Love SongsSeattle SymphonyChorale/Christian Knapp

Chávez (EMI) Xochipilli (An ImaginedAztec Music)Los Angeles ChamberOrchestra

Lang (RP) Sweet Air (1999 version)Carlsbad Music Festival/Thomas OsborneCarlsbad, CA

Revueltas (GS) SensemayáLos Angeles ChamberOrchestra

Thomas (GS) PulsarJennifer Koh, violinLincoln Center,New York City

Corigliano (GS) New Choreography afterConcerto for Violin andOrchestra ★★★

(May 14, 20, 26)Peter Martins, choreographer; New York City BalletLincoln Center,New York City

Antheil (GS) Ballet mécanique (revisedversion)(May 11 - 17)St. Louis SymphonyOrchestra

Contemporary MusicFestival Sheng (GS) Red Silk DanceBright Sheng, piano;Seattle Symphony/Gerard Schwarz

Barber (GS) Toccata festiva(May 12, 13)Olivier Latry, organPhiladelphia Orchestra/Christoph Eschenbach

Shchedrin (GSR) Carmen Suite (afterGeorges Bizet)(May 12 - 21)Boston Ballet

Shostakovich (GSR)String Quartet No. 10String Quartet No. 11String Quartet No. 12Emerson String QuartetAlice Tully Hall, New York City

Arnold (LEN) English Dances: Set IPhilharmonic Society ofSt. Louis/Baker

Harbison (AMP) Three City BlocksNorthwestern University/Mary ThompsonEvanston, IL

Kirchner (AMP) Music for TwelveOberlin College/WeisOberlin, OH

Musgrave (NOV) Remembering Harriet★★★

Cynthia Haymon, soprano; Carmela Jones,mezzo-soprano; Nmon Ford, baritoneBrooklyn Philharmonic/Chelsea Tipton IIBrooklyn Academy ofMusic, New York City

Rodríguez (GS) La Curandera ★★★

Opera Colorado OutreachEnsembleDenver, CO

Children’s ConcertsFrank (GS) Leyendas: An AndeanWalkabout(May 14 - 20)Seattle SymphonyOrchestra/Christian Knapp

Brubeck (SHA) DialoguesMetropolitan SymphonyOrchestra/W. SchrickelSt Paul, MN

Corigliano (GS) To MusicSyracuse SymphonyYouth Symphony/Kenneth AndrewsSyracuse, NY

Ives (AMP) Symphony No. 4(May 18)Royal SwedishPhilharmonic/Alan GilbertSweden

Menotti (GS) The Medium: The BlackSwanLaura MacAvoySaratoga Springs HighSchool/Lucy ManningSaratoga Springs, NY

Adams (AMP) The Chairman Dances:Foxtrot for Orchestra(May 19 - 21)Minnesota Orchestra/Osmo VanskaMinneapolis, MN

Sheng (GS) Wild Swan ★★★

New West Symphony/Boris BrottThousand Oaks, CA

Corigliano (GS) The Red Violin: Chaconnefor Violin and Orchestra(May 19)Lindsay Deutsch, violinKnoxville Symphony/Lucas RichmanKnoxville, TN

Sheng (GS) Fantasies for Violin andPiano ★★★

Cho-Liang Lin, violin;André-Michel Schub, pianoLibrary of Congress,Washington, DCWild Swan (Arr. forConcertino for Clarinetand String Quintet)(May 20)New West Symphony/Bright ShengThousand Oaks, CA

Danielpour (AMP) Triptych (from MargaretGarner) ★★★

Tracie Luck, mezzo-sopranoWheeling Symphony/André Raphel SmithWheeling, WV

Rodríguez (GS) Agnus Dei (May 20)Dayton PhilharmonicOrchestra/Neal GittlemanDayton, OH

Young Artists Program Adamo (GS) Lysistrata, or The NudeGoddess (excerpts)Corigliano (GS) The Ghosts of Versailles(excerpts)Washington Opera/Ed PurringtonWashington, DC

Arnold (PAT) Four Scottish DancesFlorida West CoastSymphony/Andrew LaneSarasota, FL

Sheng (GS) Fantasies for Violin andPianoCho-Liang Lin, violin;André-Michel Schub,pianoWilliamsburg, Virginia

Arnold (PAT) A Grand, Grand OvertureLa Canada PresbyterianChurch/Jack LantzLa Canada, CA

Prokofiev (GSR) Alexander NevskySeattle Youth Symphonyand Chorus/Christian KnappSeattle, WA

Thomas (GS) CapricePulsarWalden Chamber PlayersClark Art Institute,Williamstown, MASix EtudesAmy Briggs Dissanayake, pianoChicago, IL

Festival of American MusicHarbison (AMP) Il Saliscendi Bianco,Mottetti di Montale, Libro IIAlison Wells, mezzo-sopranoThomas (GS) Love SongsThomson (GS) Saints ProcessionBBC SingersLontano Ensemble/Odaline de la Martinez London, England

Kernis (AMP) Musica Celestis (forString Orchestra)(May 26 - 28)Yale SymphonyNew Haven, CT

Sheng (GS) Two Poems from theSung Dynasty(May 26 - 6/2)Jean-Pierre Bonnefoux,choregrapher; New YorkCity Ballet

Antheil (GS)A Jazz Symphony (1925version)Babbitt (AMP) All SetBoston Modern OrchestraProject/Gil RoseRoslindale, MA

Stravinsky (GS) Jeu de cartes(May 27, 29 - 31, June 1)John Cranko, choreographer; American Ballet TheatreLincoln Center,New York City

Danielpour (AMP) Adagietto for StringOrchestraJuilliard School ofMusic/Ki-Sun SungNew York City

Sibelius (B&H) KullervoAtlanta SymphonyOrchestra

Tyzik (EMI) Hot Soul MedleyMemphis Symphony/David Loebel

Whelan (MS) Riverdance ThemeDelta Youth Orchestra/Stephen RobbDelta, BC, Canada

G. Schirmer Selected Performances May ’06

Corigliano (GS) Fern Hill, for ChamberEnsemble(May 13)Voices Inc./Lynne RansomPennington, NJ

Tan Dun (GS) Water Concerto(May 13)Kentucky Symphony/James CassidyNewport, KY

Gould (G&C) Tap Dance ConcertoDupage Symphony/Barbara SchubertWarrenville, IL

Thomas (GS) The Rub of LoveCONSONO ChamberChoir/Harald JersCologne, Germany

Ellington / arr. byMorton Gould (EMI) Mood Indigo (six-brasssetting)Henry Mancini Institute/Patrick WilliamsCulver City, CA

Revueltas (GS) Sensemaya (chamber version)FREON ENSEMBLE/Stefano CardiItaly

Tower (AMP) Chamber DanceOrpheus ChamberOrchestraIrvine Barclay Theater,Irvine, CA

Menotti (GS) Triplo Concerto à TreChamber Orchestra of theTriangle/Lorenzo MutiCharleston, SC

Stravinsky / arr. byRobert Rudolf (EMI) The Rite of Spring(reduced orchestra)Milwaukee SymphonyOrchestra/Andrew MasseyMilwaukee, WI

Harbison (AMP) Mirabai SongsCalifornia StateUniversity/KennedyLos Angeles, CA

Shostakovich (GSR) Symphony No. 13 (May 23)Sergei Murzaev, bassMontreal Symphony/Jacques LacombeMontreal, Quebec,Canada

Thomas (GS) The Rub of LoveCONSONO ChamberChoir/Harald JersKiel, Germany

Gordon (RP) DecasiaTonkunstler OrchesterNiederosterreich/Kristjan JarviFestspielhaus St. Pölten,Austria

Kancheli (GSR) StyxProkofiev (GSR) Alexander Nevsky(Cantata)Orchestra London London, Ontario, Canada

Tower (AMP) In MemoryEnsemble members of theChicago Symphony/Oliver Knussen

Gubaidulina (GSR) Quartet for Four FlutesShostakovich (GSR) AphorismsPiano Sonata No. 2Shostakovich/Derevianko, arr. (GSR) Symphony No. 15Oleg Malov, piano; SeattleChamber Players

Gould (G&C) Derivations for SoloClarinet and Dance BandNorth Carolina School ofthe Arts/Ron RudkinWinston-Salem, NC

Bennett (NOV) Ballad in memory ofShirley Horn ★★★

Nigel Hinson, clarinet;Nick Oliver, pianoNottingham, England

Adams (AMP) HarmonielehreEllington / arr. byLuther Henderson (GS) Three Black KingsGreater Baltimore YouthOrchestra/Jason LoveBaltimore, MD

On 19 May,soloist Cho-Liang Lin andpianist André-Michel Schubpresent theworld premiereof BrightSheng’sFantasies forViolin andPiano at theLibrary ofCongress.

credit: courtesy of LaJolla Chamber MusicFestival

Corigliano (GS) The Mannheim RocketMetropolitan YouthOrchestra/John McNeurGlen Head, NY

ASOL ConferenceSalonen (CH) Wing on WingLos AngelesPhilharmonic/Esa-Pekka Salonen

Shostakovich (GSR) Symphony No. 10(June 1, 3)Violin Concerto No. 1(June 1)Maxim Vengerov, violinToronto Symphony/Andrey BoreykoToronto, Ontario, Canada

Made In AmericaTower (AMP)

May 6, 7: Missoula SymphonyMissoula, MT

May 7: Atlanta Symphony Youth Orchestra

St. Louis Youth Orchestra/David Robertson

May 19, 20: MidCoast Chamber Orchestra/Rohan SmithBrunswick, ME

Corigliano (GS) Gazebo Dances State University of NewYork at Potsdam/Michael SchaffPotsdam, NY

Lindberg (CH) Corrente IIOrchestre Symonique deQuebec/LorraineVaillancourtQuebec City, Quebec,Canada

Lutoslawski (CH) Concerto for Piano andOrchestraCleveland Institute ofMusic

Juilliard SchoolCentennial CelebrationsTower (AMP) Copperwave ★★★

American Brass QuintetJuilliard SchoolNew York City

Menotti (GS) The MediumPhilharmonischesOrchester Regensburg/Jari HiekkapeltoRegensburg, Germany

Schuller (AMP) Seven Studies on Themesof Paul Klee(May 5, 6)Jacksonville Symphony/Fabio Mechetti

Tan Dun (GS) “Dragon and Phoenix,”from Symphony 1997:Heaven, Earth, Mankind(May 5, 6)Atlanta Symphony/Donald Runnicles

Harbison (AMP) Concerto for Bass Viol ★★

(May 6, 7)Timothy Pitts, doublebass;Houston Symphony/Hans Graf

Husa (AMP) Concertino for Piano andWind EnsembleEastman Wind Ensemble/Mark ScatterdayRochester, NY

Composer in ResidenceWolfe (RP) Window of Vulnerability ★★

Komische Oper Berlin/Constantinos CarydisBerlin, Germany

Carter (AMP) Night FantasiesVladimir Stoupel, pianoBerlin, Germany

Frank (GS)Illapa: Tone Poem forFlute and OrchestraLeone Buyse, fluteEastern WashingtonUniversity/NakaharaCheney, WA

Kabalevsky (GSR) Concerto No. 3 for Pianoand Orchestra (“Youth”)Gardner-Webb UniversityBoiling Springs, NC

Schnittke (GSR)Concerto for Piano (4-Hands) and ChamberOrchestraKalamazoo Symphony/Rolf GothoniKalamazoo, MI

Young People’s ConcertRodríguez (GS) Musical Dice GameDayton Philharmonic/Neal GittlemanDayton, OH

Stravinsky (GS) Jeu de cartes(May 3, 4)John Cranko, choreographer; American Ballet TheatreOrange CountyPerforming Arts Center,Costa Mesa, CA

Gubaidulina (GSR) ConcordanzaOrpheus Chamber Orchestra

May 3: Seattle, Washington

May 4: Napa, CA

May 5: Los Angeles, CA

May 7: Santa Fe, NM

May 10: Carnegie Hall, New York City

UK TourGordon (RP) Light is CallingMichael Gordon Philharmonic

May 9: Leeds

May 10: Norwich

May 11: London

May 14: Warwick

May 15: Manchester

May 16: Gateshead

credit: Noah Sheldon

Dorman (GS) Udacrep AkubradPercaDu

May 1: Kaunas Jazz Festival; Vilnius, Lithuania

May 2, 3: Introvert Music Festival; Riga, Latvia

May 5: St. Petersburg, Russia

May 13: Enav Cultural Center, Tel Aviv, Israel

May 31: Israel Festival 2006; Mormon University,Jerusalem

credit: courtesy StantonManagement

6

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Of course, we still offer a complete Composer listing (includingbiographies, work lists, and discographies), access to the G. SchirmerRental and Sales Catalogues, guidelines for Renting and Licensing music,as well as up-to-the-minute News. Also available are direct links to oursister company websites, and a quick and convenient sign-up form toreceive the electronic version of G. Schirmer News. Check it out!

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The New York City Ballet introduces two new ballets featuring Schirmercompositions.

On May 10th, John Corigliano attends the spring gala which features balletmaster Peter Martin’s new piece based on the composer’s Concerto for Violin“The Red Violin.” On the 25th, choreographer Jean-Pierre Bonnefoux serves us“Heart Full of Sorrow,” created from extant music by Bright Sheng – NewYork City Ballet’s new composer-in-residence.

En Pointe!

credit: Paul Kolnick, courtesy New York City Ballet credit: Jeff Cravotta, courtesy New York City Ballet

Peter Martins Jean-Pierre Bonnefoux

Kaija SaariahoAdriana Mater 120'

At its most powerful, opera takes human,religious and political dramas of the past andgives them enduring relevance. Adriana Mater,the new opera by the heralded Finnish composerKaija Saariaho, borrows its haunting narrativefrom our own age and shows it to be a story forall time.

Its setting is a modern war, modern because itcould be happening now... while the country isnot named, the plot inevitably evokes theBosnian war of the 1990’s, with its grim legacy of rape and ethnic cleansing.

[Adriana Mater is] a story of intensity [and] demands music of equal power...Saariaho succeeded in forging a work on an emotional scale only occasionallyheard in contemporary opera.

The cast comprises just four characters...who are backed by an amplifiedoffstage chorus. The opera’s changing moods are, in turn, defined by richlyvaried orchestration, both explosive and reflective, as well as by the urgentparlando and lyrical arias of the vocal parts....

[Adriana Mater is] searingly painful in its depiction of humanity.

Alan Riding, New York Times

Review

World premiereSoprano, Mezzo-soprano,

Tenor, Bass; SATB3(II=pic: III=alf)3.3(bcl).2(cbn)/4431/timp.4perc/hp.2pf(cel)/str

Peter Sellars, stage directorSolveig Kringelborn, soprano;

Patricia Bardon, mezzo-soprano; Gordon Gietz, tenor;

Stephen Milling, bassParis National Opera/Salonen

3 April 2006; Paris, France

Adriana Mater

credit: courtesy L’Opera national de Paris

The official websiteof Elliott Carter'sCentenary withnews, repertoire,upcoming events,and more.

www.Carter100.com

7

George AntheilA Jazz Symphony; Piano Concertos Nos. 1 and 2; Jazz Sonata; Can-Can; Sonatina; Death of Machines;Little ShimmyMarkus Becker, pianoNDR Radiophilarmonie/OueCPO 777 109-2

Manuel de FallaEl amor brujoJennifer Larmore, mezzo-sopranoAugusta Read ThomasWorld Premiere recordingCeremonialChicago Symphony/BarenboimChicago Symphony Orchestra CSO CD 06-2

Dmitri KabalevskyPiano Concertos Nos. 1 and 2In-Ju Bang, pianoRussian Philharmonic Orchestra/YablonskyNaxos CD 8557683

Peter Maxwell DaviesWorld Premiere recordingNaxos Quartets Nos. 5 and 6Maggini QuartetNaxos CD 8557398

Peter Lieberson“Music of Peter Lieberson”World premiere recordingRilke SongsLorraine Hunt Lieberson, mezzo-soprano; Peter Serkin, pianoHorn ConcertoWilliam Purvis, hornOdense Symphony/PalmaThe Six RealmsMichaela Fukacova, celloOdense Symphony/BrownBridge Records CD 9178

New CDs

New PublicationsMark Adamo“I Am Not My Own” from LysistrataSoprano and pianoScore 50486188 $4.95

“Nico’s Credo” from LysistrataTenor and pianoScore 50486189 $4.95

We are pleased to bring you the first printing ofBen Moore’s 14 Songs. Moore’s works arechampioned by soprano Deborah Voigt, mezzo-soprano Susan Graham, tenors Jerry Hadley andRobert White, and four-time Tony-winner AudraMcDonald. Born in 1960, Moore attendedHamilton College (NY). His compositional voicespans many styles and genres, from text settings ofthe master poets (Bishop, Joyce, Keats and Yeats)to the lighter material of cabaret and occasionalsongs, with many featuring the composer’s own

lyrics. In addition tocommissions for singers,Moore has been asked towrite works for theMarilyn Horne andASCAP Foundations, and the Metropolitan Opera –including material for the upcoming gala of out-goingdirector Joseph Volpe. Moore also attended ParsonsSchool of Design (New York City) and is a painterwhose work graces the cover of this new volume.

HL 50486178 $14.95

“All My Heart: Deborah VoigtSings American Songs”

Eight selected songs of Ben Moore

Deborah Voigt, soprano;Brian Zeger, piano

Angel Records/EMI CD 57964-2

Introducing…the songs of Ben Moore

Soprano DeborahVoigt poses withBen Moore in thestudios at theJuilliard Schoolof Music inLincoln Center.

credit: courtesy Ben Moore

ReviewGabriela Lena FrankThree Latin American Dances

Gabriela Lena Frank’s Three Latin AmericanDances...enjoy an invigoratingly compelling reading.The work [draws] on inspiration from the Bernsteinof “West Side Story” and from Bartok in itsrhythmic drive and Ginastera in its thematic ideasand harmonic language – all of which Lockhartcaptures in his stylish interpretation.

Edward Reichel, Desert News (Utah)

World Premiere recordingUtah Symphony/Lockhart

Reference Recordings RR 105

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Copyright © 2006 by G. Schirmer, Inc.Articles from Schirmer News may be copied fornoncommercial educational and informational purposes provided that credit is given to G. Schirmer News as the source.

Deborah Horne, EditorShawn Feeney, Layout Editor

Franghiz Ali-ZadeIn Concert

...The weekendconcluded with asuperb programdevoted toFranghiz Ali-Zadeh, acomposer fromAzerbaijan... Ali-Zadeh is a quietlysubstantial voice inmodern music... In rigorous and balancedforms, Ali-Zadeh fuses traditionalAzerbaijani music – in particular, theintricate improvisations of mugam – withtwentieth-century techniques, such as theavant-garde colorings of George Crumband the instrumental deconstructions ofJohn Cage. She alternates betweenreflective-static and muscular, drivingmoods, manipulating the tonal nuances ofmugam’s scales and melodic types... Thismusic can be heard on Kronos’s recentdisk “Mugam Sayagi,” which is a gorgeousobject and one of the best things thequartet has done.

Alex Ross, The New Yorker

Review

Apsheron QuintetNew York premiere

Mugam SayagiNew York premiere

Music for PianoFranghiz Ali-Zade, piano

Kronos Quartet26 March 2006;

Carnegie Hall, New York City

Opening bars from Joan Tower’s Copperwave. World premiere: 4 May 2006.American Brass Quintet. New York City. Commissioned for the JuilliardSchool of Music centennial. Copyright © 2006. Associated Music Publishers(BMI). New York, NY. International Copyright Secured. All Rights Reserved.Used by permission.

Joan TowerInstrumental Music

Ever since my firstencounter with themusic of Americancomposer Joan Tower...I have come to expectthe cleverness of hercompositions... Thislatest Naxos release intheir “AmericanClassics” series is asuperb introduction toa woman who deserves,in my opinion, to beone of America’slaureate composers...When it comes to [her]music itself, I am deeplyawed by her enormous talent. She is, withoutquestion, one of the most significant Americancomposers on the scene today. This is a wonderfulCD, enhanced by outstanding playing andsplendid recorded sound. If you have not alreadyacquainted yourself with Tower’s music, here’syour chance. If you have, you will already bechomping at the bit to acquire this release.

Jerry Dubins, Fanfare

Review

In Memory, Big Sky, WildPurple, No Longer, Very

Clear, Island Prelude Chee-Yun, violin; André

Emelianoff, cello; PaulNeubauer, viola; Richard

Woodhams, oboe; MelvinChen, Ursula Oppens and

Joan Tower, pianoNaxos CD 8.559215

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