september ’06 g.schirmer - music sales...

G.SchirmerSeptember ’06

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Shostakovich centennialcelebrations intensify this, thebirthday month.

On the 27th, New York Citylisteners are treated to a world premiere – the first performance of Shostakovich’sunpublished two-piano version of the “Babi Yar” movement of his 13th Symphony.Based on the poem of the same name by Yevgeny Yevtushenko, “Babi Yar”commemorates the 1941 massacre of Ukrainian Jews near Kiev. Yevtushenko will

continues on page 7

There is only one thing more alarminglystunning than The Composer is Dead, amusical collaboration between LemonySnicket, one of the most popular children’sauthors of our time, and NathanielStookey, a preposterously talentedcomposer. And that is the fact that G.Schirmer/AMP, through a publishingagreement with the writers, has willinglyacquired rights to the work, which SanFrancisco Chronicle critic Joshua Kosmancalled “a deliciously morbid entertainment”upon its premiere at the San FranciscoSymphony on 8 July 2006.

The Composer is Dead was crafted in the tradition of Prokofiev’s Peter and theWolf, introducing listeners of all ages to orchestral music using an irresistiblemurder mystery in which every member of the orchestra is a suspect.

Shockingly, the San FranciscoSymphony and conductor EdwinOutwater have recorded the 30-minute work for future release aspart of a book-CD package to bepublished by HarperCollinsChildren’s Books. In fact, theonly thing worse than arecording of The Composer isDead is a live performance of it –

The Composer is Dead...and Alive

credit: courtesy Nathaniel Stookey

Gabriel Yared joins Chester MusicAcademy Award winning composerGabriel Yared signed a long termexclusive publishing agreement withChester Music on 8 August 2006.

Yared is internationally known forhis evocative film scores, includingthe French classic “Betty Blue,”“The Talented Mr. Ripley,” and theaward-winning “The EnglishPatient,” directed by AnthonyMinghella. Recent films includeMinghella’s “Cold Mountain” and“Shall We Dance” for PeterChelsom. His latest project – “Azur

et Asmar,” an animated film for Michel Ocelot – will be released in October2006. Yared has also composed concert music including ballet scores forcollaborations with acclaimed choreographers Roland Petit and Carolyn Carlson.

On signing his new contract Yared remarked, “I am delighted especially at thistime of my life to be able to bring together the fruits of all my works to dateunder the banner of Chester Music. I look forward to being helped by them toexpress and release all the new musical ideas I have, not just for film music butfor the concert hall, the stage, and many other areas. The company has abrilliant international network and it is wonderful for me to know that theseworks and ideas will be brought to the attention of performers from all over theworld. I feel I will get bolder and more creative with this new partnership –this crazy idea I have got of creating a band, touring around the world, andexperimenting with a wider range of music could well become a reality too!"

“I have been asked if I might say a word ortwo about the text of The Composer isDead, and the one or two words are ‘Boohoo.’ The story – which, as far as I know,is absolutely true – is so heartbreakinglyglum that I cannot imagine that you will beable to listen to it without dabbing at yourtears with a nearby handkerchief, or, ifnecessary, the program you are now hold-ing in your hands.” — Lemony Snicket

Nathaniel Stookey

recite his poem as a prelude to the performance at Safra Hall in Manhattan’sMuseum of Jewish Heritage; Misha and Cipa Dichter perform alongside basssoloist Valentin Peytchinov and the men of the Riverside Choral Society, theRutgers University Kirkpatrick Choir and the Rutgers University Glee Club, allconducted by Patrick Gardner. Festivals and symposiums take place on bothcoasts: the Eastman School of Music offers a Shostakovich Symposium (15–17September) which focuses not only on Mitya (as Shostakovich was affectionatelyknown) but also on the music of his protégé and colleague Mechislav Weinberg.From the 22nd through the 25th (the actual birthday), San Francisco’s HerbstTheatre presents a weekend birthday festival culminating on Monday (thecomposer’s birthday) with the Alexander String Quartet and pianist RogerWoodward – including concerts of string quartets, quintets, solo piano works, andsonatas, and lectures moderated by NPR contributor Robert Greenberg.

Dmitri Shostakovich

credit: courtesy of Laurel E. Fay Archives

Celebrating“Mitya”

continues on page 7

credit: courtesy Chester Music

Gabriel Yared

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American master composerElliott Carter turns 100 on 11December 2008. In celebrationof this milestone, Carter’spublishers – Associated MusicPublishers and Hendon Music –have produced an Elliott Carter2008 Centennial CD sampler.This orchestral collection, alongwith its thoughtful essay writtenby Frank J. Oteri, offers anincisive introduction to Carter’sastonishingly prolific 70-yearplus career. Paul Griffiths – music critic, writer, librettist and Carter-collaborator –offers concise, insightful annotations for each of the 30 selections on the disc.To obtain your sampler, email us at: [email protected].

www.Carter100.com

On 16 September, Yo-Yo Ma’s Silk Road Ensembleperforms at Carnegie Hall’s Zankel Hall and presentsthe world premiere of Gabriela Lena Frank’sRitmos Anchinos (Anchino Rhythms). Frank, known forsampling from the myths and musical traditions ofher Peruvian background, adds a Silk Road musical“spice” in tribute to her maternal grandfather Máximo Cam Velazques, whoseown father immigrated from China to Peru in the late 19th century. Frankscored the three-movement Ritmos Anchinos for string quartet, pipa (a Chineselute) and sheng (a mouth organ).

The Silk Road in PeruRitmos Anchinos c.15'

str4tet; pipa, sheng

I. Harawi para ColquipocroII. Charangos de Chincha

III. Kachampa

“It has taken me a long time to appreciate the scope of Perú’s multiculturalhistory. As the American-born daughter of a Peruvian woman, I hadprimarily long been aware of Perú’s Native American and Spanish past, andit’s only recently that I’ve begun to try to understand its twofold Africanlegacy from the Moorish-influenced Spanish conquerors and their west-African slaves. More personal to me, though, is the Asian presence due to agreat-grandfather who left China in the late 1800s to open a country storein the Andean mountains. Old family photos and my mother’s memoriesbespeak my Chinese forebears’ presence in such highland and coastal townsas Colquipocro, Chimbote, Piura, and Moro. Across continents and overseveral generations, the tendrils of my Asian legacy touched me as a younggirl growing up in California as chifa, Chinese-Peruvian stir-fry, wassomething often prepared in the kitchen by my mother. Ritmos Anchinos isdedicated to my grandfather, Máximo Cam Velazques (1911-1968).”

— Gabriela Lena Frank

Augusta Read ThomasAstral Canticle 20'

The concertante soloists open with prayerful,intertwining lines meant to evoke medieval plainchant.This simple, archaic-sounding music becomes thefoundation of everything that follows. It soon givesway to a fusillade of fanfares driven by three trumpets, with the flute and violinacting as mediators in the evolving dialogue between the astral (radiant andenergized) and canticle (lyrical and meditative) worlds.... Astral Canticle [has]something interesting taking place at any given moment...the strength ofThomas’ new work was undeniable in this first performance. There’s no doubtAstral Canticle will make its way through the orchestral world.

John von Rhein, Chicago Tribune

Review World PremiereSolo Violin and Flute;2+pic.3.3(bcl).2(cbn)/

4331/3perc/hp/strRobert Chen, violin;

Mathieu Dufour, fluteChicago Symphony/

Barenboim1 June 2006; Chicago, IL

Augusta Read Thomas (center) takes a bow with soloists Robert Chen andMathieu Dufour at the Chicago Symphony’s world premiere of Astral Canticle.

credit: Dan Rest

John Adams – often called America’s “composer laureate” – is the subject ofThomas May’s new book The John Adams Reader: EssentialWritings on an American Composer. Published by AmadeusPress, May’s volume is the first full-length English-languagecollection devoted to Adams’s life and works. Filled withlively and colorful essays by leading music critics andcommentators including Michael Steinberg, Alex Ross,Alan Rich and Mark Swed, the book also includesinsights from collaborators and friends such as directorPeter Sellars, conductor Robert Spano, composer IngramMarshall, pianist Emmanuel Ax and soprano DawnUpshaw.

Observes May, Adams “has made a point of pressing buttons or tackling‘difficult issues’.... The John Adams Reader traces the evolution of an artist whohas never ceased to take on a new challenge.” More information is available onJohn Adams’s recently redesigned website, www.earbox.com.

The John Adams Reader

Amadeus PressISBN 1-57467-132-4

Just in time for some popcorn and “movienight” at the Symphony, Jeff Tyzik’s The Big Movie Suite is now availablefrom our rental library.

Tyzik’s new arrangement features memorable themes from well-known movies:“Gone with the Wind,” “Ben Hur,” “Dr. Zhivago,” “Lawrence of Arabia,” “Laura,”“Rocky,” “The Pink Panther,” and “The Way We Were.” For perusal scores andrental inquiries, email us at [email protected] or [email protected].

The Big Movie Suite

Photo of MáximoCam Velazques(left), maternalgrandfather ofcomposerGabriela LenaFrank, with fellow workersat a Peruviansilver mine, c. 1930s.

credit: Frank Family Archives

The Big Movie Suite 16 1/2'3(pic).2.3(bcl).2+asx(tsx)/4331/

timp.2perc.dmkit/pf.eb.hp/str

Tan Dun’s new opera The First Emperor premieres at the Metropolitan Operaon 21 December. Commissioned by the Met, The First Emperor features anEnglish libretto by the composer and PEN/Faulkner Award-winning author HaJin. Celebrated filmmaker Zhang Yimou directs. Tan Dun makes his own Metdebut as he conducts Plácido Domingo in the title role of China’s greatunifying leader and architect of The Great Wall. The full-length productionruns for nine performances.

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credit: courtesy Metropolitan Opera

Set design for The First Emperor by Fan Yue.www.tandunonline.com

“I’ve always imagined rewriting other pieces ofmusic, especially Beethoven.” And so, MichaelGordon shares the inspiration behind his latestorchestral work Rewriting Beethoven’s SeventhSymphony. The 30-minute work was commissioned by the BeethovenFest Bonnand premieres on 30 September at the Bamberg Symphony led by JonathanNott.

Gordon continues, “Beethoven has a particular attraction for me because hemade great music out of nothing, almost willing himself to greatness. What Imean by that is that Beethoven’s core material is so basic. In composingRewriting Beethoven’s Seventh Symphony, I took parts of Beethoven’s work thatappeal to me – for instance, the opening chords of the first movement. These

chords are so brash and loudthat they probably were theloudest chords ever played in aconcert hall up to that time. Idecided to internalize them, ormorph them, into my ownmusical language. My premisewas ‘What if I stumbled acrossthis material?’ It’s a realpossibility because the buildingblocks are so...well, ‘minimal.’The music I would create wouldwipe away the conventions of hisday and go on from there.Rewriting Beethoven’s SeventhSymphony is not a ‘homage,’ it’smore like the Vulcan MindMeld...”

Michael GordonRewrites Beethoven

Rewriting Beethoven’s SeventhSymphony 30'

3233/4331/timp.4perc/bsgtr/str

credit: Gordon photo © 2003, Alice Arnold. Beethoven composite by Shawn Feeney.

On April 19, 1962 Bruno Maderna and EarleBrown conducted the premiere of a piece thatwould never be heard the same way again. Eachsubsequent performance would be a debut. Like amobile by Alexander Calder, the work’s elementsmoved in space independently, linked by astructural arc. In Available Forms II, the elementswere musical units; two conductors provided thearc. They led separately – together – theirmusicians through a work that called forspontaneous action and reaction.

Earle Brown described it like this:

(Re)View – Available Forms IIEarle Brown

Available Forms II forOrchestra, Four Hands 15-20'

Large orchestra with two conductors

Group I: (49 players)1+pic.1+ca.0+bcl.1/3221/2perc/

gtr.hp/str(8.7.6.5.4)Group II: (49 players)

1+afl.1.2.1+cbn/3221/vib.xyl/hp.pf(cel)/str(8.7.6.5.4)

Premiere: 19 April 1962, VeniceFestival; Rome Radio Orchestra/

Bruno Maderna and EarleBrown, conductors

“There are two separate and independent but compositionally related scores of fourpages each, one score for each conductor. Each page contains either four or fivecomposed orchestral events (in a sense, brief musical units) which differ from eachother in their basic sound characteristics, such as: articulation, density, contour,timbre, registration, and potential rhythmic energy. In the work as a whole there arethirty-eight different sound events which function as the basic structural material ofthe work. Of the thirty-eight events only three are in any way ‘improvisational’ asfar as the musicians are concerned. The other thirty-five events are fully composed,orchestrated, and balanced as notationally self-sufficient structural units whose basicsound configuration and characteristics are always maintained but whose ensembletempo and loudness may be modified by the conductors.”

It shouldn’t come asmuch of a surprise thatBrown was once associated with John Cage. Brown’s love of learning from thesurprises happening during a performance is part and parcel of the wildness andplayfulness of this work. Leonard Bernstein knew this when he partnered withBrown in the US premiere by the New York Philharmonic. He programmedAvailable Forms II with a work by Cage which had similar, multiple-conductorrequirements. The audience was moved by the experience of seeing 98 musiciansapparently playing independent of one another. They heard something entirelynew, fresh, and brave – which would vary in wonderful and unexpected wayswith each performance. Audiences today should be so lucky.

The best part about this work is that you decide how it goes. The composerwould have been proud you did.

The Emperor is Coming

The program did shake the innocence of many listeners in the audience. Forthe first time many of them were exposed to a type of music that is making astrong impact on the avant-garde.

Harold C. Schonberg, New York Times, 7 February 1964

This is an extremely complex work, planned along the lines somewhat ofStockhausen’s famous Piano Piece No. 11.... Gimmick or not, the piece came tolife as a musical experience.... Dense, fascinating, intensely colored and full ofcreative fire, chance or not, Mr. Brown’s creation made musical sense.

Alan Rich, New York Herald Tribune, 7 February 1964

Brown’s performance recently of Available Forms II for 98 instruments and twoconductors ‘brought the German radio to a screaming halt’ – such that theyhave temporarily stopped the programming of controversial music. A positivesign of raging interest.

Jill Johnston, The Village Voice, 10 October 1963

What the critics said:

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50th David Lang 8 January70th Philip Glass 31 January100 Camargo M. Guarnieri 1 February60th John Adams 15 February100 Alec Wilder 16 February

100 Elizabeth Maconchy 19 March

100 Miklós Rózsa 18 April60th Barry Guy 22 April60th Nicola Lefanu 28 April125 Igor Stravinsky 17 June125 Percy Grainger 8 July75th Per Nørgård 13 July50th Tan Dun 8 August85th Lukas Foss 15 August75th Rodion Shchedrin 16 December

80th Seymour Barab 9 January85th Mel Powell 12 February70th John Corigliano 16 February80th Samuel Adler 4 March80th Thea Musgrave 27 May80th Gerard Schurmann 23 June50th Magnus Lindberg 27 June50th Esa-Pekka Salonen 30 June70th Paul Chihara 9 July70th Joan Tower 6 September100 Raymond Scott 10 September 75th Leonardo Balada 22 September 75th Henryk Mikolaj Górecki 6 December 70th William Thomas McKinley 9 December 100 Elliott Carter 11 December50th Julia Wolfe 18 December70th John Harbison 20 December

90th Leon Kirchner 24 January65th John Tavener 28 January65th Michael Nyman 23 March60th Poul Ruders 27 March60th Daniel Catán 3 April80th Yehudi Wyner 1 June85th Ezra Laderman 29 June 75th Peter Maxwell Davies 8 September100 Vagn Holmboe 20 December 65th Michael Tilson Thomas 21 December

100 Samuel Barber 9 March

100 William Schuman 4 August85th Gunther Schuller 22 November90th Dave Brubeck 6 December

70th Stephen Albert 6 February60th Anthony Davis 20 February100 Alan Hovhaness 7 March75th Richard Rodney Bennett 29 March100 Gian Carlo Menotti 7 July65th Peter Lieberson 25 October

Anniversaries2007

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Atlanta’s Capitol City Opera gives the Southeasternpremiere of André Previn’s A Streetcar Named Desire,15 -17 September.

Evans Chan's documen-tary film, "Sorceress ofthe New Piano," premieres at New YorkCity's Pioneer Two BootsTheater on 23 and 24September. In it,Margaret Leng Tan per-forms ground-breakingworks by Henry Cowell,Philip Glass, Tan Dun,and others.

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Lucerne FestivalKyburz (B&H) touché ★★★Christiane Oelze, soprano;John Mark Ainsley, tenorCleveland OrchestraFranz Welser-MöstLucerne, Switzerland

Barber (GS) ReincarnationsCorigliano (GS) Fern Hill(September 8)Annas Bay Music FestivalSeattle, WA

Gould (GS) Foster GalleryTokyo SymphonyKazuyoshi AkiyamaTokyo, Japan

Ustvolskaya (GSR) Symphony No. 4,“Prayer”Montreal SymphonyKent Nagano

Corigliano (GS) Concerto for Violin andOrchestra 'The Red Violin'★★

(September 8)Elina Vähälä, violinTurku PhilharmonicFinland

Sheng (GS) A Night at the ChineseOpera ★★★International ViolinCompetition ofIndianapolisIndianapolis, IN

Lucerne FestivalAntheil (GS) A Jazz SymphonyVienna PhilharmonicH.K. GruberLucerne, Switerland

Kernis (AMP) New Era Dance(September 9, 10)Winnipeg SymphonyAlexander MickelthwateCanada

Barber (GS) Second EssayShostakovich (GSR) Festive OvertureNashville SymphonyLeonard Slatkin

Tower (AMP) Made in AmericaMcLean OrchestraSylvia AlimenaMcLean , VA

Memorial ConcertO'Regan (NOV) We Remember Them★★★

Choir of Saint ThomasChurch/John ScottNew York City

Wallin (CH) The Age of Wire andStringAventa New MusicBill LinwoodVictoria, BC, Canada

New BalletChoreographersFriedman (GS) String Quartet No. 2(September 15, 16)Miller TheatreNew York, NY

Henze (CH) Sebastian im Traum ★★(September 15 - 19)New York PhilharmonicLorin Maazel

Corigliano (GS) The Red Violin: Suite forViolin and OrchestraNorrlands OperaAndrea QuinnDenmark

Lang (RP) The Difficulty of Crossinga Field(September 15 - 17)Montclair State University

Tan Dun (GS) Concerto for StringOrchestra and Pipa(September 16)Yang Wei, pipaChicago SymphonyDavid Allen Miller

Tilson Thomas (KON) Notturno for Flute andPiano ★★★Paula Robison, flute; Ken Noda, pianoWeill Recital HallNew York City

Chávez (EMI) Chapultepec (ThreeFamous Mexican Pieces)UNAM OrchestraMexico City

Bennett (NOV) Troubadour Music ★★★(September 16, 17)Hollywood BowlOrchestra/John MauceriHollywood, CA

Harbison (AMP) Snow Country(September 17)Boston ClassicalOrchestra/Steven LipsittNewton, MA

Silk Road ProjectFrank (GS) Ritmos Anchinos ★★★Wu Man, pipaWu Tong, shengSilk Road EnsembleZankel Hall, New York City

Glass (DUN) Passion of Ramakrishna★★★

Pacific SymphonyCarl St. ClairSanta Ana, CA

Glass (DUN) Secret Agent (for cellos)Pacific Northwest Ballet

Previn (GS) A Streetcar Named Desire(September 17)Capitol City OperaAtlanta, GA

Tower (AMP) Made in AmericaGulf Coast SymphonyPhilip RothmanBiloxi, MS

Danielpour (AMP) Troubadours’ Feast ★★★Music from CoplandHouseRestaurant Daniel New York City

Saariaho (CH) Adriana Songs ★★★Patricia Bardon, mezzo-soprano; Junge DeutschePhilharmonicMarc AlbrechtFrankfurt, Germany

Frank (GS) Ghosts in the DreamMachineMallarme ChamberPlayersDurham, NC

Gordon (RP) What to Wear? ★★★(September 21 - October 1)Richard Foreman, stagedirectorNew Century PlayersLos Angeles, CA

Gould (GS) Star-Spangled OvertureCleveland Institute ofMusic / Carl Topilow

Skalkottas (AMP) The SeaState Orchestra ofSalonicaGreece

Tan Dun (GS) Orchestral Theatre I: XunColorado State UniversityWes KenneyFort Collins, CO

Gould (G&C) Spirituals for StringsI Musici De MontrealYuli Turovsky

Gubaidulina (GSR) Offertorium(September 22 - 24)Berlin Radio SymphonyMichail Jurowsky

Schuller (AMP) Double QuintetBoston ConservatoryEric Hewitt

Shostakovich (GSR) Symphony No. 6Stravinsky (GS) “Dumbarton Oaks”(September 23)Phoenix SymphonyMichael Christie

Chamber Music Societyof Lincoln CenterKirchner (AMP) FlutingsSheng (GS) The Stream Flows

Ives (AMP) Piano Sonata No. 2,"Concord"Pierre-Laurent Aimard,pianoSymphony No. 4Orchestra Philharmoniquede Radio FrancePeter EötvösMaison de Radio France,Paris, France

Schnittke (GSR) Moz-Art à la HaydnMidland SymphonyMidland, MI

ZZwwiilliicchh (AMP) Symphony No. 1)(September 24)Washington IdahoSymphonyNicholas WallinPullman, WA

G. Schirmer Selected Performances September ’06

Piston (AMP) Symphony No. 4Orquesta Sinfonica deXalapa/James PaulMexico

Skalkottas (MG) Greek Dances(September 9 - 11)State Orchestra of AthensViron FidetzisGreece

Memorial ConcertBarber (GS) Agnus DeiTower (AMP) In MemoriamAnnas Bay Music FestivalSeattle, WA

Gordon (RP) Sad ParkKronos QuartetSan Francisco, CA

Lucerne FestivalSScchhooeennbbeerrgg (WH) Serenade(September 13)Lucerne Festival AcademyPierre BoulezLucerne, Switerland

Corigliano (GS) Three HallucinationsThomson (GS) The Plow That Broke thePlainsLos Angeles PhilharmonicLeonard Slatkin

Tower (AMP) For the UncommonWoman Kansas State UniversityDavid LittrellManhattan, KS

Glass (DUN) Songs of MilarepaAlex HurdSlee EnsembleSUNYt BuffaloJesse LevineBuffalo, NY

Lucerne FestivalSaariaho (CH) OrionCleveland OrchestraFranz Welser-MöstLucerne, Switerland

Tower (AMP) Made in AmericaWest Virginia SymphonyGrant Cooper

Revueltas (GS) SensemayáLos Angeles PhilharmonicMiguel Harth-Bedoya

Schuman (AMP) American FestivalOverture(September 6)Austin SymphonyPeter Bay

Kernis (AMP) Musica CelestisUniversity of LouisvilleKimcherie Lloyd

Tan Dun (GS) Tea: A Mirror of Soul(September 25)Pierre Audi, stage directorNHK Symphony Tan DunTokyo, Japan

On 17 September,mezzo-soprano PatriciaBardon joins conductorMarc Albrecht and theJunge DeutschePhilharmonie(Frankfurt, Germany)for the world premiereof Kaija Saariaho’sAdriana Songs. Basedon Saariaho’s operaAdriana Mater, thework is a co-commis-sion of Orchestra delRAI and the New YorkPhilharmonic.

credit: courtesy IMG Artists

Harbison (AMP) Concerto for Bass Viol andOrchestraVolkan Orhan, doublebassUniversity of IowaWilliam La Rue JonesIowa City, IA 30

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BeethovenFest BonnGordon (RP) Rewriting Beethoven’sSeventh Symphony ★★★Bamberg SymphonyJonathan NottGermany

Rodríguez (GS) A Colorful SymphonySyracuse Symphony

Yanov-Yanovsky (GSR) Night MusicChicago Symphony

Kernis (AMP) Musica CelestisTrondheim SoloistsNorway

Tower (AMP) Made in AmericaFairbanks Symphony [AK]

Greater Grand ForksSymphony [ND]

National Philharmonic[MD]

Salisbury Symphony [NC]

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Carter (AMP) Variations for Orchestra(September 30)St. Louis Symphony

Corigliano (GS) Promenade OvertureJoel (GS) Symphonic Fantasies(October 1)New Hampshire Symphony

Nyman (CH) Letters, Riddles and WritsLong Beach Opera

Kapilow (GS) Dr. Seuss’s GertrudeMcFuzzDr. Seuss’s Green Eggsand Ham(September 30-Oct 31)San Antonio Lyric Opera

Rodríguez (GS) The Dot and the LineDayton Philharmonic

Tower (AMP) Made in AmericaDelaware Symphony

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Brahms/ Sheng (GS) Black Swan ★★★(September 29-October 1)Seattle SymphonyGerard Schwarz

Corigliano (GS) The Mannheim Rocket(September 29-October 1)Dallas SymphonyKwamé Ryan

Schoenberg (GS) Chamber Symphony No. 1Winnipeg Symphony

Glass (DUN) Concerto Fantasy for TwoTimpanists and Orchestra(September 29)Louisville OrchestraJorge Mester

Tan Dun (GS) Circle with Four TriosOrchestrUtopicaPortugal

Thomas (GS) TangleNashville Symphony

Breitkopf & Haertel com-poser Hanspeter Kyburz is afeatured composer at theLucerne Festival as FranzWelzer-Möst and theCleveland Orchestra pres-ent the world premiere oftouché on 2 September.Commissioned by theRoche Foundation (Basel,Switzerland) and CarnegieHall, touché receives its USpremiere 1 October atCleveland’s Severence Hall.

credit: Photo: © 2000, Betty Freeman

On 17 September, mas-ter chef Daniel Bouludcollaborates withRichard Danielpour in agala benefit for CoplandHouse at New York’scelebrated RestaurantDaniel, featuring thepremiere ofDanielpour’s newTroubadours’ Feast, a“gastronomic concertofor six instruments”commissioned and per-formed by Music fromCopland House.

Margaret Leng Tan

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credit: Richard Termine

Peter Lieberson, Lorraine Hunt Lieberson, and James Levine at the BostonSymphony’s November 2005 Carnegie Hall performance of Neruda Songs.

Her voice was her soul. She was a private person; but when she sang, she offered herinnermost self to the music and invited the listener into her personal world.

She was a vibrant individual and consummate musician. She was respected andadmired by colleagues, critics and audiences for her honest and compellingperformances. She quietly seduced the music world with her integrity. She travelledbeyond the conventions of standard repertory, and explored and brought to life theouter worlds of Baroque and contemporary music.

She was also Peter Lieberson’s wife and his muse. From the first notes she sang atthe 1997 world premiere of Lieberson’s opera Ashoka’s Dream, Lorraine Hunt Lieb-erson became a lightning rod of inspiration for the composer. He composed the RilkeSongs for her – a collection inspired by his mother’s love of the poet’s texts. And hisrecent Neruda Songs (an orchestral song cycle which has toured the country) reveal thewarmth and soulful depths of his love and admiration for his “own beloved Lorraine.”

At the time of her death in July, the composer was putting the finishing touches ona new work. World in Flower will be completed for future premiere by itscommissioner, the New York Philharmonic.

Lorraine Hunt Lieberson In Memoriam“They say the eyes are the window of the soul. You could say that the voice is the music of the soul.”

— Lorraine Hunt Lieberson

ReviewPeter Lieberson“Music of Peter Lieberson”

Not since Benjamin Britten wrote for his partnerPeter Pears has a composer found so inspiring amuse as Peter Lieberson has in his wife, thesuperbly gifted mezzo-soprano Lorraine HuntLieberson. Her probing intelligence and radianttone inform everything she sings, and herrendition of her husband’s Rilke Songs, whichheadline this irresistibly listenable disc, puts thosegifts to great use. Lieberson’s writing is tender,impulsive and endlessly responsive to the text,with poignant piano accompaniments (by PeterSerkin) as background to Hunt Lieberson’s fluidand effusive singing. The rest of the disc is no lessrevelatory; it includes The Six Realms, a colorfuland wonderfully varied concerto for amplifiedcello and orchestra, and a more traditional HornConcerto, given a sumptuous performance with William Purvis as the soloist.

Joshua Kosman, The San Francisco Chronicle

World Premiere recordingRilke Songs

Lorraine Hunt Lieberson,mezzo-soprano; Peter

Serkin, piano

Horn ConcertoWilliam Purvis, horn

Odense Symphony/Palma

The Six RealmsMichaela Fukacova, cello

Odense Symphony/BrownBridge Records CD 9178

Peter Lieberson has inscribed the score of his Neruda Songs “to my belovedLorraine,” and his wife, mezzo Lorraine Hunt Lieberson, sang the triumphantEast Coast premiere of his extraordinary, indrawing song cycle... Liebersonchose five of the 100 love sonnets the Chilean Pablo Neruda addressed to hisown beloved, Matilde Urruitia... They are passionate, mysterious, painful,joyous, piercingly sad, and, ultimately, accepting in an all-encompassing way...Lieberson has found haunting music for Neruda’s words, music that is bothdirect and elusive... The music is dark in color, full of idiomatic Spanishtimbres, rhythms, and vocal melismas... Hunt Lieberson sounded glorious. Hersinging is never just about singing, though her voice is lustrous and hervocalism superb. She doesn’t create “effects;” instead she expresses contrastingstates of being and feeling with what is apparently utter, fearless candor... Thehighest tribute to a musical performance is a sustained, rapt period of silence atthe close. It is a rare phenomenon, but it happened...after the Lieberson.

Richard Dyer, The Boston Globe

Anthony Davis “X”: The Life and Times of Malcolm X 150'

The Oakland Opera Theater...scored yet anothertriumph over the weekend with a mesmerizingnew production of Anthony Davis’ “X: The Lifeand Times of Malcolm X”... With its mix ofpolitical fervor and emotional nuance, “X”encompasses within its three swift acts both thecurtailed life of its protagonist and a portrait ofthe movement he helped to spearhead... In the 20years since “X” had its world premiere at the New York CityOpera,...Sunday’s performance revealed a work of remarkable inventivenessand cogency that moves sure-footedly through a range of musical settings....Davis writes in skillfully layered scenes that stride ahead or circle back onthemselves as the narrative demands. Some of the music draws on traditionaljazz...more often he combines a forceful rhythmic palette with beautiful,vividly etched melodic lines that soar and jab invitingly... “X” is...a richlyrewarding theatrical experience. We can never have enough of those.

Joshua Kosman, San Francisco Chronicle

Review Libretto by Thulani Davis,story by Christopher Davis5S, 5Mz, 5T, 4Bar, B-Bar, B;

non-speaking roles2(pic).1.2(2sax).2(cbn)/

2120/timp.3perc/cel.pf/strjazz band:

fl.2cl.tpt.perc.vc.db.pf.dmsJoseph Wright, baritone

Michael Mohammed, stage director

Oakland OperaTheatre/McClure

2 June 2006; Oakland, CA

credit: Ralph Granich, courtesy Oakland Opera Theatre

Joseph Wright as Malcolm X

7

This month, Lorin Maazel and the New York Philharmonic join inthe 80th birthday celebrations of Hans Werner Henze, as theypresent the first US concert of Sebastian im Traum, the composer’s work inspired by Salzburg Expressionist GeorgTrakl’s poem of the same name.

Bright Sheng In Concert

New West Symphony saved the mostintriguing music for its seasonfinale...the premiere of [Bright Sheng’s]expanded string quartet-clarinetconcertino, newly dubbed Wild Swan...Sheng himself conducted the piece,along with one of his earlier works,Tibetan Swing... Tibetan Swing, theevening’s opener, summoned a vision ofa dynamic mountain dance... The vigorof the music, the urgent rhythmicthrust and the bursts of instrumentalcolor combined to present a bold imageof the rugged Tibetans... Wild Swan is achallenge for the clarinetist, necessitating dramatic changes ofdynamics and pitch. The piece is built around a simple folktheme that doesn’t appear in full until the final Largo movement.Before that, there were lots of full-throated playing from all theinstruments, along with vigorous plucking. And while the Largobegins with a lulling serenity fashioned by the soloist, the musicthen bursts into sound and fury...

Rita Moran, Ventura County Star (CA)

Review

Wild Swan 15'World Premiere

Clarinet;2(pic).2(ca).2(bcl).2(cbn)/

3220/timp.2perc/hp/strGary Ginstling, clarinet

Tibetan Swing 8'3(2pic).2+ca.3(Ebcl,bcl).

3(cbn)/4.3.2+btbn.1/timp.3perc/hp/str

New WestSymphony/Sheng

19 May 2006; Thousand Oaks, CA

Nathaniel StookeyThe Composer is Dead 30'

In The Composer is Dead, a deliciously morbid entertainment in the vein of his “Series ofUnfortunate Events,” the San Francisco writer...teams up with composer Nathaniel Stookey tolead young audiences on an investigative stroll through the ranks of the orchestral instruments....The 30-minute piece... turned out to be a hugely enjoyable undertaking for young and oldalike...[The Composer Is Dead] seems destined to become a classic – a word which here means “awork whose charm and ingenuity make it an obvious candidate for many repeat performances.”

Joshua Kosman, San Francisco Chronicle

The full hall obviously enjoyed the performance immensely. Thanks to the wit as well as thecraftsmanship in the work...the piece makes a worthy addition to music for the young (and thenot-so-young)... The Composer is Dead takes an honorable place at table with Britten’s YoungPerson’s Guide, Prokofiev’s Peter and the Wolf, and just maybe, Leopold Mozart’s “Toy” Symphony...

Heuwell Tircuit, San Francisco Classical Voice

Reviews

a disturbing possibility, since it is available immediately forlive performances from G. Schirmer/AMP and itsinternational affiliates. Lemony Snicket allegedly will makepersonal appearances as the Narrator, if he can be located –most likely via his agent, Charlotte Sheedy at [email protected].

Nathaniel Stookey’s existing compositional catalogue, alsoacquired by AMP, includes the orchestral works Out of theEverywhere, Big Bang, Wide as Skies, and Double, a concertofor two violins and strings, and several pieces for chamberensemble, recorded on Albany Records. The San Francisconative began his musical life as a violinist and violist in theSan Francisco Symphony’s Youth Orchestra; at age 17, hebecame the youngest composer ever commissioned for theorchestra’s “New and Unusual Music Series.” At 23, he becameresident composer at the Hallé Orchestra and subsequentlyserved in the same capacity at the North Carolina Symphony.Currently he is working on a piano trio for the Lee Trio.

Lemony Snicket’s published accounts of the Baudelaireorphans in A Series of Unfortunate Events have now sold morethan 50 million copies worldwide in 39 languages, or possiblyvice versa; the first three books in the series formed the basis for the 2004 hit film “LemonySnicket’s A Series of Unfortunate Events.” The End, the thirteenth and final installment in theseries, will be published on13 October 2006. Mr.Snicket is represented in alllegal, literary, and socialmatters by Daniel Handler,who has also written threenovels for adults, The BasicEight, Watch Your Mouth,and Adverbs.

Further information onNathaniel Stookey may befound atwww.schirmer.com.

“The Composer is Dead”continued from page 1

Orchestral Works

The Composer Is Dead (2006) 30'Text by Lemony Snicket

Narrator; 2(pic).2(ca).2(bcl).2(cbn)/4231/timp.3perc/hp/str

Out of the Everywhere (2003) 22'3333/4431/timp.3perc/hp.pf/str

Wide as Skies (2002) 8'Children’s chorus;

3222/4231/timp.perc/str

Big Bang (2000) 8'3222/4331/timp.4perc/strings;

opt. crystal glasses

Double: Concerto for Two Violinsand String Orchestra (1999) 22'

Colliding with Chris (The Rhythmical Tale of a

Runaway Bike) (1995) 15'Narrator; 3333/4231/timp.4perc/

hp.cel/str

“I hope I’m not giving too much away by saying that TheComposer is Dead ends with a funeral march. The march ismade up of music about death by some of the world’s greatestcomposers, a solid majority of whom are alas no longer withus. Classical composers have always had a preoccupation withdeath, partly because we are human, like you, partly because wegrapple with the mysteries of the universe, partly because deathsells records and always has, even before there were records.Most of the great classical composers wrote at least one pieceabout death. Many wrote several. The funeral march that endsThe Composer is Dead includes brief quotations from some ofthese works, which happen to represent some of the mostextraordinary music of all time. (All the rest of the music in thepiece is mine and will also be by a dead composer some day,which is very sad if you stop to think about it.) ”

— Nathaniel Stookey

Celebrating “Mitya”continued from page 1

Next month, Valery Gergiev and the Kirov Orchestra of theMariinsky Theatre return to Lincoln Center to complete thecycle of 15 symphonies at Avery Fisher Hall. In November theKennedy Center again focuses on Shostakovich with theNational Symphony’s celebrations conducted by MstislavRostropovich, with soloists Yo-Yo Ma and Martha Argerich.Carnegie Hall also joins in the festivities with the three-partvocal series “A Singular Voice: The Songs of Shostakovich,”sung by members of the Mariinsky Academy of Singers.

Hans Werner Henze

G. Schirmer, Inc.Associated Music Publishers, Inc.257 Park Avenue South, 20th FloorNew York, NY 10010

Address Correction Requested

To receive Schirmer Newselectronically, contact us [email protected]

On the Internet athttp://www.schirmer.com

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

Gabriela Lena Frank Four Pre-Inca Sketches 10'

Ms. Frank has longbeen fascinated withpre-Columbian art. Inone captivating sectionof this ruminative yetorganic work, murkymodal oscillating celloriffs and spiraling melodic flights on theflute evoke an image the composer sawon an ancient textile in a museum inPeru, showing birdlike human figuressuspended weightlessly....

Anthony Tommasini, New York Times

Review

World PremiereFlute and Cello

Elizabeth Mann,flute; MyronLutzke, cello

3 June 2006; New York City

The Composer is Dead, composed by Nathaniel Stookey, text by Lemony Snicket.World premiere: Premiere: 8 July 2006. Commissioned and premiered by the SanFrancisco Symphony conducted by Edwin Outwater. Lemony Snicket, narrator.Copyright © 2006 by Nathaniel Stookey and Lemony Snicket. All rights assigned toAssociated Music Publishers, Inc. (BMI).

Avner DormanPiano Music

...begins with hisfirst sonata of1998 (subtitled“Classical”), awork whichdraws oneverything fromMozart toBernstein toElvis. The discconcludes withhis third pianosonata of 2005,in which theMiddle Eastern influences that are evidentin his recent work have taken firmly hold.It presents a journey through hiscompositional life in those ensuing years,always revealing a fecund musicalimagination and superb craft.... It’s hard tofind a new disc of contemporary pianomusic that is really exciting or freshlyinvigorating, but this disc of Dorman’smost certainly is.

Thomas Abbott, Living Music, Spring 2006

Review

World Premiere recordingsAzerbaijani Dance; Dance

Suite — Sonata No. 3;Moments Musicaux; Piano

Sonata No. 1; Piano SonataNo. 2; Prelude No. 1

Eliran Avni, piano Naxos CD 8.579001

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