g.schirmer may -...

G.Schirmer257 Park Avenue South, 20th FloorNew York, NY 10010tel 212 254 2100fax 212 254 2013

News from G. Schirmer, Inc.and Associated Music Publishers, Inc.

Members of the Music Sales Groupwww.schirmer.com

May ’05

“Margaret Garner” Arrives

...there was a longperiod when the very lastthing I wanted to do wasre-imagine the languagefor and narrative ofMargaret Garner’s ordeal.

For more than fiveyears I had been inthrall to the material,trying to do justice tothe historical charactersinvolved whileexercising the license Ineeded to interrogatethe dilemma Margaretboth presented and

represented...

It often seemed beyondmy grasp. I took comfortand courage from twoconvictions: 1) narratives

of 19th-century African-American enslavement areinexhaustible — there cannever be [should never be] afinal one; 2) no humanexperience — howeverbrutalizing — was beyondart. If it were, then thebrutalizers will havetriumphed.

Some ten years later...Irealized that there weregenres other than novelsthat could expand anddeepen the story...

Enter Richard Danielpour...I knew his passion equaledhis intelligence and that histalent was overwhelming.Joining him in creating an

opera was no smallundertaking, but whateverreservations I had aboutmy maiden voyage intowriting a libretto werequickly overcome by mylongtime disappointmentwith the treatment oflanguage ascribed toAfrican-Americans. Thispowerfully evocativemetaphorical language, sodominated by inflection,nuance and rhythm, lentitself almost seamlessly tomusic. The challenge andsheer excitement ofproviding a composer withthe words from which themusic could soar wereirresistible...

To the real people wholived this tale, I trust wehave done them, theirheirs, and their spiritsjustice.

— Toni Morrison

seated, left to right: Toni

Morrison, Richard Danielpour;

standing, left to right: Denyce

Graves, Gregg Baker, and

Angela Brown

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imot

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-San

ders Poems

and Musicof Love

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Margaret

Garner

20th-century poet PabloNeruda has inspired theimaginations of composersfrom Samuel Barber toOsvaldo Golijov to AugustaRead Thomas. Many of hispoems were written inadoration of his wifeMathilde. On 20 May,Peter Lieberson drawsfrom Neruda’s font with theLos Angeles Philharmonic’spremiere of his orchestralsong cycle Neruda Songs.

Michigan Opera Theatre performances continue through May. In July, Margaret Garnerreceives its second production at the Cincinnati Opera. Next season, the Opera Companyof Philadelphia mounts the work in March 2006 followed by Opera Carolina in April.

The story of Margaret Garner — a slave — is based on historic19th-century Antebellum events and American case law. It alsoserved as the inspiration behind librettist Toni Morrison’s 1987Pulitzer Prize-winning novel Beloved. Margaret Garner, RichardDanielpour’s first opera, premieres on 7 May at the MichiganOpera Theatre. Co-commissioned with the Cincinnati Opera andthe Opera Company of Philadelphia, Kenny Leon directs andStefan Lano conducts.

“The topic, the people, the narrative theme, thepassion and universality made it more than worthyof opera; it begged for it.”

— Toni Morrison

“In July 1996, we each had an idea to propose tothe other; little did we know that we were not onlyeach proposing an opera, but an opera based on thesame story about Margaret Garner!”

— Richard Danielpour

Margaret Garner full evening

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Principal Roles:

Mezzo-soprano, Lyric Baritone,

Dramatic Soprano, Lyric Baritone

Secondary Roles:

Dramatic Tenor, Light Lyric Soprano,

Tenor, Lyric Tenor

SATB Black Chorus, 32 voices suggested

SATB White Chorus, 40 voices suggested

The five-movement 25-minute work will be sung inSpanish by the composer’swife, mezzo-sopranoLorraine Hunt Lieberson,and conducted by Esa-Pekka Salonen.

“I discovered these poemsby chance in the Albuquer-que airport,” Liebersonreflects. “Although thesepoems were written byanother, when I set them Iwas speaking directly to myown beloved Lorraine….”

Co-commissioned with theBoston Symphony, the BSOperforms the piece inBoston in November, andthen at Carnegie Hall.

Lorraine Hunt Lieberson

‘‘

’’

photo: Michael W

ilson, courtesy IMG

Artists

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When composing, Augusta Read Thomasbelieves “Music must be alive and jump off thepage!” Jahja Ling and the San Diego Symphonywill jump the gun on the upcoming solstice,

when on 20 May theypremiere herCredences of Summer.

“I admire Augusta’swork,” Ling enthuses.“I find her intriguingbecause she is amultifacetedcomposer who weavestogether language,color and structure in

a personal way.” Credences of Summer — athree-movement work based on a Wallace

More Music from Poetry: Augusta Read Thomas and Sofia Gubaidulina

On 26 May, f lutist Sharon Bezaly, music directorMario Venzago, and Sweden’s Göteborg Symphonyoffer a new concerto by Sofia Gubaidulina: TheDeceitful Face of Hope and Despair. The title is a linetaken from T.S. Eliot’s poem “Ash Wednesday.”Known for her exploration of sound, Gubaidulinaexplores here the acoustic phenomena of intervallicpulsation that demarcate the highest and lowestreaches of our ability to hear, which become meta-phors for our “hope” and our “despair.”

Last month, Gubaidulina received the EuropeanCulture Prize for composition, bestowed on artistswhose works significantly represent diverse Europeanculture, independent thinking, and creativity.

Conductor Reinbert de Leeuw presented her with the prize during a ceremony that took place at theAmsterdam Concertgebouw. Gubaidulina’s next orchestral work is a co-commission from thePhiladelphia Orchestra and the Pittsburgh Symphony. The piece premieres next February inPhiladelphia with Simon Rattle.

MORE THOMAS INSPIRED BY STEVENS

Words of the Sea 17‘

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Final Soliloquy of the Interior Paramour 8‘

Mezzo-soprano and Countertenor;

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The Deceitful Face of Hope of Despair 26‘

Flute(afl,bfl); 3(2pic).2.2+bcl.2+cbn/4.2.1+2btbn+cbtbn.1/

timp.perc/2hp.cel.pf/str(16.14.12.10.8)

Zen Piano GardenTan Dun’s solo multimedia exhibition

“Visual Music 2005” opened on 16

April at the Shanghai Gallery of Art.

The installation incorporates elec-

tronic, visual and aural elements

centering on the rebuilding

process of abandoned pianos.

This show highlights a Zen piano

garden. “Visual Music 2005” is

part of a larger series of Tan’s visual

music projects involving hundreds of

pianos, which will tour internationally

over several years. The Shanghai

exhibit continues through 17 May.

photo: Parnassus Productions

Barry. John Barry. — Music from “James Bond”

“From Russia with Love” (1963)Bond Takes the Lektor 3‘

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“Goldfinger” (1964)Goldfinger 3‘

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Goldfinger — Suite 8‘

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“Thunderball” (1965)Thunderball 3‘

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“You Only Live Twice” (1967)You Only Live Twice 3‘

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You Only Live Twice — Suite 10‘

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“Diamonds Are Forever” (1971)Diamonds Are Forever 3‘

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“A View to a Kill” (1985)On Her Majesty’s Secret Service /

A View to a Kill 6‘


“On Her Majesty’s SecretService” (1969)

Escape from Piz Gloria /Ski Chase 6‘

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On Her Majesty’s Secret Service / A View to a Kill 6‘


We Have All the Time in the World4‘


“The Living Daylights” (1987)Living Daylights — Suite 5‘


These titles by the legendary John Barry, arranged/editedfor orchestra by Nic Raine, are new to the G. SchirmerRental Library from EMI. Call the library at 845-469-4699.

© 2005 by Musikverlag Hans Sikorski GmbH & Co. KG, Hamburg

Jahja Ling

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Jahja Ling

www.tandunline.com

the audiencegrabs

intellectually andemotionally

Stevens poem of the same name — wascommissioned by San Diego to celebrate Ling’sinaugural season as music director. He contin-ues, “Her music has content and is ofteninfluenced by poetry. However, even though awork may not use texts, Augusta always has something to say and expresses herself clearly — she grabs the audience intellectually and emotionally.”

Thomas notes that two 20th-century giantsinspired the work: Luciano Berio and IgorStravinsky. “Berio’s process influenced me. Heused the phrase ‘remembering the future’ todescribe his musical philosophy...he saw himselfas reexamining the past through the present....Ilove The Rite of Spring. It has shaken me at thecore. When I write, I examine small musicalobjects (a chord, a motive, a rhythm, a color,etc.) and explore them from many perspectives.In this manner, Credences of Summer is a tinyhomage to The Rite of Spring. It takes on anorganic, circular, self-referential character...Iimbued it with an irrepressible sense of color,motion and wonder.”

Credences of Summer 15‘

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3

There once was a straight Line whofell in love with a Dot. But, thanksto a Squiggle, the Dot didn’t evenknow the Line existed. Norton Justerknew in his 1963 illustrated bookThe Dot and the Line: A Romance inLower Mathematics. Robert X.Rodríguez has created a setting fornarrator and ensemble that premiereson 1 May in Dallas with narratorFred Curchack and Voices ofChange, led by Larry Loh.

His musical version is the firstmultimedia treatment of the booksince Chuck Jones’s 1965 Academy-award-winning short film. Rodríguezgives cameo appearances to familiar

Mathematical Romance

musical quotes. Amotif from Tristan andIsolde surfaces at themention of the Line’slove for the Dot. Thenthere are two Bachkeyboard lines thattangle with each otherin an “erudite” way.Rodríguez comments,“The music representsthe three charactersthrough a series of leitmotifs: quick,repeated notes for The Dot; scales orglissandos for The Line; and aprimitive, repetitive motiveaccompanied by clusters for TheSquiggle. The instrumental parts are

virtuosic, withprominent solopassages for timbralpairs of instruments…[while] the percussionwriting is colorful,and includes suchnontraditional soundsas ratchet, slidewhistle, siren,flexatone, policewhistle, whip,

cowbells, the jawbone of an ass andlion’s roar.”

The Dot and the Line c.18‘

Text: Norton Juster

Narr; fl, cl, vn, vc, hp, perc, pf;

opt slides and/or dancers

(Re)view — Gian Carlo Menotti: “The Saint of Bleecker Street”

Seastar Books, ISBN: 1587170663

The Dot and the Line joinsRodríguez’s other Juster adaptation,A Colorful Symphony (for narratorand orchestra), based on a chapter inJuster’s best-known work, ThePhantom Tollbooth (1961).

A Colorful SymphonyText: Norton Juster from “The Phantom Toll Booth”Narrator; 3(pic)222/4231/timp.3perc/hp.pf/strScore 50482673 $35.00

On 27 December 1954, The Saint of Bleecker Street, AMusic Drama in Three Acts, became the fourth ofGian Carlo Menotti’s operas to open on Broadwayunder the baton of Thomas Schippers. Enthusiasti-cally welcomed by the Broadway audience —although some critics couldn’t reconcile their operaticroots to the Broadway context — it was almostuniversally hailed for its groundbreaking immediacyand the melodic force of Menotti’s treatment of thesubject. The New York Times sent both its opera anddrama critics to the opening — both reviews wereraves.

The story of The Saint of Bleecker Street is of a youngwoman, Annina, whose extreme religious faithtorments her brother, Michele, while it captivates asmall neighborhood in New York’s Little Italy.Menotti himself describes the tension between thesiblings Annina and Michele as the battle betweenfaith and reason and those tensions are portrayed inwhat Menotti felt was some of his most lusciousmusic and arguably the most stirring choruses he everpenned.

Each successive (and successful) revival of the workhas demonstrated its timelessness and theatricalpotential in the face of a trend, among some critics,to ignore his legacy and contribution to Americanmusical theater. A landmark BBC broadcast of theopera in 1956 made television history first by being

...it represents Menotti at hisgreatest point of musical anddramatic maturity.

— Harriet Johnson,New York Post,

December 1954

Rarely has a composer come tohis majority with such coolcommand of all things musicaland theatrical as Gian CarloMenotti does in The Saint. Thenew opera...is in every way anaccomplished work, a perfectlycontrolled distribution ofpassion, rococo excitement andorchestral brilliance.

— Walter F. Kerr,New York Herald Tribune,

January 1955

It is music bursting with life, inwhich the orchestra is the hero,and melody is still king.

— Louis Biancolli,New York World-Telegram and Sun,

March 1965

the most lavish live television production to date andthen, gratifyingly, with unprecedented audienceratings and praise. Menotti describes the future ofThe Saint best, “Only the future will say who is rightor wrong. My Saint, so far, enjoys good health and Ihave a suspicion that it will survive me and mycritics.”

A 2001 Spoleto Festival recording of the completeopera, under the direction of Richard Hickox, isavailable on Chandos, with Julia Melinek’s Anninafollowing an impressive lineage of Anninas that hasincluded Catherine Malfitano, Joan Sena, andCamilla Williams.

The Saint of Bleecker StreetMusical drama in three acts.Winner of the 1955 Pulitzer Prize in Music.Libretto by the composerS, Mz, Mz, Bar, B; Mz, S, Mz, Bar;SSAATTBB chorus;2+pic.2+ca.2+bcl.2+cbn/4331/timp.3perc/hp.pf/strstage music: pic/3tpt.tbn.tba/2perc

Vocal score 50337910 $50.00Libretto 50340030 $4.95

Gian Carlo Menotti will be honored this monthby the American Music Center when theypresent him with their Letter of Distinction.

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G. Schirmer selected performances May ’05

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Musicorda FestivalThomas (GS)Caprice ★★★Rachel Barton Pine,violinSouth Hadley, MA

Tower (AMP)IncandescentEmerson String QuartetWashington, DC

Adams (AMP)The Chairman Dances(May 13, 15)Honolulu Symphony

Harbison (AMP)The Flower-Fed Buffalos(May 13, 14)Cantata Singers ofBoston

Barber (GS)Violin ConcertoNew York City Ballet

Prague Spring FestivalHusa (AMP)Sonata for Violin andPianoPrague, Czech Republic

Piston (AMP)Fantasy for EnglishHorn, Harp and StringsSeattle Symphony

Corigliano (GS)The Red Violin:ChaconneJohn Lowry, violin;Calgary Philharmonic

Schuman (AMP)American FestivalOvertureSpringfield SymphonySpringfield, MA

Adamo (GS)Little Women ★★(May 19 )New York City OperaTokyo, Japan

Kernis (AMP)Musica CelestisJuilliard School ofMusic

Lieberson (AMP)Neruda Songs ★★★Shostakovich(GSR)Symphony No. 10(May 20 - 22)Lorraine HuntLieberson, mezzo-soprano;Los AngelesPhilharmonic

Thomas (GS)Credences of Summer★★★(May 20 - 22)San Diego Symphony

Sheng (GS)Colors of Crimson ★★(May 20, 21)Evelyn Glennie,percussionVancouver SymphonyVancouver, BritishColumbia, Canada

Corigliano (GS)Gazebo Dances(May 23, 24)University of Texas atAustin

Green Umbrella SeriesLieberson (AMP)Free and EasyWandererHorn ConcertoPiano QuintetRilke SongsWilliam Purvis, horn;Lorraine HuntLieberson, mezzo-soprano;Los AngelesPhilharmonic NewMusic Group

Gubaidulina (GSR)The Deceitful Face ofHope and of Despair★★★Sharon Bezaly, flute;Göteborg SymphonyOrchestraGöteborg, Sweden

Barber (GS)Knoxville, Summer of1915(May 27 - 29)Colorado Symphony

Previn (GS)A Streetcar NamedDesire(May 27 - June 4)Sajandi OrkesterEstonia

Tan Dun (GS)Water ConcertoRobert Schulz,percussionBoston ModernOrchestra Project

Ellington/arr. Gould(EMI)Solitude(May 18 - 22)Baltimore Symphony

Stravinsky (GS)Concerto in E-flat(“Dumbarton Oaks”)Baltimore ChamberOrchestra

Sheng (GS)The Phoenix ★★(May 19, 20)Anne Margrethe Dahl,soprano; DanishNational SymphonyOrchestraFrederiksberg,Denmark

Chávez (GS)Sinfonia India(Symphony No. 2)Schuman (AMP)Symphony No. 3Seattle Symphony

Danielpour (AMP)Oratio PauliCantori New YorkNew York Society forEthical Culture

Guarnieri (AMP)Symphony No. 2Dresden PhilharmonicDresden, Germany

Barber (GS)First SymphonySecond EssayTokyo MetropolitanSymphonyTokyo, Japan

Husa (AMP)Music for Prague 1968West Point MilitaryAcademy BandHighland Falls, NY

Schnittke (GSR)Concerto Grosso No. 2Civic Orchestra ofChicago

Tower (AMP)For DanielKalichstein-Laredo-Robinson TrioBrattleboro, VT

Diamond (GS)Symphony No. 4Seattle Symphony

Corigliano (GS)A Petition to theGovernorMuseum of Televisionand RadioNew York City

Laderman (GS)Nonet of the Night(May 12, 13)Idyllwild Arts AcademyLos Angeles, CA

Dresden FestivalWolfe (RP)My Beautiful Scream★★Kronos Quartet;Dresdener SinfonikerDresden, Germany

Weir (CH)Concerto for Piano andString OrchestraLinda Lee Thomas,pianoVancouver SymphonyVancouver, BritishColumbia, Canada

Gould (GS)Concertette for Violaand BandUniversity ofWashingtonSeattle, WA

Tan Dun (GS)Song of PeaceUniversity of Denver

Raritan River MusicFestivalThomas (GS)Memory: Swells★★★Newman and OltmanGuitar DuoClinton, NJ

Lang (RP)The So-Called Lawsof NatureEvelyn Glennie,percussionLos AngelesPhilharmonic NewMusic Group

Thomas (GS)Spirit MusingsChicago ChamberMusicians

Mason (CH)ChaplinOperas ★★Della Jones, mezzo-soprano; RichardSuart, baritone;EnsembleIntercontemporainLincoln CenterNew York City

Gould (EMI)American SaluteEighth AnnualNational WindEnsembleCarnegie HallNew York City

Lang (RP)songs for lou reed(excerpts)Bang On a Can All-StarsBergen, Norway

photo: Glimmerglass Opera

Rodríguez (GS)Dot and the Line ★★★Food of LoveVoices of ChangeDallas, TX

Danielpour (AMP)An American Requiem(selections)Cornell University

Grainger (GS)Children's MarchI'm 17 Come SundayIrish Tune from CountyDerryMarching Song ofDemocracyShallow BrownUnited States MarineBandWashington, DC

Harbison (AMP)Piano Trio No. 2Amelia TrioSt. Paul, MN

Gubaidulina (GSR)Hour of the SoulNew EnglandConservatory

Shostakovich (GSR)Viola SonataSymphony No. 15Kremerata MusicaZankel HallNew York City

Adams (AMP)HarmoniumMcPhee (AMP)Tabuh-Tabuhan(May 4, 5)Pacific Symphony

Mechem (GS)Tartuffe(May 4 - 8)North Carolina Schoolof the Arts

Balada (GS)Preludis ObstinantsAdam Kent, pianoNew York City

Tower (AMP)For DanielKalichstein-Laredo-Robinson TrioDenver, CO

Wolfe (RP)Dig Deep(May 4 - 8)Del Sol String QuartetSan Francisco, CA

80th Birthday Year

Music at NYUSchuller (AMP)New York UniversityEnsembles

May 2Sonata Serenata

May 3Meditation ★

May 4The Past is in the Present ★

Thomas (GS)Moon Jig ★★★The Lincoln TrioChicago, IL

Husa (AMP)Music for Prague 1968University of Californiaat Fullerton

Schnittke (GSR)Concerto Grosso No. 5(May 5 - 7)Chicago Symphony

Tilson Thomas (KON)AgnegramLondon SymphonyOrchestra

Corigliano (GS)CreationsThe Prairie EnsembleUrbana, IL

Ellington (GS)Harlem(May 6, 7)Hong KongPhilharmonic

Husa (AMP)Sonata a TreBoston Musica Viva

Kapilow (GS)Dr. Seuss's GreenEggs and HamBeloit JanesvilleSymphony

Laderman (GS)Piano Trio No. 2Jung TrioToronto, Ontario,Canada

Lang (RP)Are You Experienced?Thames ValleyUniversityEaling, England

Rodríguez (GS)Hot Buttered Rumba(May 6, 7)Arkansas Symphony

Tan Dun (GS)Concerto for StringOrchestra and PipaEstonian NationalSymphony

Danielpour (AMP)Margaret Garner ★★★(May 7, 11, 14, 20, 22)Toni Morrison, librettoMichigan Opera Theater

Johnson (AMP)The Four-Note Opera★★Cottbus, Germany

Adams (AMP)Harmonielehre(May 7, 8)New World Symphony

Gordon (RP)Light Is Calling(May 7, 14)Red Duck MusicSanta Barbara, CA

Tower (AMP)In MemoryChicago Music NowEnsemble

Ives (AMP)Symphony No. 3,“The Camp Meeting”Riegger (AMP)Study in SonoritySeattle Symphony

Lang (RP)The Anvil ChorusPavel Giunter,percussionVilnius, Lithuania

Lang (RP)again (afterecclesiastes) ★★★Cerddorion ChorusBrooklyn, NY

Balada (EMI)CumbresBanda de MistalaAmposta, Spain

Barber (GS)Adagio for StringsVereinigte StädtischeBühnenKrefeld, Germany

Kernis (AMP)Lament and PrayerUNAM PhilharmonicOrchestraMexico City, Mexico

Previn (CH)Four OutingsFlorida Brass QuintetSarasota, FL

Nørgård (WH)TurnTanaka (CH)CrystallineEve Egoyan, pianoGuelph, Ontario,Canada

Lang (RP)again (afterecclesiastes)Cerddorion ChorusMerkin Concert HallNew York City

Lindberg (CH)Quintetto Dell'estateOnix EnsembleMexico City, Mexico

Nørgård (WH)TurnTanaka (CH)CrystallineEve Egoyan, pianoMontreal, Quebec,Canada

Frank (GS)Illapa ★★(May 17, 18)Lucas Robatto, fluteOrquesta Sinfonica daBahiaBahia, Brazil

Barber (GS)First Symphony(May 17, 19)BournemouthSymphonyBournemouth,England

Gould (GS)StringmusicOrchestre d'AuvergneClermont, France

Tan Dun (PPI)Crouching TigerConcerto(erhu version)(May 20, 21)Karen Hwa-chee Han,erhu;University ofCalifornia at Riverside

Danielpour (AMP)The Awakened HeartSeattle PhilharmonicOrchestra

Gould (GS)The Jogger and theDinosaurOrchestre National duCapitolToulouse, France

Lang (RP)cheating, lying,stealingeighth blackbirdChicago, IL

Tower (AMP)For DanielYehuda Hanani, cello;Yehonatan Berick,violin; Joan Tower,pianoPittsfield, MA

Wolfe (RP)Lick(May 28, 29)Ensemble PhoenixBasel, Switzerland

Tower (AMP)Petroushskates ★★Beijing ModernMusic FestivalChina

Previn (HC)Triolet for BrassAlgonquin ArtsManasquan, NJ

Tan Dun (GS)The MapWater ConcertoKristina Cooper,cello;Gert Francois,percussion;Shanghai SymphonyNagoya, Japan

Sheng (GS)The Phoenix ★★Anne Margrethe Dahl,soprano; DanishNational SymphonyOrchestraBeijing, China

Laderman (GS)DuettiComposer’sCooperativeNew York City

Gubaidulina (GSR)ConcordanzaOrpheus ChamberOrchestra

May 3Seattle, WA

May 4Napa, CA

May 5Los Angeles, CA

May 7Santa Fe, NM

May 10Carnegie HallNew York City

On 19 May, theNew York CityOpera gives the

Asian premiere ofMark Adamo’sLittle Womenin Tokyo at the

2005 WorldExpo.

Across the world and also on 19 May, Denmark welcomes Bright Sheng.Soprano Anne Margrethe Dahl joins the Danish Symphony Orchestra led

by Thomas Dausgaard in the European premiere of the orchestral song cycleThe Phoenix. The work — a co-commission with the Seattle Symphony —

is Sheng’s English adaptation of the Hans Christian Andersen tale. TheDSO brings the work to Beijing for its Asian premiere on 31 May.

“Little Women” Bright Sheng

photo: Alex Cao

Dragonetti/arr.Schuller (AMP)Concerto ForDoublebassHouston YouthSymphony

Gregson (NOV)Tuba ConcertoSpokane Symphony

Dmitri KabalevskyPiano Concerto No. 3,“Youth Concerto”reduction for two pianosScore 50485536 $12.95

New Publications

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Benedict Mason channels amusical voice for Charlie Chaplin,when the EnsembleInterContemporain conducted byJonathan Nott presentsthe US premiere ofChaplinOperas on 26May at Lincoln Center’sRose Theater.

Originally commissionedby the Ensemble Modernand premiered in 1998,ChaplinOperas wasconceived as a multime-dia concert work thatengages a dialoguebetween Chaplin’s genius and livemusic. Mason’s score accompaniesthree silent films: “Easy Street,”“The Immigrant,” and “TheAdventurer.”

“I wish fervently that today’s film-makers would see the potential ofsilent film and live music,” Masonexclaims. “There is a dichotomyabout trying to write music 75 years

on, for unchangeable visual materialthat is fixed in its values and codesof practise. There is also no point inresorting to the usual insipidpastiche....Furthermore Chaplin isso much a myth now, and his

“ChaplinOperas” Everywhere

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Benedict Mason

comedy routines so well known orpredictable, that they have noneed of the original type of musichis films were used to.”

Mason asserts that hisscore isn’t “tame politebackground accompani-ment that might as wellnot be there. It is notmusical exhibitionism incompetition with the

film. And it does nottreat the silence ofsilent film as ashortcoming.

“There is a free exchange betweenscreen and pit of ‘bad jokes.’ Themusicians are very vocal, and agood humored anarchic rumpus isalways just around the corner. Themusic develops the potential for acertain surrealism, oftenemphasising the asymptoticnightmare, frequently implied butunderplayed in the films. I findthis also to be a good antidote to

the sentimentality andmawkishness that isnever far away inChaplin's films.”

The music reflectsMason’s “fascination

with puns, riddles, paradoxes,catchphrases, proverbs and literaryquotes. All of these elements arestrung together to form aconversational commentary on awide range of related subjects.”

ChaplinOperas 75‘

Russian and English texts (with subtitles)

Mezzo-soprano and Bass-baritone;

1(pic,afl).1(ca,obda).1(Ebcl.bcl)+ssx(asx,tsx,cbcl).1(cbn)/

1.1(pictpt,cnt.flg).1(slide tpt).1/2perc(incl E-Max sampler)/

hp.2kbd(incl DX72FD)/str 6tet.db(ebass)

John HarbisonDarkbloom: Overture for an Imagined Opera 7'

John Harbison’s Darkbloom is an overture to an opera based on VladimirNabokov’s Lolita that he decided not to write, for obvious reasons....Themusic does the job an opera overture is supposed to; it offers a promise of

what’s to come by creating adistinctive color, atmosphere,texture. The music opens with aseductively swaying rhythm, andmelodies associated with the not-exactly guileless heroine and the not-

exactly honest male protagonist. A playful later episode depicts a tennisgame that is not-exactly innocent in the eyes of the manwho is observing it, and ends with high, shimmering laughter,or what the composer calls “a frail epiphany.” Sexy,funny, dangerous — quite a lot for 10 minutes to accom-plish, but Harbison has the imagination and the chops to carry it off.

— Richard Dyer, Boston Globe

World premiere3(pic).2+ca.3(bcl).3(cbn)/4221/

timp.3perc/pf.hp/strBoston Symphony/Levine

23 March 2005; Boston, MA

Review

More Operas

“Kafka’s Trial”

John HarbisonPiano Sonata No. 2Score 50485585 $14.95

Robert X. RodríguezLes Niais Amoureuxfor clarinet, violin, cello,and pianoSet 50485072 $25.00

Augusta Read ThomasPulsarfor violinPart 50485929 $4.95

the

andlive music

potentialofsilent film

Mark AdamoLysistrata, or The

Nude Goddess 135'

a tragicomedy for singers and orchestra

English libretto by the composer after

Aristophanes

Principals: 17 to play 24 characters

4S, 3Mz, 2C, 4T, Bar,

Bar[=B-Bar], 2B-Bar

1(pic).0.1.asx(barsx).1/1100/timp.2perc/hp/

str (4.4.3.3.2)

Daniel CatánSalsipuedes, A Tale of Love, War

and Anchovies full eve

Comic Opera in Three Acts

Spansh libretto by Eliseo Alberto and

Francisco Hinojosa

3 S, Mz, 4 T, Bar, B-bar, B; Speaker;

SAT Chorus (24 voices total);

3(pic).2.5(bcl).2/3.4Ctpt.2+btbn.1/

timp.perc/pf.hp/4vc.4db; 4onstage perc

Poul RudersKafka‘s Trial 105'

Libretto by Paul Bentley

(available in English or Danish)

S, 2 Mz, 4T, 3 Bar, B; SATB

4.1+ca.3+bcl.sx.3+cbn/6441/timp.4perc/

hp.epf.kbd.acn/str

photo: Brett Coomer, Houston Grand Opera

photo: Brett Coomer, Houston Grand Opera

photo: Martin Mydtskov Rønne, Royal Danish Opera

“Lysistrata”

“Salsipuedes”

In addition to Margaret Garner, the 2004-05 season brought three othermajor operas to the Music Sales Group.

dangerous

sexyfunny

www.schirmer.com/composers/adamo/lysistrata.html

www.schirmer.com/composers/catan/salsipuedes.html

www.ewh.dk/sites/kafkastrial/

7

Recent RecordingsPeter Maxwell Daviespremiere recordingsNaxos Quartet No. 3Naxos Quartet No. 4Maggini QuartetNaxos CD 8557397

Robert X. RodríguezTangoPaul Sperry, tenorMembers of the San Diego Symphony/RodríguezAlbany Records CD 740

Alfred SchnittkeSt. Petersburg Musical ArchiveCongratulatory RondoPiano QuintetViolin Sonata No. 2Lidia Kovalenko and Alexey Baev, violinsAlexey Popov, viola; Kirill Timofeev, celloYuri Serov, pianoNorthern Flowers (Albany) NFA 9908

Alec WilderAlec WilderSuite for Clarinet and OrchestraSuite for Flute and StringsSuite for Horn and StringsSuite No. 1 for Tenor Sax and Strings (Three Ballads for Stan Getz)Suite No. 2 for Tenor Sax and Strings (for Zoot Sims)The Alec Wilder Project Orchestra/Tipton, IIRiverview Records RR001

Esa-Pekka SalonenWing On Wing 27'Insomnia 20'Foreign Bodies 20'

This latest collection ofSalonen’s work...features

threeformidable,extendedorchestralpieces....The

CD opens with ForeignBodies a work in threesegments. In thefirst segment...apowerfulmotive, one thatcould burstthrough concrete, isintroduced in the openingmeasures. Its force mellowsinto springy descendingsequences. Kinetic energyand the movement of bodiesjoin....Salonen’s syncopation

Reviewsand swing, even sensibilitiesof rock and fusion are of anevolved extended language.He uses the orchestralpalate in vast depth,dynamics and detail...

Wing on Wing...opens witha beautiful post-impression-ist chord sequence; aprimordial undulation inwhich two Sirenvoices...emerge withrapturous melody and

harmony. The piece is ajourney back intime....There are someincredibly alluring andsensual passages....It startsand evolves so organically,weaving together voice and

orchestral timbres, thenbuilds and evolves andcaptures us...a beautifuljourney.

I don’t want to say toomuch about Insomnia. It isyours to experience. I havelistened to it several timesand each time it’s a newrevelation.

Salonen is a composerforging an exciting languageand direction, accessible toall listeners. It’s nice to hearcontemporary orchestralmusic with so much color,depth and texture. But it’salso the compositional focusjoined with his performanceskills that gives this musicits verve and makes it truly,uniquely Salonen’s.

— Duane Harper Grant,Sequenza21.com

Premiere recordingsAnu Komsi and Piia Komsi, sopranos

Finnish Radio Symphony Orchestra/Salonen

Deutsche Grammophon CD 477 5375

Samuel BarberComplete Choral Music

...the youthful works were...worth hearing...to see whereBarber began. Gypsy Song,from The Rose Tree, an operahe wrote when he was 10,suggests a fascination withGilbert and Sullivan,tempered with a hint of

Vaughan Williams. A touchof Victorian influenceremains in Christmas Eve,composed when Barber was14, but by the time heturned 20, in 1930, he wasfinding his voice. Let Downthe Bars, O Death (1936)and God’s Grandeur (1938)have an irresistible intensity,created at least partly byBarber’s use of dissonances

that appear in surprisingplaces and have equallyunpredictable resolutions.

...Anthony O’Daly, thehaunting central panel ofReincarnations (1937-40),has found a life of its own.So has the exquisite Sure onThis Shining Night (1938,arranged in 1941), althoughit is best known as a solo

vocal work.And then,of course,

there are the slowlyclimbing lines of the AgnusDei (1936 in its stringversion; arranged for chorusin 1967). But some of thelesser-known works —particularly Twelfth Night(1968), an emotionalChristmas piece, and AStopwatch and an OrdnanceMap (1940) — are certainlytheir equal.

New York Virtuoso Singers/Rosenbaum

3 March 2005; Merkin Concert Hall, New York City

Daniel CatánSalsipuedes, A Tale of Love,War and Anchovies full eve

The static and mysteriousoverture at once conjuredup subterranean stillness....The excellent Spanish-language libretto recountsthe story of two newlywedswhose honeymoon isinterrupted when their tinyisland declares was on NaziGermany. It’s a if the cast ofCosì had wandered intoRick’s Café Américain,relocated from Casablanca

to a Caribbean port....Robinson’s direction wasalways sensitive to thework’s combination ofpolitical and social com-

mentary, romantic intimacyand message of redemption.If there was no actual

World premiereLibretto: Eliseo Alberto and Francisco Hinojosa

3 S, Mz, 4 T, Bar, B-bar, B; Speaker;

SAT Chorus (24 voices);

3352/3431/6perc/hp.pf/4vc.4db

James Robinson, stage director

Houston Grand Opera/Guida

29 October 2004; Houston, TX

dancing in the aisles, thereason was the music,which, while offeringCaribbean rhythms and abattery of African drums,

rain sticks andmarimbas in thepit, usesrepetitive andinterlockingharmonic unitsunder soaring

Puccini-like melodies. Thereare several effective ariasand set-pieces....

John CoriglianoThe Red Violin: Chaconnefor Violin and Orchestra 17'

The most compelling musicduring Friday’s San AntonioSymphony concert camefrom...The Red Violin,Chaconne for Violin andOrchestra, a dark andpowerful 1997 work....Thepiece is built on a rising— Allan Kozinn, The New York Times

— Judith Malafronte, Opera News

figure, announced by thelow brass and bassoons as atrudging and portentousascent. Both the soloist andthe orchestra elaborate onthis stepwise theme,sometimes enveloping it infiligree, sometimes breakingit violently into shards. Thesensibility is romantic and

3(2pic).2.2.2/

4.2Ctpt[=Dtpt].2+btbn.1/

timp.3perc/pf([cel]).hp/str

Stephanie Sant’Ambrogio, violin

San Antonio Symphony/Wilkins

11 February 2005; San Antonio, TX

the harmonic idiom tonal,but the orchestration’sintense colors and unset-tling effects are modern.

— Mike Greenberg, San Antonio Express-News

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

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Critics ChoiceQuintet of the Americas

New World Records CD 80571

Deborah Horne, Editor

Ed Matthew, Managing Internet Editor

Karel HusaRecollections 21'Five Poems 19'

There was little agonizing over arecording for myself. Karel Husa remainsbest known for his powerful Music forPrague 1968, yet these chamber worksfor winds show him in a different light.Quirky, charming and gentle with witand humanity cast in an edgy style, andare tackled with full-metal jacketvirtuosity and huge panache by theQuintet of the Americas.

— Lawrence A. Johnson, Gramophone

Reviews

“A Quality Love,” Margaret’s aria from Margaret Garner byRichard Danielpour. Libretto by Toni Morrison.Premiere: 7 May 2005, Michigan Opera Theatre.

© 2005 by Associated Music Publishers (BMI) New York, NY.International Copyright Secured. All Rights Reserved.

Used by permission.

London Symphony Orchestra/Botstein

Telarc CD 80642

Gavril PopovSymphony No. 1

This [is an] excellent new recording ofPopov’s early First Symphony....Popovcomes off as a playful experimenter whoseems to have thrown many of theprogressive schools of his day into ablender. His canvases are huge...there is abursting, cinematic vividness to thismusic, an air of an orchestral carnivalwith something sinister lurking aroundthe corner. Strings ascend to daringheights only to be heckled back bysnarling choruses of brass. Themes arestacked perilously on top of one another;melodies are ingeniously braided withother melodies. When you least expectit, a strangely beautiful violin soloemerges from the tumult and steals theshow...

— Jeremy Eichler, The New York Times

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