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Essay
Karol Szymanowski‘s life comprises a Polish lack of openness and Viennese bohème, Catholic strictness and the Dionysian, ecstasy and ascesis.
If Scriabin could be called a constructor and programmaticist of sound ecstasies, in Szymanowski’s works ecstasy is rather coming from within and unfolding out of the mysterioso at the beginnings of the movements in a fever curve that rises continually, discharging itself in a vocal and instrumental apotheosis – as exemplified in his operas and concertos.
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Interview
Sakari Oramo on Szymanowki’s Six Songs of the Fairy-tale Princess
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Interview
Christian Tetzlaff on Karol Szymanowski’s Violin Concerto No. 1
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Essay
Karol Szymanowski and his King Roger
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Interview
Thomas Zehetmair on Frank Martin’s Polyptyque
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Interview
Georg Friedrich Haas on Morgen und Abend
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Interview
Kasper Holten on Haas’ Morgen und Abend
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Interview
Michael Boder on Haas’ Morgen und Abend
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Essay
Reviews of Morgen und Abend
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Interview
Ernst Kovacic on Haas’ Violin Concerto
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Interview
Benjamin Schmid on Weill’s Violin Concerto
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Essay
Friends and companions congratulate the composer.
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Interview
Wolfgang Schaufler conversed extensively with Friedrich Cerha and his wife Gertraud.
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Milestones
“One thing develops and leads to another, processes influence each other, interfere with and displace each other.” (Friedrich Cerha)
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Essay
The late works of Friedrich Cerha are characterised by a haunting elegy and utter serenity.
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Essay
On 11 September 2015 Arvo Pärt celebrated his 80th birthday. The MusikSalon is paying tribute to the composer.
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Essay
Michael Stallknecht on Arvo Pärt
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Interview
Manfred Eicher on Arvo Pärt
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Work insights
An unusual editorial project that in a certain way traces a musical arc across his oeuvre: Arvo Pärt’s Songs from Childhood.
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Essay
A warm and delicate portrait on Arvo Pärt reveals his philosophy of life and shows intimate scenes with his family and friends.
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Interview
Dorian Supin on Arvo Pärt
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Interview
Tõnu Kaljuste on Arvo Pärt
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Interview
Paul Hillier on Arvo Pärt
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Interview
Enzo Restagno, the Italian musicologist, conversed extensively with Arvo Pärt and his wife Nora.
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Interview
David James on Arvo Pärt
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Milestones
Arvo Pärt: Cantus In Memory Of Benjamin Britten
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Interview
“This publisher is fortunate to really have all the sources at their disposal.”
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Interview
“Even a hundred years later, his music is still strikingly original and arresting.”
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Interview
“He was a composer who never stayed on the surface, he’d always dig in to touch something deeper.”
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Interview
“Foerster’s music adaptation is highly inspirational.”
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Interview
“Janáček was well ahead of his time.”
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Interview
“I don’t regret a single second I put into it.”
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Work insights
Joseph Bohuslav Foerster: Concerto for Violin and Orchestra
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Milestones
Bohuslav Martinů: The Epic of Gilgamesh for soli, mixed choir and orchestra
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Work insights
Vítězslav Novák: In the Tatra Mountains for orchestra
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Work insights
Peter Kolman: Monumento per 6.000.000 for orchestra
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Essay
Prof. K. B. Jirák on Foerster’s 70th birthday
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Essay
World première review of The Makropulos Case by Prof. K. B. Jirák.
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Essay
Max Brod on Leoš Janáček.
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Interview
“And then you discover yourself, progressively, just like archaeologists discover an old civilization.”
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Feuilleton
Pierre Boulez plays Douze Notations: I. Fantasque – Modéré and IV. Rythmique
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Interview
“Truly a man for the future.”
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Interview
“One of the greatest musicians of our time or any time.”
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Interview
“People around him wanted to give their best all the time.”
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Interview
“He was present, but never too present.”
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Interview
“In his mind he has remained a young person.”
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Interview
“He hates nothing more than routine.”
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Feuilleton
No other photographer has been as close to Boulez as French photographer Marion Kalter.
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Milestones
Pierre Boulez: Rituel in memoriam Bruno Maderna for orchestra in 8 groups
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Essay
Correspondence between Kurt Weill and Universal Edition
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Essay
“Schönberg” is not only the name of a great composer, but also a word that signifies a complete subversion of and break with tradition.
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Interview
Even if a few harmonic resources are lost along with major and minor, all of the other prerequisites of “serious” music are preserved.
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Essay
“Somebody had to be, nobody wanted to be. So I volunteered.”
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Essay
"Please give me exclusive rights to your works. I promise you that I will print them when this terrible situation has passed.“
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Essay
Your first impressions are often the most lasting.
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Essay
By choosing to focus on modern music during the early 20th century, Universal Edition laid the foundation for its success as a publishing house.
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Work insights
Premiered in 1961, this sound-mass composition is a classic work of modernism.
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Essay
György Kurtág on György Ligeti
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Essay
György Ligeti on György Kurtág (1985)
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Interview
Martin Haselböck in an interview with Eric Marinitsch.
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Essay
East meets West: multicultural ideas in Kodály’s writings and musical works.
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Essay
“Is racial impurity favourable to folk (i.e. peasant) music or not?”
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Essay
Bartók’s music is no longer a closed book for audiences and critics alike.
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Essay
Jenö Takács on Béla Bartók
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Interview
Peter Eötvös in an interview with W. Schaufler
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Essay
Bartók’s relationship with Vienna can be traced back to his first visit in 1897 and ends with the concert in the Großer Musikvereinssaal on 18 May 1936.
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Essay
Béla Bartók and Universal Edition
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Essay
Memories of Otto Tomek
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Essay
Otto Tomek died on 18 February. As shown by the tributes from our composers, he was more than just an important sponsor and someone who made things happen.
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Essay
Vykintas Baltakas – a profile
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Interview
David Sawer on drama and theatre in his music in an interview
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Interview, Work insights
Orchestral version (1914) of the “Chamber Symphony” – An interview with Philippe Jordan
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Work insights
An early masterpiece of the 21st century – Simon Rattle on “in vain”
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Interview
Georg Friedrich Haas in an interview with Heinz Rögl
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Essay
On the music of Georg Friedrich Haas
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Interview, Work insights
Harrison Birtwistle in an interview with Sarah Laila Standke on “Gawain”
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Work insights
“The premiere of an opera by Harrison Birtwistle is now a national event which even makes it into the weekend supplement.”
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Interview
A discussion of questions of performance practice
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Interview
“Today’s music is new and at the same time a part of The Universal Work.”
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Essay
31 March 1913 is a magical date in musical history.
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Interview
1913 was a fateful year for Arnold Schönberg.
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Essay
Alex Ross, music editor at “The New Yorker”, on Morton Feldman
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Interview
Kim Kowalke, President of the Kurt Weill Foundation in New York, explains the history, reception, and performance issues of Aufstieg und Fall der Stadt Mahagonny.
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Essay
Gerard McBurney explores the relationship between drama and music in the works of David Sawer.
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Essay
Luke Bedford will receive a composer’s award from the Ernst von Siemens Music Foundation.
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Work insights
Georges Lentz‘s “Monh” for viola and orchestra
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Work insights
Janáček’s opera Jenůfa was his breakthrough to the international scene.
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Essay
John Tyrrell considered as the foremost Janáček expert.
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Interview
Leoš Janáček’s From the House of the Dead was hailed the “performance of the year” when Pierre Boulez and Patrice Chéreau unveiled their new international co-production.
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Essay
Max Brod (1884–1968) wrote this obituary of Leoš Janáček in 1928. It is a moving document testifying to a great friendship.
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Work insights
The Three Fragments from Wozzeck were premiered as early as 1924, at the Frankfurt Tonkünstlerfest.
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Work insights
Alban Berg died on 24 December 1935, before he could finish his opera Lulu.
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Essay
Universal Edition fittingly celebrated Alban Berg’s 50th birthday on 9 February 1935.
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Work insights
With four scenes and lasting around two-and-a-half hours, Das Rheingold is the shortest evening of Richard Wagner’s Ring des Nibelungen.
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Work insights
One of the most fascinating works from the orchestral repertoire is being reborn.
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Essay
Alexander Zemlinsky – I owe almost all my knowledge of the technique and problems of composition to him.
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Essay
Kurt Weill also left behind a small number of works written for the concert hall.
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Interview
Mauricio Sotelo has been very successfully exploring uncharted musical territory.
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Interview
Cristóbal Halffter became involved with opera relatively late. His [first,] Don Quijote, which premiered in 2000 in Madrid, is a setting of the most renowned work in Spanish literature.
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Essay
David Fennessy: “I think each piece has its own individual technique but what people hear is something much deeper and profound and long lasting.”
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Essay
Rihm had a tendency for impetuous gestures and vehement eruptions in his early orchestral works.
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Essay
Hans Sommer studied music privately and took lessons in composition with Franz Liszt, among others.
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Essay
Arranger Klaus Simon has produced reduced versions of Gustav Mahler’s Symphonies No. 1 and 4.
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Essay
A fascinating report about manuscripts and prints of Mahler’s Second that were left behind by the composer.
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Interview
Markus Hinterhäuser on his impressions of Mahler and the concept of his festival programme.
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Interview
Pablo Heras-Casado on Kurt Weill’s “Rise and Fall of the City of Mahagonny”.
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Interview
Johannes Maria Staud offers an insight into his working methods and his image of himself as a composer.
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Essay
Founded in tradition, Haas’ oeuvre conquers listeners with its truly unprecedented, utopian adventures in sound.
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Interview
The conductor Ingo Metzmacher is regarded as a renowned authority on operas by Franz Schreker.
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Musicologist Christopher Hailey on Franz Schreker.
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Work insights
Reviews of the première of Wolfgang Rihm’s Dionysos at the Salzburg Festival in 2010.
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Essay
Wolfgang Rihm presented an introduction to Arnold Schönberg’s Variations op. 31 at the Festspielhaus Baden-Baden.
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Interview
With Le Marteau sans maître Pierre Boulez established himself once and for all as a major composer.
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