Universal Edition - Composers and Works

New works

Read here about:

  • World premières (51 in the last 12 months)
  • Arrangements of masterpieces (from Berg to Mahler and Zemlinsky)
  • Publication of new critical editions according to the latest musicological standards.
  • Restauration of historic performance materials.
  • New, attractive performance materials (The Ring, The Nutcracker, La Cenerentola …)

Find out about our latest work in the catagories orchestra, opera, vocal and chamber music.

World premières are marked with WP.


Bartók, Béla (1881-1945)

Petite Suite (2016)
| 10′
Arranged by Jay Schwartz

Berg, Alban (1885-1935)

Sonata (1908/1909)
for orchestra | 13′
Arranged by Julian Yu
2 2 2 2 - 4 2 3 1 - timp, vib, cym, s.d., hp, str

New in the UE catalogue

Bruch, Max (1838-1920)

Romanze (1911)
for viola and string orchestra arranged by Masao Yokoyama for viola and string orchestra | 9′
Arranged by Masao Yokoyama

New in the UE catalogue

Cerha, Friedrich (*1926)

3 Sätze (2012)
for orchestra | 13′
3 2 3 3 - 4 3 3 1 - timp, perc(4), hp, str

WP 09.04.2016, Musikverein, Großer Saal Wien / Austria, ORF Radio-Symphonieorchester Wien, Dir. Cornelius Meister,

"The sketches for the "Three Movements for Orchestra" were made back in 2011 while working on Three Orchestral Pieces. The score was then completed in March and April 2012. The eruptive drama and subversive insubordination of "Intermezzo" from the "Three Orchestral Pieces" is set aside here, as is the statuesque element of "Tombeau". The first piece thrives on the juxtaposition and interplay of rhythmicised layers. The second is dominated by cor anglais and flute solos in a contemplative vein. To begin with, the orchestra plays only interjections and brief interludes; it is not until the final stage that it gains a character of its own, culminating in pp string chords. The third piece is lively and concertante, albeit with a rather sombre episode in the middle. It demands a good measure of virtuosity from the orchestra." (Friedrich Cerha)

3 Situationen (2015-2016)
for string orchestra | 15′30″
0 0 0 0 - 0 0 0 0, vln.I(7), vln.II(6), vla(4), vc(4), cb(3)

New in the UE catalogue

Eine blassblaue Vision (2013-2014)
for large orchestra | 20′
4 0 5 3 - 6 3 5 0 - str(7 6 5 4 3 desks)

WP 11.08.2016, Felsenreitschule Salzburg / Austria, ORF Radio-Symphonieorchester Wien, Dir. Cornelius Meister

New in the UE catalogue

Halffter, Cristóbal (*1930)

Concerto (2014)
for viola and orchestra | 25′
3 3 4 3 - 4 3 3 1 - perc(4), hp, str(14 12 10 8 6)

WP 07.02.2016, Kieler Schloss Kiel / Germany, Philharmonisches Orchester Kiel, Dir. Daniel Carlberg, Nils Mönkemeyer, vla

Composed in 2014, the "Concerto for Viola and Orchestra" has two movements and was inspired by a viola solo from Halffter's opera "Schachnovelle" (Chess Game), in which the instrument symbolises the loneliness of the imprisoned Dr Berger. Halffter calls the viola a "noble instrument" and maintains that its sound has long fascinated him. Accordingly, Halffter's Concerto sees the viola cover the full range of its expressive power: from virtuoso to very intimate.

Janácek, Leoš (1854-1928)

for orchestra | 25′
4 2 4 2 - 4 12 4 1 - timp, perc, hp, t.tuba(2), bass tpt(2), str

WP 22.02.2017, Rudolfinum Prag / Czech Republic, Ceská filharmonie, Dir. Jirí Belohlávek

Pärt, Arvo (*1935)

Greater Antiphons (1988/2015)
for string orchestra | 15′

WP 28.05.2016, Disney Hall Los Angeles / USA, Los Angeles Philharmonic, Dir. Gustavo Dudamel

When the Los Angeles Philharmonic and its new chief conductor Gustavo Dudamel invited Pärt to compose a piece, he recalled the orchestra's particular string sound, its wealth of colour and its enormous dynamic breadth and the idea spontaneously came to arrange a purely a capella work from 1988, the Seven Magnificat Antiphons (also known in English as Greater Antiphons), for string orchestra. The work's seven sections correspond to the seven verses, each of which begins with an invocation. Pärt rearranged the vocal score and created a purely instrumental version; thus the work appears sonically in a completely new light, while its context rises to another artistic level.

Rihm, Wolfgang (*1952)

De profundis (2015)
for choir and orchestra | 15′
2 2 2 2 - 2 2 2 1 - perc(2), str(12 10 8 6 4)

WP 25.04.2016, Sala Sinfónica Madrid / Spain, Orquesta de la Communida de Madrid, Dir. José Ramon Encinar

The first two words of Psalm 130 ("Out of the depths I cry unto thee, Lord") are the title of Rihm's new work for chorus and orchestra. As in Deus passus, Rihm talks again here about finalities with a deceptively simplified musical language; waiving technical difficulties does not at all preclude profound utterance - as so often, the apparent simplicity is actually the difficulty.

Reminiszenz (2016)
Triptychon und Spruch in memoriam Hans Henny Jahnn for tenor and large orchestra | 15′
3 3 3 3 - 4 3 3 1 - timp, perc(4), hp, org, str

WP 11.01.2017, Elbphilharmonie Hamburg / Germany, NDR Elbphilharmonie Orchester, Dir. Thomas Hengelbrock, Pavol Breslik, t

New in the UE catalogue

Requiem-Strophen (2015-2016)
for soli, mixed choir and orchestra | 80′
2 2 2 2 - 2 2 2 1 - timp, perc(2), hp, pno, str

WP 30.03.2017, Herkulessaal München / Germany, Symphonieorchester des Bayerischen Rundfunks, Dir. Mariss Jansons, Mojca Erdmann, S; Anna Prohaska, S; Hanno Müller-Brachmann, Bassbar

Schwartz, Jay (*1965)

Quaerendo invenietis – Music for Orchestra V (2016)
for string orchestra | 16′
vln.I(14), vln.II(12), vla(12), vc(10), db(5-stringed)(8)

WP 07.05.2016, Philharmonie Köln / Germany, WDR Sinfonieorchester Köln, Dir. Michael Wendeberg

Quaerendo invenietis – Music for Orchestra V, for string orchestra, transforms the royal musical motive from Bach’s “Musical Offering” and quotes Bach’s inscription for the canons: quaerendo invenietis “…seek and ye shall find…”. Slowed down by a hundred times, Schwartz lets the motive unfold, gliding all the while, until massive clusters materialize.

Sotelo, Mauricio (*1961)

Red Inner Light Sculpture (2013)
for violin, bailaora (ad lib.), flamenco percussion (ad lib.) and string orchestra | 20′

WP 10.06.2016, Ordway Concert Hall St. Paul / USA, St. Paul Chamber Orchestra, Dir. Tito Muñoz, Patricia Kopatchinskaja, v; Rubén Olmo, flamenco dancer; Agustín Diassera, perc

New in the UE catalogue

Weill, Kurt (1900-1950)

Song-Suite for Violin and Orchestra [EAMC]
for violine and chamber orchestra | 19′
Arranged by Paul Bateman chamber version
2 1 2 1 - 2 2 1 1 - timp, perc, hp, glock, guit, str

WP 21.01.2017, Alex Theatre Glendale / USA, Los Angeles Chamber Orchestra, Dir. Jeffrey Kahane, Daniel Hope, vln

Chamber Orchestra/Ensemble/Chamber Music

Bedford, Luke (*1978)

for string quartet | 15′

WP 08.06.2017, Bridgnorth / Great Britain, Salomon Quartet

New in the UE catalogue

Three Caves (2015)
for trumpet and piano | 10′

WP 22.01.2016, St Anne's College Oxford / Great Britain, Simon Desbruslais, tpt; Clare Hammond; pno

New in the UE catalogue "All three pieces are named after chambers in the Three Counties Cave System. Each one explores a different musical space: I. 'Echo Aven' - Opening with the piano in its lowest register, the trumpet plays echo-like patterns, gradually slowing each time; II. 'Short Long Drop' - The piano is now in its highest register, introducing a faster, falling figure, which is gradually taken up by the trumpet. This builds to the piece's loudest section, which vanishes almost as soon as it has arrived; III. 'Far Waters' - In the longest of the pieces, an extended piano solo covering the whole range of the instrument, leads to the trumpet's entry. At the end, high, dripping chords in the piano combine with the trumpet's long, expressive notes. The trumpet is tuned a quarter-tone lower than the piano. The piece explores the expressive possibilities of the search for consonance, despite the unreachable differences in their tuning." (Luke Bedford)

Unconformities (2015)
for saxophone quartet | 12′

WP 04.08.2015, Kendal Town Hall Kendal / Great Britain, Apollo Saxophone Quartet

Unconformity is a geological term for a discontinuity resulting in the juxtaposition of vastly different ages of rock. In this piece I wanted to achieve a similar effect: musics of seemingly different ages which are smashed together; a volatile structure; not a smooth flow of time, but battered, broken history. I was keen to take advantage of the saxophone's agility and large dynamic range. To some extent, the broken-up structure of the piece grew out of this desire. Two of the saxophones are tuned a quarter-tone down, adding an inbuilt tension into the ensemble. This opens up a wide range of expression; from harsh and angular to calm, strange beauty. (Luke Bedford)

Berg, Alban (1885-1935)

5 Orchester-Lieder (1912)
nach Ansichtskartentexten von Peter Altenberg for soprano / mezzosoprano and 13 players | 10′
Arranged by Eberhard Kloke
1 1 1 1 - 1 1 1 0 - perc, hp, pno, vln, vla, cb

New in the UE catalogue

Bizet, Georges (1838-1875)

Carmen Suite No. 1 (1875)
arrangement by Gábor Kerényi for chamber orchestra | 13′
Arranged by Gábor Kerényi
1 1 2 1 - 2 1 1 0 - timp, perc, hp, str (min. 3 2 2 2 1)

WP 21.05.2017, Musiktheater Linz / Austria, Bruckner Orchester Linz, Dir. Daniel Linton-France

New in the UE catalogue

Carmen Suite No. 2 (1875)
arrangement by Gábor Kerényi for chamber orchestra | 23′
Arranged by Gábor Kerényi
1 1 2 1 - 2 1 1 0 - timp, perc, hp, str (min. 3 2 2 2 1)

Cerha, Friedrich (*1926)

6 Postludien (2014)
for organ | 25′

WP 22.02.2016, Konzerthaus Wien / Austria, Martin Haselböck, Hans Haselböck, org

""The preludes" for organ were completed in 2011, the "Inventions" shortly afterwards in 2012. I pursued the direction of these works, also drawing on my experience gained while recording the pieces with organist Wolfgang Kogert. The "Six Postludes" - the title is a reference to the inner triad of the three organ works - were written in late autumn 2013. Compared with the preludes, they are less playful in a pointed, aphoristic sense and more voluminous - one might say that they are more "earnest", richer in formal concentration. Conceived as a conclusion to my group of works for organ, they have at the same time become a pivotal point for exploring their material in subsequent pieces for other instrumentation. The "Postludes" are dedicated to my friend Hans Haselböck, who has constantly encouraged me to write for organ, on his 85th birthday." (Friedrich Cerha)

Trio (2015-2016)
for clarinet, trombone and violoncello | 20′

New in the UE catalogue

Debussy, Claude (1862-1918)

Golliwogg’s Cake Walk (1906-1908)
for ensemble or chamber orchestra | 3′
Arranged by Paolo Fradiani
1 1 1 0 - 1 0 0 0 - hp (or pno), str

New in the UE catalogue

Prélude à l’après-midi d’un faune (1890-1894)
for ensemble or chamber orchestra | 11′
Arranged by Paolo Fradiani
1 1 1 0 - 1 0 0 0 - hp (or pno), str

New in the UE catalogue

Elgar, Edward (1857-1934)

Enigma Variations (1898/1899)
for ensemble or chamber orchestra | 32′
Arranged by George Morton
1 1 1 1 - 2 1 1 0 - perc, pno, str(min. 1 1 1 1 1, max. 6 5 4 3 2)

New in the UE catalogue

Fauré, Gabriel (1845-1924)

Pavane (1887)
for ensemble or chamber orchestra | 6′
Arranged by Paolo Fradiani
1 1 1 0 - 1 0 0 0 - hp (or pno), str

New in the UE catalogue

Fennessy, David (*1976)

Panopticon (2016)
for string sextet and cimbalom | 20′

WP 08.11.2016, St Andrews in the Square Glasgow / Great Britain, Hebrides Ensemble

New in the UE catalogue

Haas, Georg Friedrich (*1953)

das kleine ICH BIN ICH (2016)
for chamber ensemble and speaker | 40′
1 1 2 1 - 1 1 1 1 - sax(2), perc, hp, acc, vln(3), vla(2), vc(4), cb(2)

WP 21.07.2016, Universität Mozarteum Salzburg / Austria, Klangforum Wien, Dir. Johannes Kalitzke, Sabine Muhar, speaker

Mira Lobe makes no compromises with language to make her easier to understand; “childlike” affectation is foreign to her, and she has no fear of occasionally using words which are likely not part of children’s vocabulary. Nor does my music attempt to be “childlike;” I take young people seriously. I speak my language; I know that these young people are alert enough to understand it. When the little ICH BIN ICH recognises itself an overtone chord sounds in the orchestra for the first time; it remains (shifted in pitch) until the end. (Georg Friedrich Haas)

Mahler, Gustav (1860-1911)

Adagietto aus der 5. Symphonie
for chamber ensemble | 10′
Arranged by Klaus Simon

WP 13.03.2017, Tischlerei Berlin / Germany, Deutsche Oper Berlin

New in the UE catalogue

nach Texten von Friedrich Rückert for lower voice and chamber ensemble | 20′
Arranged by Eberhard Kloke

New in the UE catalogue

for lower voice and chamber ensemble | 22′
Arranged by Eberhard Kloke
1 1 2 1 - 1 1 1 0 - hp, pno, vln, vln, vla, vc, cb

WP 15.02.2017, Jyväskylä City Theatre Jyvaskyla / Finland, Jyvaskyla Sinfonia, Dir. Ville Matvejeff, Tuija Knihtilä, ms

New in the UE catalogue

Monteverdi, Claudio (1567-1643)

Il Combattimento di Tancredi e Clorinda (1624)
for chamber ensemble | 25′
Arranged by Klaus Simon
0 0 0 0 - 0 1 0 0 - perc, hp, acc, vln, vln, vc, cb

Pärt, Arvo (*1935)

Nunc dimittis (2001/2016)
for 9 saxophones | 7′
Arranged by Andreas Van Zoelen

New in the UE catalogue

Ravel, Maurice (1875-1937)

Pavane pour une infante défunte (1910)
for ensemble or chamber orchestra | 7′
Arranged by Paolo Fradiani
1 1 1 0 - 1 0 0 0 - hp (or pno), str

Rihm, Wolfgang (*1952)

Dort wie hier (2015)
Zyklus aus einem Heine-Gedicht for baritone and piano | 18′

WP 20.09.2016, Kölner Philharmonie Köln / Germany, Georg Nigl, bar; Alexander Melnikov, pno

New in the UE catalogue

Staud, Johannes Maria (*1974)

Wheat, not oats, dear. I'm afraid. (2015)
for seven instruments | 11′

WP 10.10.2015, Helmut List-Halle Graz / Austria, Ensemble Recherche

New in the UE catalogue

Tschaikowsky, Peter Iljitsch (1840-1893)

5. Symphonie (1888)
for ensemble or chamber orchestra | 47′
Arranged by George Morton
1 1 1 1 - 2 1 1 0 - timp, str(min. 1 1 1 1 1, max. 6 5 4 3 2)

WP 22.04.2017, Yellow Arch Studios Sheffield / Great Britain, Sheffield Rep Orchestra, Dir. George Morton

Webern, Anton (1883-1945)

2 Lieder (1918/1919)
nach Gedichten von Karl Kraus for voice and ensemble
1 0 2 0 - 1 1 1 0 - perc, hp, vln, vla, vc, cb

New in the UE catalogue

4 Stücke op. 7 (1910)
for violin and ensemble | 5′
Arranged by Richard Dünser
1 1 1 1 - 1 0 0 0 - perc, hp, vln, vln, vla, vc, cb

New in the UE catalogue: "Webern composed the 4 Stücke (Four Pieces) in 1910; he made the definitive revision in 1914. Stylistically, they are aphorisms, extremely dense, concentrated in substance and form; they are only 9, 24, 14 and 15 bars long respectively. In my arrangement, I attempted to bundle this concentrated energy with instrumental colours, to accentuate contrasts and textures and to juxtapose this differentiated sonic world with the solo violin, which reproduces Webern's original text, unchanged in its virtuosity and expressiveness and exploring the greatest variety of violin sounds." (Richard Dünser)

Zemlinsky, Alexander (1871-1942)

Kammerkonzert (1896)
nach dem Trio op. 3 for ensemble | 25′
Arranged by Richard Dünser
1 2 3 1 - 1 0 0 0 - hp, vln, vln, vla, vc(2), cb

WP 06.06.2016, Musikverein, Brahms-Saal Wien / Austria, Ensemble Kontrapunkte, Dir. Peter Keuschnig

Zemlinsky composed his "Trio" Op. 3 for clarinet, cello and piano in 1896 at the tender age of 25. It is an early stroke of genius that already gives a clear indication of Zemlinsky's own voice emerging, even though his debt to Brahms and Mahler is still very much in evidence. In line with Alban Berg's "Chamber Concerto" and as a bridge to this, Richard Dünser has now arranged this "Trio" for 15 solo instruments or small orchestra. The Mahler reference in the slow movement is further emphasised by the use of strings and harp. The world premiere will be held in Vienna's Musikverein in the 2015/16 season.

Vocal and choral works

Finnissy, Michael (*1946)

Tom Fool's Wooing (1975/1978)
for 14 voices | 20′

WP 12.03.2016, Milton Court Concert Hall London / Great Britain, Guildhall New Music Ensemble, Dir. James Weeks

"Tom Fool's Wooing for 14 solo voices was originally intended for the John Alldis Choir; they had already performed one of my earlier works (Cipriano) for 10-voice ensemble. When it was finished, the choir had already disbanded. In 2013, James Weeks informed me that he wanted to perform the work at last. I looked at the score again and decided to thoroughly rework the central folk play which gives the piece its name. The play remarks satirically on courtship and wedding preparations; it is coarse and vulgar. I framed it with amorous verses from Eastern Europe and ancient Greece, together with excerpts from Epithalamion by Edmund Spenser. The main piece forms a stark contrast; two of the singers play drums, the rhythm is homophonic and simple." (Michael Finnissy)

Rihm, Wolfgang (*1952)

Missa brevis (2015)
for choir a cappella | 20′

WP 11.03.2017, Prinzregententheater München / Germany, Dir. Rupert Huber

New in the UE catalogue


Brand, Max (1896-1980)

Maschinist Hopkins (1928)
Oper in 1 Vorspiel und 3 Akten | 135′
Arranged by Werner Steinmetz
2 1 1 1 - 2 1 2 1 - perc(3), pno, alto sax(Eb), str

Fennessy, David (*1976)

Sweat of the Sun (2015/2016)
after ‘Eroberung des Nutzlosen’ by Werner Herzog for 2 actors, ensemble of singers and orchestra | 75′
0 0 1 0 - 0 0 3 0 - perc(2), cel, e.guit, comp perf, str(4 4 3 3 2)

Haas, Georg Friedrich (*1953)

Morgen und Abend (2014/2015)
Oper for soli, choir and orchestra | 90′
3 3 3 3 - 4 2 2 1 - str, timp, perc(2), acc

29.04.2016, Deutsche Oper Berlin Berlin / Germany, Orchester der Deutschen Oper Berlin, Dir. Michael Boder, Johannes, Christoph Pohl; Erna, Helena Rasker; Signe/Hebamme, Sarah Wegener; Peter, Will Hartmann; Olai, Klaus Maria Brandauer

Jon Fosse tells the story of Johannes the fisherman, a simple man in the autumn of his years. He recalls his past life, the two people who meant most to him - his wife and his friend Peter, who have both long since passed away. Johannes' yearning will come to an end on this day. When his daughter comes to check on him the following morning, she finds him dead.

Janácek, Leoš (1854-1928)

The Makropulos Affair (1925)
Opera in 3 acts | 120′ revised edition by Jirí Zahrádka
4 3 4 3 - 4 3 3 1 - 1. Horn in F (Banda interna), 2. Horn in F (Banda interna), 1. Trompete in F (Banda interna), 2. Trompete in F (Banda interna), Pauken (Banda interna), timp, perc(3), hp, cel, str

In the new critical edition of the opera "The Makropulos Case" by Leos Janacek, the performance material has been completely reworked on the basis of all the preserved sources. The revision of the score involved a comparison of the autograph score with three copies that originated during the composer's lifetime. The new critical edition therefore presents the work in a form that corresponds to the greatest possible extent to the ideas of the composer. In addition, the new edition includes valuable notes by the renowned Janacek conductor Sir Charles Mackerras on practical performance. The editor is Jiri Zahradka, the curator of the Janacek Archive at the Moravian State Museum for 20 years and scholarly editor of critical new editions of many other Janacek works, including Sarka, The Excursions of Mr. Broucek, The Cunning Little Vixen, Sinfonietta (in preparation) and chamber music. The new critical edition will be fully available from the 2015/2016 season.

Wagner, Richard (1813-1883)

Das Rheingold
Vorabend des Bühnenfestspiels "Der Ring des Nibelungen" for medium-sized orchestra | 140′
Arranged by Eberhard Kloke
2 2 2 2 - 4 2 4 0 - perc(2), hp, str(12 10 8 6 5)

New in the UE catalogue