New works

Get an overview of our latest publishing activities in the fields of orchestra, opera, vocal and chamber music.

Orchestra

Bartók, Béla – Petite Suite (2016)

| 10’

violin I; violin II; viola; violoncello; double bass

Berg, Alban – Sonata (1908/1909)

for orchestra | 13’

piccolo (+2nd fl); 1st flute; 1st oboe; 2nd oboe; 1st clarinet in Bb; 2nd clarinet in Bb; 1st bassoon; 2nd bassoon; 1st horn in F; 2nd horn in F; 3rd horn in F; 4th horn in F; 1st trumpet in Bb; 2nd trumpet in Bb; 1st trombone; 2nd trombone; bass trombone; tuba; timpani; vibraphone; cymbals, snare drum; harp; violin I; violin II; viola; violoncello; double bass

New in the UE catalogue

Bruch, Max – Romanze (1911)

for viola and string orchestra arranged by Masao Yokoyama for viola and string orchestra | 9’

violin I; violin II; viola; violoncello; double bass

New in the UE catalogue

Cerha, Friedrich – 3 Sätze (2012)

for orchestra | 13’

WP 09.04.2016: Musikverein, Großer Saal, Wien (AT)

1st flute; 2nd flute (+1stpicc); 3rd flute (+2ndpicc); 1st oboe; 2nd oboe (+c.a); 1st clarinet in A; 2nd clarinet in A; 3rd clarinet in A (+cl(Eb); bass cl(Bb)); 1st bassoon; 2nd bassoon; 3rd bassoon; 1st horn in F; 2nd horn in F; 3rd horn in F; 4th horn in F; 1st trumpet in C; 2nd trumpet in C; 3rd trumpet in C; 1st trombone; 2nd trombone; 3rd trombone; bass tuba; timpani; 1st percussion; 2nd percussion; 3rd percussion; 4th percussion; harp; violin I; violin II; viola; violoncello; double bass

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

Cerha, Friedrich – 3 Situationen (2015-2016)

for string orchestra | 15’30”

violin I (1st desk); violin I (2nd desk); violin I (3rd desk); violin I (4th desk); violin I (5th desk); violin I (6th desk); violin I (7th desk); violin II (1st desk); violin II (2nd desk); violin II (3rd desk); violin II (4th desk); violin II (5th desk); violin II (6th desk); viola (1st desk); viola (2nd desk); viola (3rd desk); viola (4th desk); viola (5th desk); violoncello (1st desk); violoncello (2nd desk); violoncello (3rd desk); violoncello (4th desk); double bass (1st desk); double bass (2nd desk); double bass (3rd desk);

New in the UE catalogue

Cerha, Friedrich – Eine blassblaue Vision (2013-2014)

for large orchestra | 20’

WP 11.08.2016: Felsenreitschule, Salzburg (AT)

1st flute; 2nd flute; 3rd flute (+picc); 4th flute (+picc); 1st clarinet in A; 2nd clarinet in A; 3rd clarinet in A; 4th clarinet in A (+bass cl(Bb)); 5th clarinet in A (+bass cl(Bb)); 1st bassoon; 2nd bassoon; contrabassoon; 1st horn in F; 2nd horn in F; 3rd horn in F; 4th horn in F; 5th horn in F; 6th horn in F; 1st trumpet in C; 2nd trumpet in C; 3rd trumpet in C; 1st trombone; 2nd trombone; 3rd trombone; 4th trombone; 5th trombone; 1st percussion; 2nd percussion; 3rd percussion; 4th percussion; harp; Violin I (1st desk); Violin I (2nd desk); Violin I (3rd desk); Violin I (4th desk); Violin I (5th desk); Violin I (6th desk); Violin I (7th desk); Violin II (1st desk); Violin II (2nd desk); Violin II (3rd desk); Violin II (4th desk); Violin II (5th desk); Violin II (6th desk); Viola (1st desk); Viola (2nd desk); Viola (3rd desk); Viola (4th desk); Viola (5th desk); Violoncello (1st desk); Violoncello (2nd desk); Violoncello (3rd desk); Violoncello (4th desk); contrabass (1st desk); contrabass (2nd desk); contrabass (3rd desk)

New in the UE catalogue

Halffter, Cristóbal – Concerto (2014)

for viola and orchestra | 25’

WP 07.02.2016: Kieler Schloss, Kiel (DE)

1st flute; 2nd flute; 3rd flute; 1st oboe; 2nd oboe; 3rd oboe (+c.a); 1st clarinet in Bb; 2nd clarinet in Bb; 3rd clarinet in Bb; 4th clarinet in Bb (+bass cl(Bb)); 1st bassoon; 2nd bassoon; 3rd bassoon (+cbsn); 1st horn in F; 2nd horn in F; 3rd horn in F; 4th horn in F; 1st trumpet in C; 2nd trumpet in C; 3rd trumpet in C; 1st trombone; 2nd trombone; 3rd trombone; bass tuba; 1st percussion; 2nd percussion; 3rd percussion; 4th percussion; harp; violin I(14); violin II(12); viola(10); violoncello(8); double bass(6)

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.

Janáček, Leoš – Sinfonietta (1926)

for orchestra | 25’

WP 22.02.2017: Rudolfinum, Prag (CZ)

1st flute; 2nd flute; 3rd flute; 4th flute (+picc); 1st oboe; 2nd oboe (+c.a); clarinet in Eb; 1st clarinet in Bb; 2nd clarinet in Bb; bass clarinet in Bb; 1st bassoon; 2nd bassoon; 1st horn in F; 2nd horn in F; 3rd horn in F; 4th horn in F; 1st trumpet in F (+tpt(C)); 2nd trumpet in F (+tpt(C)); 3rd trumpet in F (+tpt(C)); 1st trombone; 2nd trombone; 3rd trombone; 4th trombone; tuba; 1st trumpet in C in (Banda); 2nd trumpet in C in (Banda); 3rd trumpet in C in (Banda); 4th trumpet in C in (Banda); 5th trumpet in C in (Banda); 6th trumpet in C in (Banda); 7th trumpet in C in (Banda); 8th trumpet in C in (Banda); 9th trumpet in C in (Banda); 1st tenor tuba in Bb in (Banda); 2nd tenor tuba in Bb in (Banda); 1st bass trumpet in (Banda); 2nd bass trumpet in (Banda); timpani; percussion; harp; violin I; violin II; viola; violoncello; double bass

Pärt, Arvo – Greater Antiphons (1988/2015)

for string orchestra | 15’

WP 28.05.2016: Disney Hall, Los Angeles (US)

violin I; violin II; viola; violoncello; double bass

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 – De profundis (2015)

for choir and orchestra | 15’

WP 25.04.2016: Sala Sinfónica, Madrid (ES)

1st flute; 2nd flute (+alto fl); 1st oboe; 2nd oboe (+c.a); 1st clarinet in A; 2nd clarinet in A (+bass cl); 1st bassoon; 2nd bassoon (+cbsn); 1st horn in F; 2nd horn in F; 1st trumpet in C; 2nd trumpet in C; 1st trombone; 2nd trombone; bass tuba; 1st percussion; 2nd percussion; violin I(12); violin II(10); viola(8); violoncello(6); double bass(4)

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.

Rihm, Wolfgang – Reminiszenz (2016)

for tenor and large orchestra | 15’

WP 11.01.2017: Elbphilharmonie, Hamburg (DE)

1st flute; 2nd flute; 3rd flute (+picc); 1st oboe; 2nd oboe; cor anglais; 1st clarinet in A; 2nd clarinet in A; bass clarinet in Bb; 1st bassoon; 2nd bassoon; contrabassoon; 1st horn in F; 2nd horn in F; 3rd horn in F; 4th horn in F; 1st trumpet in C; 2nd trumpet in C; 3rd trumpet in C; 1st trombone; 2nd trombone; 3rd trombone; bass tuba; timpani; 1st percussion; 2nd percussion; 3rd percussion; 4th percussion; harp; organ; violin I; violin II; viola; violoncello; double bass

New in the UE catalogue

Rihm, Wolfgang – Requiem-Strophen (2015-2016)

for soli, mixed choir and orchestra | 80’

WP 30.03.2017: Herkulessaal, München (DE)

1st flute (+alto fl); 2nd flute (+alto fl; picc); 1st oboe; 2nd oboe (+c.a); 1st clarinet in A; 2nd clarinet in A (+bass cl(Bb)); 1st bassoon; 2nd bassoon (+cbsn); 1st horn in F; 2nd horn in F; 1st trumpet in C; 2nd trumpet in C; 1st trombone; 2nd trombone; bass tuba; timpani; 1st percussion; 2nd percussion; piano (+org); harp; violin I; violin II; viola; violoncello; double bass

Schwartz, Jay – Quaerendo invenietis – Music for Orchestra V (2016)

for string orchestra | 16’

WP 07.05.2016: Philharmonie, Köln (DE)

violin I(14); violin II(12); viola(12); violoncello(10); double bass(8)

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.

Quaerendo invenietis – Music for Orchestra V
00:00

Sotelo, Mauricio – 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 (US)

1st violin I; 2nd, 3th violin I(2); 4th, 5th violin I(2); 1st, 2nd violin II(2); 3rd, 4th violin II(2); 1st, 2nd, 3rd viola(3); 1st, 2nd violoncello(2); double bass

New in the UE catalogue

Weill, Kurt – Song-Suite for Violin and Orchestra [EAMC]

for violine and chamber orchestra | 19’

WP 21.01.2017: Alex Theatre, Glendale (US)

1st flute; 2nd flute; oboe; 1st clarinet in A and B; 2nd clarinet in A and B; bassoon; 1st horn in F; 2nd horn in F; 1st trumpet in Bb; 2nd trumpet in Bb; trombone; tuba; timpani; percussion; glockenspiel; guitar; harp; violin I; violin II; viola; violoncello; double bass

Chamber orchestra / ensemble / chambermusic

Bedford, Luke – Orbita

for string quartet | 15’

WP 08.06.2017: Bridgnorth (GB)

1st violin; 2nd violin; viola; violoncello

New in the UE catalogue

Bedford, Luke – Three Caves (2015)

for trumpet and piano | 10’

WP 22.01.2016: St Anne's College, Oxford (GB)

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)

Bedford, Luke – Unconformities (2015)

for saxophone quartet | 12’

WP 04.08.2015: Kendal Town Hall, Kendal (GB)

soprano saxophone in Bb; alto saxophone in Eb; tenor saxophone in Bb; baritone saxophone in Eb

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 – 5 Orchester-Lieder (1912)

nach Ansichtskartentexten von Peter Altenberg for soprano / mezzosoprano and 13 players | 10’

flute (+picc; alto fl); oboe (+c.a); clarinet in Bb (+bass cl(Bb)); bassoon (+cbsn); horn in F; trumpet in F; trombone; percussion; harp; piano (+cel; harm); violin; viola; double bass

New in the UE catalogue

Bizet, Georges – Carmen Suite No. 1 (1875)

arrangement by Gábor Kerényi for chamber orchestra | 13’

WP 21.05.2017: Musiktheater, Linz (AT)

flute (+picc ad lib.); oboe; 1st clarinet in Bb; 2nd clarinet in Bb; bassoon; 1st horn in F; 2nd horn in F; cornet (or trumpet) in Bb; trombone; timpani (ad lib.); percussion (ad lib.); harp (ad lib.); violin I; violin II; viola; violoncello; double bass (strings: min. 3 2 2 2 1)

New in the UE catalogue

Bizet, Georges – Carmen Suite No. 2 (1875)

arrangement by Gábor Kerényi for chamber orchestra | 23’

flute (+picc ad lib.); oboe; 1st clarinet in Bb; 2nd clarinet in Bb; bassoon; 1st horn in F; 2nd horn in F; cornet (or trumpet) in Bb; trombone; timpani (ad lib.); percussion (ad lib.); harp (ad lib.); violin I; violin II; viola; violoncello; double bass (strings: min. 3 2 2 2 1)

Cardini, Simone – Threshold (2015)

for ensemble | 10’

flute; cor anglais; harp; guitar; viola; violoncello

Cerha, Friedrich – 6 Postludien (2014)

for organ | 25’

WP 22.02.2016: Konzerthaus, Wien (AT)

""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)

Cerha, Friedrich – Trio (2015-2016)

for clarinet, trombone and violoncello | 20’

clarinet in A; trombone; violoncello

New in the UE catalogue

Debussy, Claude – Golliwogg’s Cake Walk (1906-1908)

for ensemble or chamber orchestra | 3’

flute; oboe; clarinet in Bb; horn in F; harp (or piano); violin I; violin II; viola; violoncello; double bass (strings: single or multiple players)

New in the UE catalogue

Debussy, Claude – Prélude à l’après-midi d’un faune (1890-1894)

for ensemble or chamber orchestra | 11’

flute; oboe; clarinet in A; horn in F; harp (or piano); violin I; violin II; viola; violoncello; double bass (strings: single or multiple players)

New in the UE catalogue

Elgar, Edward – Enigma Variations (1898/1899)

for ensemble or chamber orchestra | 32’

WP 22.06.2016: The Church of St. Stephen, Exeter (GB)

flute; oboe; clarinet in Bb; bassoon; 1st horn in F; 2nd horn in F; trumpet; trombone; percussion; piano; violin I; violin II; viola; violoncello; double bass

New in the UE catalogue

Fauré, Gabriel – Pavane (1887)

for ensemble or chamber orchestra | 6’

flute; oboe; clarinet in A; horn in F; harp (or piano; ad lib.); violin I; violin II; viola; violoncello; double bass (strings: single or multiple players)

New in the UE catalogue

Haas, Georg Friedrich – das kleine ICH BIN ICH (2016)

for chamber ensemble and speaker | 40’

WP 21.07.2016: Universität Mozarteum, Salzburg (AT)

flute (+picc); oboe (+c.a); 1st clarinet in Bb; 2nd clarinet in Bb (+bass cl); 1st soprano saxophone in Bb (+bar.sax(Eb)); 2nd soprano saxophone in Bb (+t.sax(Bb)); bassoon (+cbsn); horn in F; trumpet in C; trombone; tuba; percussion; harp; accordion; 1st violin; 2nd violin; 3rd violin; 1st viola; 2nd viola; 1st violoncello; 2nd violoncello; 3rd violoncello; 4th violoncello; 1st double bass; 2nd double bass

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 – Adagietto aus der 5. Symphonie

for chamber ensemble | 10’

WP 13.03.2017: Tischlerei, Berlin (DE)

clarinet in A; bass clarinet in Bb; harp; 1st violin; 2nd violin; viola; violoncello; double bass

New in the UE catalogue

Mahler, Gustav – Kindertotenlieder

for lower voice and chamber ensemble | 20’

flute (+picc; alto fl); oboe (+c.a); clarinet in Bb (+cl(A)); bass clarinet in Bb (+cl(Bb); cl(A)); bassoon (+cbsn); horn in F; harp; violin; viola; double bass

New in the UE catalogue

Mahler, Gustav – Rückert-Lieder

for lower voice and chamber ensemble | 22’

WP 15.02.2017: Jyväskylä City Theatre, Jyvaskyla (FI)

flute (+alto fl); oboe (+c.a; ob.d'a); 1st clarinet in Bb (+cl(A)); bass clarinet in Bb (+cl(A); cl(Bb)); bassoon (+cbsn); horn in F (+hn in Es); trumpet in C (+tpt in Es); tenor-bass trombone; harp; piano (+cel); 1st violin; 2nd violin; viola; violoncello; double bass

New in the UE catalogue

Monteverdi, Claudio – Il Combattimento di Tancredi e Clorinda (1624)

for chamber ensemble | 25’

trumpet; percussion; harp; accordion; 1st violin; 2nd violin; violoncello; double bass

Pärt, Arvo – Nunc dimittis (2001/2016)

for 9 saxophones | 7’

soprano saxophone in Bb; 1st alto saxophone in Eb; 2nd alto saxophone in Eb; 3rd alto saxophone in Eb; 4th alto saxophone in Eb; 1st tenor saxophone in Bb; 2nd tenor saxophone in Bb; 1st baritone saxophone in Eb; 2nd baritone saxophone in Eb

New in the UE catalogue

Ravel, Maurice – Pavane pour une infante défunte (1910)

for ensemble or chamber orchestra | 7’

flute; oboe; clarinet in Bb; horn in F; harp (or piano); violin I; violin II; viola; violoncello; double bass (strings: single or multiple players)

Rihm, Wolfgang – Dort wie hier (2015)

for baritone and piano | 18’

WP 20.09.2016: Kölner Philharmonie, Köln (DE)

New in the UE catalogue

Staud, Johannes Maria – Wheat, not oats, dear. I'm afraid. (2015)

for seven instruments | 11’

WP 10.10.2015: Helmut List-Halle, Graz (AT)

bass flute; oboe (+c.a); bass clarinet in Bb; percussion; violin; viola; violoncello

New in the UE catalogue

Wheat, not oats, dear. I'm afraid.
00:00

Tschaikowsky, Peter Iljitsch – 5. Symphonie (1888)

for ensemble or chamber orchestra | 47’

WP 22.04.2017: Yellow Arch Studios, Sheffield (GB)

flute (+picc); oboe; clarinet in A; bassoon; 1st horn; 2nd horn; trumpet in Bb; trombone; timpani; violin I; violin II; viola; violoncello; double bass

Webern, Anton – 2 Lieder (1918/1919)

for voice and ensemble

flute (in "Vision des Erblindeten" only); clarinet in Bb; bass clarinet in Bb; horn in F; trumpet in Bb; trombone; percussion; harp; violin; viola; violoncello; double bass

New in the UE catalogue

Webern, Anton – 4 Stücke op. 7 (1910)

for violin and ensemble | 5’

WP 17.04.2016: Montreal (CA)

flute; oboe; clarinet in Bb; bassoon; horn in F; percussion; harp; 1st violin; 2nd violin; viola; violoncello; double bass

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)

Webern, Anton – 6 Stücke op. 6 (1909)

for chamber orchestra | 12’

WP 25.01.2018: Stadthaus, Winterthur (CH)

flute (+picc; alto fl); oboe (+c.a); 1st clarinet in Bb; 2nd clarinet in Bb (+bass cl(Bb)); 1st horn in F; 2nd horn in F; 3rd horn in F; trumpet in C; trombone; bass trombone; 1st percussion; 2nd percussion; 3rd percussion; harp; celesta; violin I; violin II; viola; violoncello; double bass

Zemlinsky, Alexander – Kammerkonzert (1896)

for ensemble | 25’

WP 06.06.2016: Musikverein, Brahms-Saal, Wien (AT)

flute; oboe; cor anglais; 1st clarinet in Bb (+cl(A)); 2nd clarinet in Bb (+cl(A)); bass clarinet in Bb; bassoon; horn in F; harp; 1st violin; 2nd violin; viola; 1st violoncello; 2nd violoncello; double bass

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 choir

Finnissy, Michael – Tom Fool's Wooing (1975/1978)

for 14 voices | 20’

WP 12.03.2016: Milton Court Concert Hall, London (GB)

"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 – Missa brevis (2015)

for choir a cappella | 20’

WP 11.03.2017: Prinzregententheater, München (DE)

New in the UE catalogue

Opera / ballet

Brand, Max – Maschinist Hopkins (1928)

| 135’

WP 30.11.2020: Wien (AT)

1st flute (+picc); 2nd flute (+2ndpicc; alto fl); oboe (+c.a); clarinet in Bb; alto saxophone in Eb; th bassoon; 1st horn in F; 2nd horn in F; th trumpet in Bb; 1st trombone; 2nd trombone; th tuba (+timp); 1st percussion; 2nd percussion; 3rd percussion; piano (+cel); violin I; violin II; viola; violoncello; double bass

Fennessy, David – Sweat of the Sun (2015/2016)

after ‘Eroberung des Nutzlosen’ by Werner Herzog for 2 actors, ensemble of singers and orchestra | 75’

WP 28.05.2016: Muffathalle, München (DE)

clarinet in Bb (+cb.cl(Bb)); 1st trombone; 2nd trombone; 3rd trombone; 1st percussion (+table guitar); 2nd percussion (+table guitar); celesta (+table guitar); electric guitar (+table guitar); computer performer; violin I(4); violin II(4); viola(3); violoncello(3); contrabass(2) (+‘large stringed instrument’)

Haas, Georg Friedrich – Morgen und Abend (2014/2015)

for soli, choir and orchestra | 90’

WP 13.11.2015: Royal Opera House, London (GB)

1st flute (+1stpicc); 2nd flute (+2ndpicc); 3rd flute (+3rdpicc); 1st oboe; 2nd oboe; cor anglais (+3rdob); 1st clarinet in Bb; 2nd clarinet in Bb; bass clarinet in Bb (+cl(Eb)); 1st bassoon; 2nd bassoon; contrabassoon; 1st horn in F; 2nd horn in F; 3rd horn in F; 4th horn in F; 1st trumpet in C; 2nd trumpet in C; 1st trombone; 2nd trombone; tuba; timpani; 1st percussion; 2nd percussion; accordion; violin I (12 players); violin II (10 players); viola (8 players); violoncello (8 players); contrabass (6 players)

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.

Janáček, Leoš – Aus einem Totenhaus (1927-1928)

WP 08.10.2017: Wales Millennium Centre, Cardiff (GB)

1st flute; 2nd flute; 3rd flute; 4th flute; 1st oboe; 2nd oboe; 3rd oboe; 1st clarinet in Bb; 2nd clarinet in Bb; 3rd clarinet in Bb; 1st bassoon; 2nd bassoon; 3rd bassoon; 1st horn in F; 2nd horn in F; 3rd horn in F; 4th horn in F; 1st trumpet in F; 2nd trumpet in F; 3rd trumpet in F; tenor tuba in Bb; 1st trombone; 2nd trombone; 3rd trombone; tuba; timpani; percussion(4): xylophone, glockenspiel, bells in the distance, bells in the fortress, triangle, tam-tam, snare drum, military drum, bass drum, rattle, metallic ring of tools: blows with an axe, jangling of chains, blows on an anvil, sawing etc.; celesta; harp; violin I; violin II; viola; violoncello; double bass

Janáček, Leoš – The Makropulos Affair (1925)

Opera in 3 acts | 120’

WP 21.11.2014: Janácek-Theater, Brno (CZ)

1st flute; 2nd flute; 3rd flute (+picc); 4th flute (+picc); 1st oboe; 2nd oboe; cor anglais; 1st clarinet in Bb; 2nd clarinet in Bb (+cl(Eb)); 3rd clarinet in Bb (+bass cl(Bb)); 4th clarinet in Bb; 1st bassoon; 2nd bassoon; 3rd bassoon (+cbsn); 1st horn in F; 2nd horn in F; 3rd horn in F; 4th horn in F; 1st trumpet in F; 2nd trumpet in F; 3rd trumpet in F; 1st trombone; 2nd trombone; 3rd trombone; tuba; timpani; percussion(3); celesta; harp; violin I; violin II; viola; violoncello; double bass; 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)

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 – Das Rheingold

for medium-sized orchestra | 140’

1st flute (+picc); 2nd flute (+picc; alto fl in G); 1st oboe (+c.a); 2nd oboe (+c.a; hph); 1st clarinet in Bb, A, C (+bass cl in Bb); 2nd clarinet in Bb, A (+bass cl in Bb, A; cb.cl in Bb); 1st bassoon; 2nd bassoon (+cbsn); 1st horn in F, Eb (+wagner tuba in Bb); 2nd horn in F, Eb (+wagner tuba in Bb); 3rd horn in F, Eb (+wagner tuba in F); 4th horn in F, Eb (+wagner tuba in F); 1st trumpet in F, Eb; 2nd trumpet in F, Eb; 1st tenor-bass trombone (+bass tpt in Eb, C); 2nd tenor-bass trombone; 3rd tenor-bass trombone (+cb.tuba); contrabass trombone (+cimbasso); 1st percussion (+timp); 2nd percussion (+timp); harp; violin I; violin II; viola; violoncello; contrabass

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