String Orchestra Catalogue

Universal Edition
Works for
String Orchestra
and String Ensemble
An annotated catalogue

2

This catalogue contains all works for string orchestra published by
Universal Edition grouped by duration and sorted alphabetically
in the hope that this will be an aid to concert programming!
We"ve marked additional instruments bold e!g! soloists etc! The
second section contains works for string ensemble the third
section arrangements for string orchestra of e#isting works!

Works for String Orchestra and String Ensemble$ An annotated catalogue! %
rd
edition
Editors& '(lint Andr(s )arga Eva *aria 'arwart +onathan ,rons Eric *arinitsch
- 2./2 Universal Edition '0sendorferstra1e /2 /./. )ienna Austria
www!universaledition!com
%
Works for
String Orchestra
and String Ensemble

Work inde# by duration

2/"34." !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! page 5
%/"32." !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! page 53/.
2/"3%." !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! page /.3/6
//"32." !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! page /4325
/"3/." !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! page 253%7

Works for String Ensemble !!!! page %532.
Arrangements for String Orchestra!! !!!!!!!!!!!
page 2.32%

Work inde# A38

A
Johann Georg Albrechtsberger
Scher9ando :Arrangements;

William Albright
<othic Suite ://"32.";

Hans Erich Apostel
Epitaph ://"32.";

B
Johann Christoph Friedrich Bach
=es amours de Silvandre :Arrangements;

Johann Sebastian Bach
>ugue in A minor :Arrangements;
)iolin Sonata in E minor :Arrangements;
Suite in ' minor :Arrangements;

Henk Badings
=argo und Allegro ://"32.";

Bla Bartk
*usic for String ,nstruments ?ercussion and
@elesta :2/"3%.";
Suite paysanne hongroise :Arrangements;
Three rondos on >olk *elodies :Arrangements;
Aomanian >olk Bances :Arrangements;

Ld!ig "an Beetho"en
Ber Cuss :The Ciss; :Arrangements;
Sir #ichard #odne$ Bennett
@oncerto ://"32.";

Alban Berg
=yric Suite :Arrangements;
Three ?ieces from the =yric Suite ://"32.";
An =eukon :Arrangements;

%heodor Berger
*alinconia ://"32.";
*alinconia ,, ://"32.";
Aondino <iocoso :/"3/.";

Lciano Berio
Dotturno :2/"3%.";
@oncertino ://"32.";
@orale ://"32.";
@hemins ,) :/"3/.";
)aria9ione sull"aria di ?apageno :/"3/.";

Carl Biber
Sonata Sancti +oannis Depomuceni :page /.;

Sir Harrison Birt!istle
Endless ?arade ://"32.";
*elencolia , ://"32.";

Brno B&elinski
@oncerto ://"32.";
*usica tonalis ://"32.";
Serenade ://"32.";

Boris Blacher
Bialog ://"32.";

Ligi Boccherini
8wei *enuette :/"3/.";

'ictoria Boriso"a()llas
@olours of Autumn ://"32.";

Sergei Bortkie!ic*
Esterreichische Suite ://"32.";

Will$ Brkhard

C
Al+redo Casella
@oncerto op! 45 ://"32.";
@oncerto op! 2. :Arrangements;

,arc(Antoine Charpentier
Ouverture pour le Sacre d"un FvGHue :/"3/.";
2
Friedrich Cerha
Spiegel ,, ://"32.";

Gino Contilli
Suite :2/"3%.";

Barr$ Con$ngham
@oncerto :2/"3%.";
,ce @arving ://"32.";
Sky ://"32.";
@risis& Thoughts in a @ity :/"3/.";

Arcangelo Corelli
@oncerto :Arrangements;

Carl C*ern$
Toccata :Arrangements;

-
.arl Heinrich -a"id
?artita ://"32.";

Edison Wassil&e!itsch -eniso!
@rescendo e diminuendo :/"3/.";

Anne -dle$
<oldiepegs and the three cellos :page /5;
=ittle Aed )iolin ://"32.";

E
Sophie Carmen EckhardtIGramatt
Triple @oncerto

#oss Ed!ards
Aria and Transcendental Bance ://"32.";

Gott+ried "on Einem
Serenade ://"32.";

Willi Eisenmann
Bie Stadt 3 =a )ille 3 =a @ittJ ://"32.";
Sieben <esKnge aus L<itanMaliN ://"32.";
@oncerto da camera ://"32.";

F
Ferenc Farkas

Jer*$ Fitelberg
@oncerto ://"32.";
Sil"ia Fmina
,m Oalbdunkel ://"32.";
Wol+gang Fraenkel
The 72
nd
Sura of the Coran ://"32.";

Girolamo Frescobaldi
Toccata :Arrangements;

Beat Frrer
Time Out / :String Ensemble;
Time Out 2 :String Ensemble;

.arl Hein* F/ssl
@antiunculae amoris ://"32.";
'ilder der +ahres9eit ://"32.";

G
Florian Gassmann
Symphony in ' minor :Arrangements;

Harald Gen*mer
*usic for string orchestra ://"32.";

,ichael Gielen
*usica :2/"3%.";

Christoph Willibald Glck
Symphony :Arrangements;

0al Graener
Sinfonietta :2/"3%.";
Spinn Spinn :2/"3%.";

Lois Grenberg
Symphony Do/ :page 2.;

H
Georg Friedrich Haas
>remde Welten :2/"3%.";
LP soda1 ich"s hernach mit einem 'lick
gleichsam wie ein sch0nes 'ild P im <eist
QberseheN ://"32.";
Open Spaces , ://"32.";
Open Spaces ,, ://"32.";
Unheimat :String Ensemble;

Cristbal Hal++ter
@oncierto Do 2 :%/"32.";
>antasia sobra una sonoridad de <!>! OKndel
://"32.";
*i9ar ://"32.";
Tiempon para espacios ://"32.";
?asacalle escurialense ://"32.";
?ourHuoi ://"32.";
6
,artin Haselb1ck
Lwill nicht mehr weidenN AeHuiem fQr Ernst
+andl :String Ensemble;

Jose+ ,atthias Haer
Cammermusik :2/"3%.";

Joseph Ha$dn
Echo :Arrangements;
=ibera ://"32.";
*issa brevis alla cappella LAorate coeli desuperN
://"32.";

Johann Wilhelm Hertel
@oncerto ://"32.";

'ic Ho$land
Of >antasy of Breams and @eremonies ://"32.";

J
,arice Jarre
@oncertino :/"3/.";

Hanns Jelinek
Suite ://"32.";

Wilhelm Jerger
@oncerto grosso ://"32.";

.
Heinrich .aminski
Werk :Arrangements;
>uge :Arrangements;

,ilko .elemen
Con9ertante ,mprovistationen ://"32.";
@oncerto ://"32.";
Adagio and Allegro :/"3/.";
Trois Banses :/"3/.";
Spiele :/"3/.";

0eter .olman
*usic for /2 String ,nstruments ://"32.";

Egon .ornath
*usik :2/"3%.";

Ernst .renek
Adagio and >ugue ://"32.";
Bie Dachtigall ://"32.";
@oncerto ://"32.";
Symphonisches StQck ://"32.";
Sinfonietta L=a 'rasileiraN ://"32.";
,ch singe wieder wenn es tagt :/"3/.";

#a+ael .belik
Ruattro forme per archi :2/"3%.";

Ladisla" .pko"ic
Bas <ebet :The ?rayer; ://"32.";
Schwet9inger Bivertimento :2/"3%.";
Eine Serenade mit dem 'eckenschlag :/"3/.";
*onolith :/"3/.";
*orceau de genre ://"32.";
Serandalusia :/"3/.";
Souvenir :/"3/.";

L
L2s*l La&tha
Symphonie N=es SoliL :2/"3%.";

Walter Lang
Bivertimento ://"32.";

Jean Langlais
@oncerto Do 2 ://"32.";
@oncerto Do % :ASaction; ://"32.";

Lars(Erik Larsson
Sinfonietta ://"32.";
Cleine Serenade :/"3/.";

Georges Lent*
L@aeli enarrantPL % ://"32.";
'irrung :/"3/.";

#ol+ Liebermann
@hinese =oveISongs :/"3/.";

Anestis Logothetis
Agglomeration ://"32.";

,
Gsta" ,ahler
?iano Ruartet :Arrangements;

Fran* Anton ,aichelbeck
Sonata a Ruattro :Arrangements;

Joan ,ann
@oncerto da camera Dr!2 :%/"32.";
@hanson et Ftude :/"3/.";

Frank ,artin
4
'allade ://"32.";
'allade :/"3/.";
2
me
'allade ://"32.";
@antate pour le temps de DoTl :2/"34.";
@oncerto :2/"3%.";
% Banses ://"32.";
Etudes ://"32.";
?assacaille ://"32.";
?etite Symphonie @oncertante :2/"3%.";
?olyptyHue :2/"3%.";
Ahapsodie ://"32.";
Sonata da chiesa ://"32.";

Gio"anni Battista ,artini
?reludio e Allegro :Arrangements;

Bohsla" ,artin3
@oncerto da camera :2/"%.";

Joseph ,ar4
Am 'runnen :/"3/.";
'egegnung :/"3/.";
Ber bescheidene SchKfer :/"3/.";
Bie =iebste spricht :Arrangements;
?iemontesisches )olkslied :/"3/.";
Sendung :/"3/.";
StKndchen :/"3/.";
)enetianisches Wiegenlied :/"3/.";
Waldseligkeit :/"3/.";
WofQr :/"3/.";

Joseph ,essner
Bas =eben :%/"32.";

-aris ,ilhad
Bi#tour J cordes :String Ensemble;

Anthon$ ,ilner
Bivertimento ://"32.";
Sinfonia ?asHuale :Arrangements;

Georg ,atthias ,onn
@oncerto in < *inor :Arrangements;

Wol+gang Amades ,o*art
Serenade! Eine kleine Dachtmusik ://"32.";
Ave verum corpus 3 motet :/"3/.";
<raduale ad festum NSancta
*ariaL:Arrangements;

Gottlieb ,++at
Arioso :Arrangements;

5
-aniel 5a*areth
*oksha :2/"3%.";
)tmar 5ssio
)ariations on an Arietta by ?ergolesi ://"32.";

)
5igel )sborne
EsHuisse / :Arrangements;
EsHuisse 2 :Arrangements;
Oommage J ?anufnik :Arrangements;

0
Ar"o 06rt
Symphony Do 2 L=os AngelesN :%/"32.";
Adam"s =ament :2/"3%.";
'erliner *esse :2/"3%.";
Stabat *ater :2/"3%.";
Tabula Aasa :2/"3%.";
Te Beum :2/"3%.";
="AbbS Agathon ://"32.";
="AbbS Agathon :String Ensemble;
Salve Aegina ://"32.";
LThese Words PN ://"32.";
Trisagion ://"32.";
>ratres ://"32.";
>ratres :Arrangements;
AlleluiaITropus :/"3/.";
@antus in *emory of 'enMamin 'ritten :/"3/.";
@redo from the L'erliner *esseN :/"3/.";
Ba pacem Bomine :/"3/.";
Barf ich P :*ay , P; :/"3/.";
Estnisches Wiegenlied :/"3/.";
>estina lente :/"3/.";
>or =ennart in memoriam :/"3/.";
>ratres :/"3/.";
*ein Weg :/"3/.";
Orient U Occident :/"3/.";
?ari intervallo :/"3/.";
?assacaglia :/"3/.";
?salom :/"3/.";
Silhouette :/"3/.";
Silouans Song :/"3/.";
Statuit ei Bominus :/"3/.";
Summa :/"3/.";
)eni creator :/"3/.";
Wallfahrtslied :/"3/.";
@hristmas =ullaby :/"3/.";
Wenn 'ach 'ienen ge9Qchtet hKtte :/"3/.";
,n spe :/"3/.";

0al 0atterson
?ropositions ://"32.";
V
Sinfonia ://"32.";

,ario 0eragallo
*usica for 2 Huartets :String Ensemble;

#iccardo 0ickI,angiagalli
Trois miniatures :/"3/.";

Edard 0oldini
*otifs des @arpathes ://"32.";

Henri 0osser
Trait :/"3/.";

Henr$ 0rcell
>antasias for string orchestra :2/"34.";

#
Helmt #iethm/ller
Aoman9e :/"3/.";

Wol+gang #ihm
Dachtordnung ://"32.";
>antasia :/"3/.";
<ebild :/"3/.";
=Kndler :/"3/.";
Dature *orte 3 Still Alive :/"3/.";
Erscheinung 3 Ski99e Qber Schubert :String
Ensemble;
Stilles StQck :String Ensemble;
Stilles StQck 2 :String Ensemble;

5ikola& Andre&e!itsch #imskiI.orsako!
)ariations on a Theme by <linka :Arrangements;

S
-a"id Sa!er
The *emory of Water )ersion / ://"32.";
The *emory of Water )ersion 2 ://"32.";

-omenico Scarlatti
@oncerto :Arrangements;

Johannes Schenk
<igue :Arrangements;

.arl Schiske
@oncerto Do 2 :2/"3%.";

Al+red Schnittke
@oncerto grosso :2/"3%.";
@oncerto ://"32.";
TrioISonata :Arrangements;
String Ruartet Do % :Arrangements;

-aniel Schn$der
?iano @oncerto L?arallel TimesN :2/"3%.";

)thmar Schoeck
Dotturno op! 2V :2/"34.";
Suite :2/"3%.";

Arnold Sch1nberg
)erklKrte Dacht :2/"3%.";
String Ruartet Do 2 :2/"3%.";
/. Early Walt9es ://"32.";
Dotturno :/"3/.";

-mitri Shostako"ich
@oncerto :2/"3%.";

Fran* Schreker
,nterme99o :/"3/.";
Scher9o :/"3/.";

Fran* Schbert
String Ruintet :Arrangements;
Allegretto gra9ioso :Arrangements;

Ja$ Sch!art*
*usic for Orchestra ://"32.";
*usic for Orchestra ,,, ://"32.";

5ikos Skalkottas
Ten Sketches for Strings ://"32.";
>Qnf griechische TKn9e :>ive <reek Bances; :/"3
/.";
Cleine Suite :/"3/.";

Lci&an ,ari&an Sker&anc
?rKludium :/"3/.";

,aricio Sotelo
=ecturas del libro de +ob ://"32.";

,atthias Spahlinger
und als wir ://"32.";

Johannes ,aria Stad
,ncipit ,,, :EsHuisse retouchSe ,,; ://"32.";

#ichard Strass
Serenade :Arrangements;
Serenade :Arrangements;

.arol S*$mano!ski
String Ruartet Do 2 :Arrangements;

7

%
Hein* %iessen
*usik :2/"3%.";

7
Al+red 7hl
|n|roduc||on and var|a||ons on a |e|ody |rom
|he 16
|h
Cen|ury ://"32.";

'
Gilbert 'inter
Butch @arillon :/"3/.";
=ittle ,sland Ahapsody :/"3/.";
Wal9er Ouverture :/"3/.";

Antonio 'i"aldi
@oncerto in @ minor :/"3/.";

W
Anton Webern
6 SKt9e ://"32.";

.arl Weigl
Ahapsodie :2/"3%.";

Egon Welles*
Sonette der Elisabeth 'arrettI'rowning :2/"3%.";

Arthr Willner
@oncerto :/"3/.";

8an Wilson
,n fretta in vento ://"32.";
=imena ://"32.";
The @apsi9ing *an and Other Stories :2/"3%.";

9
Eric 9eisl
Scher9o and >ugue :/"3/.";

Ale4ander 9emlinsk$
String Ruartet Do 2 :Arrangements;

-omenico 9ipoli
/2W @an9one dall"Organo :page %7;

5
Works for String Orchestra

:;<=>?<

Frank ,artin :/75.3/5V2;
Can|a|e pour |e |emps de Noe|
for soli :boy"s voice 2 sopranos 2 altos tenor
baritone bass; mi4ed choir @and small +emale
choirAB bo$<s choir string orchestra @!ith
"iolas da gambaAB harpsichord and organ
:/5253/5%.;
=anguage& >rench$ Te#t Source& The 'ible
World premiXre& =ucerne /552! Alois Coch
Orchester des @ollegium *usicum =u9ern
Akademiechor =ucerne!
62"

Henr$ 0rcell :/4653/456;
|an|as|as for string orchestra
edited by Walter <oehr
4."

|an|as|as consists of fifteen pieces which can be
played individually in three groups of five pieces
each or in other arrangements!

)thmar Schoeck :/7743/56V;
No||urno op! 2V :/5%/Y/5%%;
for lo! "oice and string orchestra or string
Huartet to words by Dikolaus =enau and
<ottfried Celler!
World premiXre of the version for voice and
string Huartet& 8urich /7 *ay /5%%
>rit9 =0ffel and the 8urich Tonhalle Ruartet
26"

LThe vocal lines though not lacking
individuality are clearly evolved from the
romantic lied Wolf especially and the essentially
linear instrumental writing creates a restlessly
modulating harmonic fabric that owes a lot to
Bebussy! The unifying theme of the work the
composer has told us is that Zman is alone"!
Schoeck"s biographer Oans @orrodi well
describes its mood as Zinto#icated with twilight
and darkness yet filled with the mysterious glow
of the other world and in the last song lit by the
radiance of the spheres"N! :Aobert S! @lark;!

C;<=:?<

Cristbal Hal++ter :/5%.;
Conc|er|o No 2 :/55.Y/55/;
for "iolin and string orchestra
World premiXre& Stuttgart 4 *ar /552
@hristiane Edinger Stuttgarter
Cammerorchester conducted by @rist[bal
Oalffter
%/"

@ommissioned by the Stuttgart @hamber
Orchestra to compose a violin concerto Oalffter
first conceived of an arrangement of his
Conc|er|o para ||au|o y sex|e|o de cuerda
:/572! Buring the course of work however
there emerged a completely new piece with
only three notes of the original se#tet being left
over& @ 3 BIflat 3 '! ,t took Oalffter several years
to complete the composition$ he notated it
between Becember /55. and +uly /55/ at a
time which was overshadowed by the death of
his father! The mood of certain sections was
influenced by this bereavement!

Joan ,ann :/77%3/5V/;
Concer|o da camera No 2 op! AI22
for "iolin and string orchestra with harp :or
piano;
%2"

The @atalan composer violinist and conductor
started his career as a child prodigy& he gave his
first public recital as a violinist at the age of
seven and made his US debut at nine! Oe
conducted his first orchestral concert in
Argentina at ten and produced his first
compositions at thirteen! Universal Edition
publishes si# of his violin concertos a work for
symphony orchestra and his completion of
'eethoven"s early ronzer|s|uc| for violin and
orchestra!

Joseph ,essner :/75%3/545;
|as |eoen, op. 1J :/526;
for soprano :solo; +emale choirB pianoB harp
and strings
Symphonic choral work
%6"
/.

Ar"o 06rt :/5%6;
5ymphony No 4 |os Ane|es :2..7;
for string orchestra harpB timpani and
percssionD
World premiXre& =os Angeles /. +an 2..5
=os Angeles ?hilharmonic Orchestra
conducted by EsaI?ekka Salonen
%2"

ThirtyIseven years lay between 5ymphon|es No J
and 4. The idea for ?Krt to write a work for the
=os Angeles ?hilharmonic Orchestra was put
forward at a time when the composer was
engrossed in work on an ancient canon in
@hurch Slavonic containing a prayer to a
guardian angel 3 the connection to Z=os Angeles"
was irresistible! The 5ymphony No 4 incorporates
?Krt"s N1hese Words . for string orchestra! As
usual with this composer all parameters of the
te#t :number of syllables inflection punctuation
etc; play a decisive role in the structure of the
composition!

E;<=C?<

Bla Bartk :/77/3/526;
|us|c |or 5|r|n |ns|rumen|s, Percussion and
Celesta :/5%4;
World premiXre& 'asle 2/ +an /5%V
'asler Cammerorchester conducted by ?aul
Sacher
26"

This is one of the unHualified masterpieces in
music literature!

Lciano Berio :/52632..%;
No||urno :/55%Y/556;
for string orchestra
World premiXre& =ucerne 24 Aug /556
Accademia 'i9antina conducted by <Qnther
?ichler
24"

No||urno :5|r|n uar|e| No J; :/55%;
24"

'erio arranged the work for string orchestra two
years later! Oe condensed in many places the
musical material added subsidiary parts and
tuttiIsolo contrasts! Oere and there one has the
impression as though 'erio had based the work
on a literary te#t! LThis music is still even when
all the musicians are playing forte for the form
is still and nonIdialectical!N :'erio;

Carl Biber :3/V6.;
5ona|a 5anc|| Ioann|s Nepomucen|
for E solo "iolinsB string orchestra e4cept
"iola organ and bassoon ad libitm

Gino Contilli :/5.V3/5V7;
5u||e, for pianoB percssion and string
orchestra :/562;
2/"

@ontilli was born in Aome and studied with
Aespighi as well as ?i99etti! Three traditional
dance forms 3 |assaca||a, 5araoande and
Ca|||arde are treated in this work in a
dodecaphonic manner! ,t is highly polyphonic
and contrapuntal in character$ the string parts
are accentuated by the percussion and by the
piano which also plays the role of a percussion
instrument!

Barr$ Con$ngham :/522;
Concer|o :/572;
for "ioloncello and string orchestra
World premiXre& Sydney 22 Oct /576
>lorian Citt Australian @hamber Orchestra
conducted by @arl ?ini
26"

L'arry @onyngham"s new cello concerto is a
highly imaginative and communicative work that
deserves many more hearings! ,t has Hualities of
continuity coherence and depth of feeling
which are often lacking in contemporary music!
And the response at this concert indicates that it
has appeal for audiences outside the little
gatherings normally dedicated to new music!N
:*artin =ong The Australian 27 Oct /576;

,ichael Gielen :/52V;
|us|ca :/562;
for baritoneB stringsB trombone and timpani
World premiXre& @ologne 6 *ar /564
?ierre *ollet baritone Alfred 'rendel piano
conducted by *ichael <ielen
22"
//

This is a setting of |e sou||er de sa||n by ?aul
@laudel! ,n his programme notes the composer
says he has set himself two of the most difficult
tasks of composing today& the differentiation
between strictly bound and loosely bound
material as well as the structure of thematic
material!

0al Graener :/7V23/522;
5|n|on|e||a op! 2V :/5/.\;
for string orchestra and harp
26"

0al Graener :/7V23/522;
5p|nn, sp|nn
:Spin Spin 3 Swedish folksong;
for string Huartet arranged for string orchestra
by the composer
26"

Georg Friedrich Haas :/56%;
|remde We||en :/55V;
:>oreign Worlds;
concerto for piano and 2. strings
World premiXre& )ienna 2 Dov /55V
Till Ale#ander C0rber piano
Wiener Cammerorchester conducted by Ernst
Covacic
2V"

The title could also be translated as "foreign
realms"& the realm of micro intervals which
strikes the uninitiated listener as foreign or
strange$ the sound of the string instruments
which has been distorted in that it has adopted
a feature of the piano :the reItuning of the
strings with the pitches remaining unchanged;
and the sound of the piano :distorted through
fast tone repetitions with the pedal pressed
down which brings the sonority close to that of
the continuously swinging bowed strings;!

Jose+ ,atthias Haer :/77%3/565;
rammermus|| :@hamber *usic; op! 25 :/524;
for string orchestra without doubleIbasses
piano organ or harmonim
24"

Egon .ornath :/75/3/565;
|us|| op! 26a :/5/7Y/5/5;
27"

#a+ael .belik :/5/23/554;
ua||ro |orme :/546;
24"

@omposed for the >estival Strings =ucerne the
piece was premiXred by this ensemble as part of
the =ucerne >estival in /544 conducted by
Audolf 'aumgartner!

Ladisla" .pko"ic :/5%4;
5chwe|z|ner ||ver||men|o :/57.;
ca! 26"

L2s*l La&tha :/7523/54%;
5ymphon|e |es 5o|| op! %% :/52/;
for string orchestra harp and percssion
2%"

The Oungarian composer was a younger
contemporary of 'art[k and Cod(ly! Unlike
them however he was closer to >rench culture
than to the folk music of his native country! The
symphony |es 5o|| is made up of four
movements each of which being a selfIstanding
concerto! The first one L@oncert Moyeu#N is a
concerto grosso where the deep strings
together with the harp and the percussion are
set against the high strings! C|||es a tribute to
Watteau is a viola concerto! |as|ora|e
dau|omne has the cello as solo instrument
whereas in |eer|que, the solo violin is Moined by
the harp and the percussion!

Concer|o :/525;
for F !ind instrments timpaniB percssion
and string orchestra
World premiXre& 'ernYSwit9erland /525!
@onductor& =uc 'almer
22"

|e|||e 5ymphon|e Concer|an|e :/522Y/526;
for harpB harpsichordB piano and two string
orchestras
World premiXre& 8urich /V *ay /524
@ollegium *usicum 8Qrich conducted by ?aul
Sacher
22"

/2
@ommissioned by ?aul Sacher *artin started
work on the Allegro movement in /522 when
Aadio <eneva asked him for an oratorio to be
performed when World War ,, had come to an
end! That is how |n 1erra |ax came to be
composed! On completing it *artin returned to
the |e|||e symphon|e concer|an|e! Sacher"s
reHuest was for a work scored for string
orchestra plus solo plucked string instruments
which at one time used to serve as continuo!
*artin decided to use all stringed instruments
currently in use that is also including the harp
the harpsichord and the piano!

|o|yp|yque :/5V%;
for "iolin and two small string orchestras
World premiXre& =ausanne 5 Sept /5V%
]ehudi *enuhin 8urich @hamber Orchestra
conducted by Edmond de Stout9
26"

The full subtitle is 5|x |maes de |a |ass|on du
Chr|s| :Si# pictures of the ?assion of @hrist; pour
v|o|on so|o e| deux pe|||s orches|res a cordes! ,n
his comments on the work >rank *artin writes&
NWhen ]ehudi *enuhin and Edmond de Stout9
asked me to write a violin concerto for them ,
immediately felt that it was impossible to write
anything for those forces after all the
masterpieces that +!S! 'ach has left to us! ,
thought it would be better to compose a suite of
relatively brief movements a suite of images
connected with whatever it might be! ,t was
after , had seen a polyptyHue in Siena by Buccio
an ensemble of very small pictures depicting
episodes of the ?assion that , conceived of the
idea despite myself of trying to write music of
the same kind!N

Bohsla" ,artin3 :/75.3/565;
Concer|o da camera :/52/;
for "iolin solo string orchestra with piano and
percssion
World premiXre& 'asle 2% +an /522
<ertrud >lQgel violin 'asle @hamber Orchestra
conducted by ?aul Sacher
22"

The circumstances under which this violin
concerto was written were anything but
conducive to creative work! @ommissioned by
?aul Sacher and his 'asel @hamber Orchestra
*artin^ started work on the @oncerto in =isbon
while waiting for boarding the ship that would
take him to the United States! ,n his letters to his
friends in Europe he complained that life in Dew
]ork was so alien as to make it difficult for him
to concentrate on his creative work! LThe
endless streets and avenues are not really the
best sources of inspiration! They pounce upon
me they depress me and , feel as though there
were no chance to find a way out PN

-aniel 5a*areth :/527;
|o|sha :2../;
Sinfonietta for string orchestra
World premiXre& ?alermo // +an 2..2
Orchestra Sinfonica Siciliana conducted by
Baniel Da9areth
22"

LOinduistic *oksha similar to 'uddhist Dirvana
signifies the ultimate rung of the human value
scale! Superlative to Bharma :ethics; Artha
:materialism; and Cama :worldly pleasure; the
realm of *oksha begins where the soul finally
liberated from the cycle of death and rebirth
attains the bliss of pure awareness P *oksha is
within us!N :Baniel Da9areth;

Ar"o 06rt :/5%6;
Adams |amen| for mi4ed choir and string
orchestra :2..5;
World premiXre& Oagia ,rene ,stanbul 2./.!
T_nu CalMuste 'orusan ?hilharmonic Orchestra
22"
To mark Arvo ?Krt"s =ifetime Achievement
Award from the ,stanbul ,nternational *usic
>estival a new work was premiXred at a concert
featuring highlights from the composer"s career&
Adams |amen| for choir and orchestra! The
piece was coIcommissioned by the European
@apitals of @ulture for 2./. and 2.// ,stanbul
and Tallinn respectively!
Arvo ?Krt has been fascinated by the life and
work of St Silouan of Athos :/7443/5%7; for
many years! As early as /55/ the writings of
Silouan inspired ?Krt to his composition 5||ouans
5on |y sou| yearns a||er |he |ord ... for string
orchestra! ?Krt"s new work Adams |amen| is
once again based on a te#t by Silouan in which
the monk laments Adam"s pain over the loss of
paradise! Silouan"s sketches and writings are of
great poetic power and represent some of the
most significant works in Aussian poetry! The
/%
content and structure of the te#ts which are
sung in Aussian dictate the course of the music
down to the smallest detail! ?unctuation syllable
counts and word emphases all play decisive roles
in the composition!

Ar"o 06rt :/5%6;
1aou|a |asa :/5VV;
Bouble concerto for t!o "iolins :or "iolin and
"iola; string orchestra and prepared piano
World premiXre& Tallinn %. Sept /5VV
<idon Cremer Tatiana <rindenko violin
Estonian @hamber Orchestra conducted by Eri
Clas
2V"

LThe two movements |udus and 5||en||um, are
headed by the contrasting tempo indications
Zwith movement" and Zwithout movement"!
|udus begins with the two solo violins playing
simultaneously at the e#tremes of their range!
This gesture seems to symbolise wiping the slate
clean and is followed by a relatively lengthy bar
of silence 3 an unusually important element of
?Krt"s music in general! As the movement
unfolds the melodic range is gradually e#tended
within a highly organised framework though
the actual sound of the music is simplicity itself
the violins" figurations recalling the common
currency of the typical 'aroHue concerto! At the
clima# a vigorous accompanied caden9a is
heard the intensity it generates being
maintained to the end of the movement!
5||en||um is more completely typical of ?Krt"s
current musical language in its totally static
contemplative mood! The te#ture becomes
increasingly fragile until the scoring is reduced
for the last do9en bars to merely a solo cello and
a solo double bass!N :?hilip 'orgIWheeler;

Ar"o 06rt :/5%6;
1e |eum :/572Y/5763/552;
for three choirsB prepared pianoB string
orchestra and tape
World premiXre& @ologne /5 +an /576
@ologne Aadio @horus WBA Symphony
Orchestra conducted by Bennis Aussell Bavies
%."

LThe liturgical te#t of the Te Beum consists of
immutable truths! , am reminded of the sense of
immeasurable serenity imparted by a mountain
panorama! The Swiss artist *artin Auf once told
me that he could distinguish over twenty shades
of blue in the mountains when the air is clear!
Ois words immediately turned into sound$ ,
began to Zhear" those Zblue" mountains! , wished
only to convey a mood a mood that could be
infinite in time by delicately removing one piece
3 one particle of time 3 out of the flow of
infinity! , had to draw this music gently out of
silence and emptiness! The work on 1e |eum
was a Huest for something evanescent$
something long lost or not yet found the Huest
for something believed to be nonIe#istent but
so real that it e#ists not only within us but
beyond our being as well!N :Arvo ?Krt;

Ar"o 06rt :/5%6;
5|aoa| |a|er
for mi4ed choir @SA%A and string orchestra
:/576Y2..7;
World premiXre& /2 +un 2..7 )ienna
TonkQnstler Orchester Singverein der
<esellschaft der *usikfreunde conducted by
CristMan +Krvi
26"

The first version of the 5|aoa| |a|er was scored
for three solo voices :soprano counterItenor and
tenor; and string trio! ,n response to a
commission from the TonkQnstler Orchestra ?Krt
arranged the vocal parts for chorus :SAT; and
e#ecuted many changes in the musical material
of the string trio e#panding its three strands
into five orchestral groups! The four sections of
the liturgical poem are interspersed with
instrumental interludes framed by an
introduction and an epilogue where the chorus
and individual choral groups sing LA I menN in
long melismas!

Ar"o 06rt :/5%6;
3er||ner |esse :/55.Y/55/ revised 2..2;
for mi4ed choir and string orchestra
World premiXre& Erlangen /7 Bec /55/
SQddeutsches )okalensemble Cammerorchester
Schloss Werneck conducted by Ulf Clausenit9er
26"

The first version was commissioned by the 5.th
>estival of <erman @atholics in 'erlin and
premiXred on 22 *ay /55. by ?aul Oillier and
the Theatre of )oices! The 3er||ner |esse is
meant to be performed within the Whitsun
liturgy and includes a ven| 5anc|e 5p|r||us which
is part of this church service! The vocal parts
contain hardly any instructions for performance!
/2
Bynamics and tempi are left to the discretion of
the interpreters$ it is for them to perceive and
communicate the music"s rich spiritual potential!

.arl Schiske :/5/43/545;
Concer|o No 2, op! 2/b :/526;
World premiXre& )ienna /. *ay /56.
@ollegium musicum Wien conducted by Curt
Aapf
26"

Al+red Schnittke :/5%23/557;
Concer|o rosso :/5V43VV;
for E "iolinsB cembalo @or pianoA and string
orchestra :/5V43/5VV;
26"

-aniel Schn$der :/54/;
||ano Concer|o |ara||e| 1|mes :/55%;
for piano and string orchestra
World premiXre& 'ern 24 Dov /552
Aoland Aaphael piano 'ern Symphony
Orchestra conducted by Andreas Belfs
2%"

LThe subtitle is a reference to the polyrhythmic
and polymetric features of the composition
which continues to alternate between a triple
and a double division of time as well as their
combinations! The piece is tonal atonal and
modal at the same time and reflects in its
entirety influences of the music of the late 2.
th

century! ,t reHuires a soloist and a conductor
with a broad stylistic interest and understanding!
>rom that point of view it is rather a futuristic
piece of music!N :Baniel Schnyder;

)thmar Schoeck :/7743/56V;
5u||e in Ab maMor op! 65 :/526;
World premiXre& Winterthur /2 Sept /524!
*usikkollegium Winterthur conducted by
Oermann Scherchen
%."

The 5u||e was composed after Schoeck had
suffered a heart attack in *arch /522 at a
concert in St <allen! The musical material bears
traces of the influence of *a# Aeger and has its
roots also in Schoeck"s own String Ruartet Do 2
of /52%! LThe 5u||e in AIflat maMor for string
orchestra P is distinguished by a particular
beauty of sound! ,ts immediate appeal should
ensure for it early acceptance in international
concert halls!N :Willi Aeich in Tempo *arch
/52V;

Arnold Sch1nberg :/5V23/56/;
ver||ar|e Nach| op! 2 :/7553/5/VY/52%;
:Transfigured Dight;
Arranged by the composer for string orchestra
World premiXre& ?rague 25 Dov /5/4
conducted by Ale#ander von 8emlinsky
%."

LAt the end of the /5
th
century it was Betlev
von =ilienkron Ougo von Oofmannsthal and
Aichard Behmel who counted as the foremost
representatives of the Z8eitgeist" in lyric poetry!
,n music on the other hand in the wake of
'rahms" death numerous young composers
followed the e#ample of Aichard Strauss and
wrote programme music! This is the e#planation
for ver||ar|e Nach|& it is programme music
which describes and e#presses a poem by
Aichard Behmel! *y composition is perhaps
different from other illustrative pieces in that it
was written for chamber ensemble rather than
for orchestra and also because it does not depict
some kind of a plot or a drama but restricts itself
to drawing nature and e#pressing human
emotions!N :Arnold Sch0nberg;

5|r|n uar|e| No 2, op! /. :/5.VY/5.73/525;
for soprano and string Huartet arranged for
string orchestra by the composer!
After the poems N=itaneiL :L=itanyL; and
NEntrQckungL :LTransportL; by Stefan <eorge
25"

LThere occur passages already in the first and
second movements where the development of
the individual parts leaves out of account
whether their convergence produces any
Zaccepted" harmonies! 'ut here as well as in the
third and fourth movements a key is easily
recogni9able in all the crossing points of the
formal construction! Oowever the
overwhelming multiplicity of dissonant sonorities
could no longer be evened out through the
occasional use of tonal chords which one usually
deploys for the e#pression of a key! ,t strikes me
as wrong to force a motion into the ?rocrustean
bed of tonality without at the same time
propping it up through the succession of
/6
harmonies which belong to it! That dilemma was
not e#clusively mine it ought to have e#ercised
the minds of all contemporary composers as
well! That , was the first one to have taken the
decisive step is not seen by everyone as a merit 3
which , may regret but which , must ignore PN
:Arnold Sch0nberg;

-mitri Shostako"ich
:/5.43/5V6;
Concer|o |n C m|nor, op! %6 for pianoB
trmpet and string orchestra! :/5%%;
2%"

Hein* %iessen :/77V3/5V/;
|us|| for string orchestra op! %2a :/522;
2%"

The <erman composer critic and teacher was
much furthered in his early career by Aichard
Strauss$ later on he belonged to the circle
around Oermann Scherchen! Oe coIfounded the
<erman division of the ,S@* in the year he
wrote his |us|| for string orchestra!

.arl Weigl :/77/3/525;
|hapsod|e op! %. :/5%%;
%."

Weigl studied composition privately with
8emlinsky! At )ienna University where he read
philosophy and musicology he made the
acHuaintance of Sch0nberg and Webern! Oe
maintained that the music of the /5
th
century
had innumerable untapped possibilities of
e#pression and composed in a late Aomantic
style! At the beginning of his career he worked
as a rSpStiteur at the )ienna Opera Oouse where
he was furthered by *ahler as well as by Aichard
Strauss and 'runo Walter! The |hapsod|e,
originally a string se#tet was influenced by
<ustav *ahler!

Egon Welles* :/7763/5V2;
5one||e der |||saoe|h 3arre||-3rown|n op! 62
:/5%2;
for soprano and string Huartet or string
orchestra! A setting of the <erman version by
Aainer *aria Ailke
World premiXre& )ienna 2/ Oct /5%6
22"
The first performance took place on the
composer"s 6.
th
birthday at a concert organised
by Anton Webern! Welles9 originally had a
narrator in mind but then decided to score the
work for a soprano! Even so the solo part
fluctuates between LparlandoL and LcantandoL!
,n this work Welles9 all but leaves tonality
behind! LAilke"s rendering of the Sonnets into
<erman preserves the beauty of the original$ he
even adds to it by the perfection of his poetical
language!N :Egon Welles9;

8an Wilson :/542;
1he Caps|z|n |an and O|her 5|or|es
:/552Y/55V;
World premiXre& =imerick 5 *ar 2...
,rish @hamber Orchestra conducted by 'runo
<iuranna
22"

L, wrote this piece :in its original version for
string Huartet; after seeing works by the Swiss
sculptor and painter Alberto <iacometti! , chose
five sculptures and looked for a central musical
idea in each one that would form the basis of a
movement! The five movements are not Must
separate and distinct pieces& to me they are also
five different aspects of life itself!N :,an Wilson;

/4
;;<=E?<

William Albright :/522;
Co|h|c 5u||e :/5V%;for organ strings and
percssion
/4"

Henk Badings :/5.V3/57V;
|aro und A||ero :/5%6;
//"

LThe |aro and A||ero for string orchestra
which Oenk 'adings wrote in /5%6 form part of
a series of compositions P with which the
young composer attracted wider attention and
within a short period acHuired a foremost place
amongst Butch composers! Ois remarkably
versatile output is characteri9ed by a strong
melodic e#pression a tightness of form and a
great mastery of counterpoint while from a
harmonic point of view tonality is seldom
completely discarded in spite of the many biI
and polytonal elements! Typical of 'adings"
method of writing is the beginning of the |aro
where a broadly sung melody in the violas is
treated contrapuntally by the celli and doubleI
basses! This short work Mustifiably occupies an
important place in 'adings" output! ,t is in every
respect the work of a strong poetic personality
who can give form to his musical imagination
with a thorough mastery of his chosen means of
e#pression!N :Br! +os Wouters;

Sir #ichard #odne$ Bennett
:/5%4;
Concer|o :/545Y/5V.;
for oboe and strings
World premiXre& Aldeburgh >estival /5V/
Oein9 Oolliger English @hamber Orchestra
/4"

LThe oboe concerto is a genuinely virtuosic
piece directly inspired by the astonishing
technical abilities of Oein9 Oolliger! Devertheless
its wideIranging instrumental lines are essentially
melodic in character so that the Zbrilliance" of
the writing is an integral part of its florid
espress|vo 3 successfully avoiding any temptation
to develop a Zsurface" virtuosity as an end in
itself!N :Susan 'radshaw;

Alban Berg :/7763/5%6;
1hree ||eces |rom |he |yr|c 5u||e :/524Y/527;
World premiXre& 'erlin %/ +an /525
'erlin ?hilharmonic conducted by +ascha
Oorenstein
/V"

,n /527 Alban 'erg made arrangements for
string orchestra or movements 2 % and 2 of his
|yr|c 5u||e for string Huartet! LThe three pieces
:indeed all si# movements; are marked by an
unusually intensive e#pressivity! ,t mounts from
movement to movement with the contrasts
growing sharper! ,t is music of human dialogue
longing love renunciation farewell deepening
mourning hopeless resignation! The fifth
movement is a |res|o de||rando the si#th a
|aro deso|a|o! The secret LprogrammeN of the
work came to light in /5VV& the music is a
declaration of love for Oanna >uchsIAobettin
>ran9 Werfel"s sister! *ovements / 6 and 4
have been arranged for string orchestra by Theo
)erbey! >or details see the section
Larrangements for string orchestraN!

%heodor Berger :/5.63/552;
|a||ncon|a, op! 6 :/5%%;
2 pieces for string orchestra
/4"

|a||ncon|a || :/5V5;
for 27 string instruments
/7"

,n /5%% Theodor 'erger composed the first
version of this piece for 2V strings! ,n subseHuent
years he realised that large orchestras had
difficulty in accommodating the work owing to
the si9e of the ensemble 3 so he withdrew it and
made an arrangement in /5V5 for 27 string
instruments! ,n doing so he improved what he
called the Lsymphonic articulationN of the score
while leaving the Lmusical messageN
unchanged!

Concer||no :/525Y/56/3/5V.;
/V
for clarinet and "iolin soloB harpB celesta and
strings
World premiXre of the original version&
*ilan /56.
Student orchestra of the conservatory
conducted by =uciano 'erio! World premiXre of
the revised version& St ?aul *innesota Oct
/5V.! *innesota Orchestra conducted by
Stanis`aw Skrowac9ewski
//"

LThe Concer||no for clarinet :his own second
instrument; concertante violin celesta harp and
strings of /525 was his first work to achieve
public performance apart from some piano
pieces and a song! ,t already showed an assured
grasp of idiomatic instrumental writing within a
broadly neoclassical idiom and reflected
something of 'erio"s newIfound fascination with
the music of Stravinsky!N :Bavid OsmondISmith;

Cora|e :/57/;
for "iolinB t!o horns and strings
World premiXre& 8urich /V +an /572
@arlo @hiarappa @ollegium *usicum 8Qrich
/6"

L,n Cora|e :@hemins ),; the obvious and hidden
aspects of my 5equenza v||| are e#panded and
developed through the use of solo violin a string
orchestra and two horns! The solo violin part in
Cora|e is mainly based on 5equenza v|||! 'uilt
around two constantly sounding notes ,
describe Cora|e as ZHuasi una passacaglia"! The
two notes :A and '; function as a limit during
the very diverse and carefullyIworkedIout course
of the piece often displaying a pronounced
regularity of e#pression characterised by
e#uberant melodic and polyphonic growth and
e#treme accelerations P The composition of this
work was a personal tribute to the violin which ,
have always regarded as the most subtle and
comple# of instruments!N
:=uciano 'erio;

Sir Harrison Birt!istle :/5%2;
|e|enco||a | :/5V4;
for clarinetB harp and two string orchestras
World premiXre& <lasgow /7 Sept /5V4
Alan Oacker clarinet Scottish Dational
Orchestra conducted by Ale#ander <ibson
2."

LThe title is that of a copper engraving by BQrer
dating from /6/2 P Around this time BQrer
was suffering from a swelling of the spleen 3
traditionally regarded as the seat of melancholy!
The music is profoundly melancholic in mood
and its progress is spasmodic& it builds as so
often with 'irtwistle from a single note then
two notes then a phrase growing remaining
static and reflecting discarding moving on
repeating P this is nonIgoalIorientated music
nonIdevelopmental which continually reassesses
and reviews itself in terms of time and space!N
:Alan Oacker;

Sir Harrison Birt!istle :/5%2;
|nd|ess |arade :/574Y/57V;
for trmpetB strings and "ibraphone
World premiXre& 8urich / *ay /57V
Oakan Oardenberger @ollegium *usicum
8Qrich conducted by ?aul Sacher
/V"

The composer has acknowledged a specific
event behind the musical parade& a carnival he
witnessed in =ucca. L, became interested in the
number of ways in which you could observe this
event& as a bystander watching each float pass
by P or you could wander through side alleys
hearing the parade a street away glimpsing it at
a corner meeting head on what a moment
before you saw from behind! Each time the
viewpoint was different yet instantly identified
as part of one body!N ,n |nd|ess |arade there is
a little fourInote motif that almost never
changes while other links in this chain of
chopped te#tures are later adapted e#tended
alluded to or forgotten! The trumpet has the
leading role very nearly throughout often
playing with a solo vibraphone which proMects its
harmonic aura! The string orchestra provides a
wider proMection at times elsewhere offering a
countering in terms of block movements or
more rarely alternative solo lines!

Brno B&elinski :/5.53/552;
Concer|o for +lte and strings :/566;
/6"

5erenade :/56V;
for trmpet piano strings and percssion
/4"

/7

|us|ca |ona||s :/547;
for oboe bassoon and strings
/2"

Boris Blacher :/5.%3/5V6;
||a|o :/56.;
for +lteB "iolinB piano and string orchestra
World premiXre& 'asel /4 Bec /56/
+oseph 'opp flute Aodolfo >elicani violin
)alerie CKgi piano! 'asler Cammerorchester
2."

L, based this piece on the idea that a change of
metre often intensifies the formal process! That
is why , have decided to give each bar a different
metric structure! ,n ||a|o, , set myself the task
of realising this plan on a larger ensemble! The
only possible solution was to opt for a concerto
grosso& after the Ada|o introduction a
concertino consisting of a flute a violin and a
piano is set against the tutti strings not only in
its sound but also in its metre!N :'oris 'lacher;

'ictoria Boriso"a()llas :/545;
Co|ours o| Au|umn :2..2;
World premiXre& )K#M0YSweden/V Oct 2..2
*usica )itae conducted by Tuomas Ollila
//"

LThe composer based the work on a Huotation
from |o|||a a novel by the Aussian author
)ladimir Dabokov& ZAutumn was ringing in the
air"! ZThere are fantastic descriptions of the
seasons in Dabokov"s works! , wish to evoke the
colours of autumn through special variations in
tone colour!" :'orisovaIOllas; Co|ours o| Au|umn
is not programme music but rather mental
imagery of the Huickly changing colours the
fleeting character the glow and vibrations felt in
the crisp autumn air!N :<unilla ?etersSn;

Sergei Bortkie!ic* :/7VV3/562;
Os|erre|ch|sche 5u||e, op! 6/
for string orchestra and harp or piano ad libD
@ontents& ,m Stephansdom$ Spa9iergang im
Wienerwald$ Wiener Wal9er$ ,m Wurstelprater
/2"

Will$ Brkhard :/5..3/566;
Concer||no, op! 4. :/52.;
for "ioloncello and string orchestra
/4"
Al+redo Casella :/77%3/52V;
Concer|o
for pianoB timpaniB percssion and strings
op!45 :/52%;
/4"

Friedrich Cerha :/524;
5p|ee| || (/54.Y/54/;
for 66 strings
World premiXre& Bonaueschingen /7 Oct /542!
SQdwestfunkIOrchester conducted by Ernest
'our
/%"

5p|ee| is the title of si# works for large
orchestra and one for fiftyIfive strings& 2V violins
/. violas /. celli and 7 doubleIbasses! The cycle
is described by the composer as a stage work for
moving groups light and obMects but so far it
has only been played in concert! ,t represents a
watershed in the history of contemporary
Austrian music and is one of the great
achievements in postIwar European music in
general!

|ce Carv|n :/5V.;
//"

L|ce Carv|n is an earlier work written when he
was studying with Takemitsu in +apan and it
contains something of the evanescent beauty of
his teacher"s music! ,t also has more specific
conne#ions with +apan being a picture of ice
sculpting in the ,mperial ?alace gardens! A solo
violinist the sculptor shears his designs into four
string ensembles placed around the auditorium
so that they are stimulated into restive motion!
The figures then melt away leaving the soloist
musing on his Zcreations"! ,t is a pretty notion
prettily e#ecuted!N :?aul <riffiths;

5|y :/5VV;
for strings
/2"

.arl Heinrich -a"id :/7723/56/;
|ar|||a
/5
for string orchestra and timpani
/7"

Anne -dle$ :/564;
Co|d|epes and |he |hree ce||os :2..5;
for narratorB "iolinB three "ioloncellos and
string orchestra
Te#t& Steven ,sserlis

Anne -dle$ :/564;
|||||e |ed v|o||n (and |he 3|, 3ad Ce||o (2003
for narratorB "iolinB "ioloncello and string
orchestra
Te#t& Steven ,sserlis
World premiXre& /6 *ay 2.//! Staatsorchester
Barmstadt 'artholomew 'er9onsky conductor!
/%"

#oss Ed!ards :/52%;
Ar|a and 1ranscenden|a| |ance :/55.;
for horn and string orchestra
/2"

Gott+ried "on Einem :/5/73/554;
5erenade |or douo|e s|r|n orches|ra op! /.
:/525;
World premiXre& 'erlin %/ +an /56.! A,ASI
SymphonieIOrchester conducted by >erenc
>ricsay
/2"

L*y 5erenade |or douo|e s|r|n orches|ra is a
tonal piece of music in four movements which
should lighten the listeners" mood and entertain
them in a stimulating manner! , hope that the
composition techniHue , have used does not Mar
and this offering will please the conductor the
public and the orchestra!N :<ottfried von Einem;

Will Eisenmann :/5.43/552;
||e 5|ad| |a v|||e |a C|||a :/5%%;
/%"

5even 5ons |rom C||anja|| op! 2/
:/5%2Y/52V;
for high "oice and string orchestra
/2"

Will Eisenmann studied with Bukas and Coechlin
which e#plains the touch of impressionism in his
compositions! One of his admirers was Aomain
Aolland who wrote that his music Lhad a great
deal of charm!N The 5even 5ons are settings of
poems by Aabindranath Tagore! Eisenmann was
inspired in several of his works by 'uddhist and
Oindu philosophy! Oe was of the opinion that in
order to grasp the connection between music
and ethics one has to leave Europe behind and
look at it from a distance!

Concer|o da camera :/526;
for alto sa4ophone and string orchestra
/6"

Ferenc Farkas :/5.632...;
Concer||no :/525;
for harpsichord and strings
/4"

A pupil of Ottorino Aespighi in Aome >erenc
>arkas was a maMor figure in postIwar Oungarian
music! A highly influential professor of
composition at the 'udapest Academy his
pupils included <y0rgy =igeti <y0rgy Curt(g
8solt Burk[ Attila 'o9ay and many others!

Jer*$ Fitelberg :/5.%3/56/;
Concer|o :/527;
/7"

This is an arrangement by the composer of his
5|r|n uar|e| No 2

Sil"ia Fmina :/542;
|m |a|odun|e| :/55.;
:,n OalfI=ight;
for /2 string instruments or string Huartet and
tape
World premiXre& @ologne 2V *ar /552
Aubin Ruartet and eight further handpicked
instrumentalists
conducted by *ark >oster
/6"

|n |a||-||h| is part two of the cycle 5even
vespers! Each section is meant to be Must one
facet of a Lsingle central composition a neutral
concept& the e#ploration and development of
microtonality through the combination of
eHuidistant tonal systems!N :>[mina;! >or the
composer micro tonality is no longer an
e#pansion of chromaticism but the construction
2.
of a different tonal system and the development
of a corresponding compositional techniHue!

Wol+gang Fraenkel :/75V3/57%;
1he 32
nd
5ura o| |he roran :/52V;
for alto string orchestra and timpani
/4"

.arl Hein* F/ssl :/5223/552;
Can||uncu|ae amor|s :/5V4;
Three =atin Songs
for tenor and string Huartet or string orchestra
to words by Ovid and ?etronius
/2"

.arl Hein* F/ssl :/5223/552;
3||der der Iahresze|| :/57%;
2 songs for high "oice and string orchestra
Te#t& >riedrich O0lderlin
@ontents& Ber Winter$ Ber >rQhling$ Ber
Sommer$ Ber Oerbst
/%"

Harald Gen*mer :/5.532..V;
|us|c |or 5|r|n Orches|ra :/522;
/6"

This work seems to have disappeared from
concert programmes! Oowever at the time of its
premiXre in the early /52.s it was received very
favourably indeed by the critics! >or instance
>rit9 *ahler was of the opinion that Ldespite its
references to 'aroHue music the si# striking
movements of the piece are also a daring
commitment to the present! ,t abounds in
melodies the likes of which are hard to find in
such an accessible form among contemporary
composers!N

Lois Grenberg :/7723/542;
5ymphony No 1 op! /V

. soda |chs hernach m|| e|nem 3||c|,
|e|chsam w|e e|n schones 3||d . |m Ce|s|
uoersehe :/55.Y/55/;
World premiXre& )ienna 26 Apr /552
ErnstICovacicI*usicians conducted by Ernst
Covacic
/4"

The title is a Huotation from a letter attributed to
*o9art! LP it is getting ever bigger and , spread
it out more and more lighter and lighter and
the thing becomes almost ready in my head so
that afterwards , can survey it in my spirit
almost like a beautiful picture or a handsome
person and , imagine , can hear it not one after
the other as it must later come but all together!
That"s Huite a feastb Everything the finding and
the making come to me in a beautiful strong
dream! 'ut hearing it all at the same time all
together that is the best of all!N

LEver since the beginning of my composition
studies this particular section of the letter has
e#erted an influence on my musical thinking!
The fact that it has since been proven that this
te#t has nothing to do with *o9art cannot undo
the fascination it has e#ercised on me!N :<eorg
>riedrich Oaas;

Open 5paces | :2..V;
,n memory of +ames Tenney
for twelve string instruments and t!o
percssionists
World premiXre& Warsaw Autumn >estival 27
Sept 2..V
AUCSO @hamber Orchestra conducted by
*arek *os
/4"

LAs in several of my earlier works :the operas
Nach| and |e|ancho||a, the 5|r|n uar|e| No 1
the piano concerto |remde We||en, etc!; the
strings of the instruments are retuned
microtonally! *icrotonal chords can then be
produced with the open strings alone which
yields two advantages& on the one hand a
greater certainty of precision in the intonation
and on the other the fascination of the sound
of open strings in a radically more comple#
harmonic conte#t than would be possible with
traditional tuning!N :<eorg >riedrich Oaas;

Open 5paces || :2..V;
,n memory of +ames Tenney
for twelve string instruments and t!o
percssionists
/4"

)ersion for four spatially distributed groups of
instruments
2/

Concer||no :/564;
/6"

1|empo para espac|os :/5V2;
for harpsichord and twelve solo strings
World premiXre& Aoyan >estival /5V6
Elisabeth @hoMnacka harpsichord , Solisti )eneti
conducted by @laudio Scimone
/7"

Each of the four movements pays homage to a
maMor Spanish painter& Eduardo @hillida Eusebio
Sempere =ucio *unos and *anuel Aivera! The
harpsichord is amplified and its sound modified
through the loudspeaker!

|ourquo| :/5V2Y/5V6;
for twelve string instruments
World premiXre& ?aris % *ay /5V4
Ensemble de @ordes de ="A@,@ conducted by
@rist[bal Oalffter
22"

The composer has used sections of his 5|r|n
uar|e| No 2 in writing his piece for twelve
string instruments! ,n his introduction to the
world premiXre he writes& L,n |ourquo| , pose
an infinite number of Huestions which , cannot
answer! They range from why this piece e#ists at
all to why , need to communicate with my
listeners in an abstract language like music!N

||zar :/5VV;
for t!o +ltesB strings and percssion
World premiXre& ?aris 6 *ay /5VV
CarlI'ernard Sebon and +0rg Aainer =afin flutes
Ensemble intercontemporain conducted by
*ichel Tabachnik
2."

LThe title is the Arabic name of star ci in the
stellar constellation Ursa *aMor! The two flautists
play mostly in very fast tempo an ornamented
melodic line with slight shifts and variations in
relation to each other as if we were hearing a
single solo instrument! +ust as the double star
||zar only dissolves in the telescope into two
stars here too 3 e#plains Oalffter 3 it is only
through microscopically precise listening that the
two solo parts tightly interwoven can be
differentiated!N :Bietmar ?olac9ek;

|an|as|a soora una sonor|dad de C.|. |ande|
:/57/;
for a grop o+ "ioloncellos and string
orchestra
World premiXre& Carlsruhe 4 +ul /57/
'adische Staatskapelle conducted by @rist[bal
Oalffter
/V"

LThis work is a tribute to the musical tradition of
the 'aroHue era! ,t is as if one would
take a sound by OKndel :the sombre beginning
of the Organ @oncerto Do 2 op! V; and put it in
a refrigerator and free9e it for posterity! Dow
comes a composer of our time and falls back on
this sound trying to defrost it in the conte#t and
with the technical means of the 2.
th
century! Do
wonder then if the ZsoundIcell" develops a
different form and leads to a different result in
the changed musical and social environment
than in OKndel"s time!N :@rist[bal Oalffter;

|asaca||e escur|a|ense :/552;
World premiXre& *e#ico @ity / +un /552
OrHuesta Dacional conducted by +osS *aria
>ranco
/V"

Joseph Ha$dn :/V%23/7.5;
||oera. |esponsor|um ad aoso|u||onem
for mi4ed chorsB string orchestra without
violas and organ
edited by O!@! Aobbins =andon

||ssa orev|s a||a cappe||a |ora|e coe|| desuper
Oob! cc,,&% :/VV7Y/VV5;
for mi4ed chors organ and string orchestra
without violas
edited by O!@! Aobbins =andon

Johann Wilhelm Hertel :/V2V3
/V75;
Concer|o in < maMor
22
for oboe and string orchestra
/2"

'ic Ho$land :/526;
O| |an|asy, o| |reams and Ceremon|es
for /2 strings :/575;
/5"

Hanns Jelinek :/5./3/545;
5u||e op! // :/5%/;
/5"

Hanns Jelinek :/5./3/545;
Concer||no op! /V :/56.Y/56/;
World premiXre& )ienna % Apr /56/
@hamber Orchestra of the )ienna Con9erthaus
conducted by >ran9 =itschauer
/6"

LOanns +elinek"s Concer||no designated by the
composer as dodecaphonic was replete with
familiar )iennese sentimentality and more than
one listener noting the conventional cadential
formulas the melodies that returned to notes
already sounded the freHuent ostinatos and the
allIpervading sense of scarcely disguised
diatonicism Huestioned the right of the
composer to appropriate the term
Zdodecaphonic" for a work that used the serial
techniHue as a compositional convenience rather
than as an assertion of the eHuality of the twelve
tones!N :Aobert Erich Wolf;

Wilhelm Jerger :/5.23/5V7;
Concer|o rosso :/5%/;
for string orchestra piano and organ ad libD
World premiXre& )ienna /5%/
Orchestra of the )ienna State Opera Oouse
conducted by Wilhelm +erger
/2"

Wilhelm +erger was a doubleIbass player in the
)ienna ?hilharmonic Orchestra! Oe also
conducted and taught at various institutions
including the conservatorium at =in9 which he
directed until his retirement in /5V2! Ois
Concer|o rosso was at one time played a great
deal and the reviews kept at UE"s archives are
all e#tremely positive! >or all his success he has
been forgotten in the thirtyIodd years after his
death 3 the Concer|o rosso awaits an openI
minded conductor looking for music to discover!

,ilko .elemen :/522;
ronzer|an|e |mprov|sa||onen :/566;
World premiXre& 8agreb /. Oct /566
8agreb Soloists conducted by Antonio +anigro
/2"

Written for the 8agreb Soloists and their
conductor Antonio +anigro the ronzer|an|e
|mprov|sa||onen were widely toured by the
ensemble both in Europe and in the United
States with unanimous critical success!

Concer|o :/56V;
for bassoon and strings
World premiXre& 8agreb /% *ay /56V
Audolf Clepad bassoon 8agreb Soloists
conducted by Antonio +anigro
/2"

0eter .olman :/5%V;
|us|c |or 14 5|r|n |ns|rumen|s :/5V7Y/55.;
/6"

0al .ont :/52.32...;
5ymphon|e
for strings with Huodlibet
/2"

Ernst .renek :/5..3/55/;
Concer||no op! 2V :/522;
for +lteB "iolinB harpsichord and strings
World premiXre& Winterthur /526
*usikkollegium Winterthur conducted by
Oermann Scherchen
2."

The Concer||no bears traces of the 'aroHue! ,t is
a kind of @oncerto grosso with an ecstatic flute
an e#pressive violin and instrumental effects on
the harpsichord set against the strings! ,t puts
one in mind of the
|h
3randenour Concer|o!
Crenek himself admitted that he had sought to
treat elements of early /7
th
century music in a
novel manner and in doing so he had Lrevelled
in memories of the music of that eraN!

||e Nach||a|| op! 47a :/5%/;
2%
:The Dightingale;
Te#t& Wor|e |n versen by Carl Craus
for coloratra sopranoB t!o +ltes and strings
7"

Ada|o and |uue op! V7a :/5%4;
for string orchestra :2
th
and 6
th
movement of his
5|r|n uar|e| No 6;
/6"

This work is an arrangement by the composer of
two movements of his 5|r|n uar|e| No 6. The
world premiXre of the Huartet did not take place
until si#teen years later not so much for its
technical difficulties but rather owing to its
musical comple#ity! Crenek himself described the
Huartet as his most radical twelveItone piece!

5ymphon|sches 5|uc| op! 74 :/5%5;
for string orchestra!
World premiXre& Ann Arbor *ichigan /5%5
Orchestra of the University of *ichigan
/4"

5|n|on|e||a |a 3ras||e|ra op! /%/ :/562;
World premiXre& >estival de 'esaneon Sept /56%
Stuttgarter Cammerorchester Carl *Qnchinger
/6"

The composer himself admits that the piece has
nothing to do with 'ra9il apart from the fact
that it was composed in that country! ,t is a
work in four movements introduced by a group
of characteristic chords which also crop up in
between the individual sections as well as at the
end of the composition!

Concer|o for organ and string orchestra op!
2%. :/5V5;
World premiXre& Ossiach 22 +ul /5V5
*artin Oaselb0ck Cammerorchester *artin^
conducted by Carl Etti
/."

LThe @oncerto was commissioned by the
@arinthian Summer festival for performance in
the Abbey @hurch at Ossiach! This meant that
the restrictions imposed by a relatively small hall
and a Huasi chamberImusic instrument had to
be taken into account! The registrations which
appear in the score were worked out by the
composer and *artin Oaselb0ck together! They
were devised especially for the twoImanual
instrument in the Ossiach Abbey @hurch but
can easily be adapted for similar or larger
organs!N :*artin Oaselb0ck;

|as Ceoe| (1he |rayer :/5V2Y/5V%;
for strings and t!o or three percssionists
//"

|orceau de enre :/547;
)ersion for "iolinB trmpetB timpani and string
orchestra
//"

Walter Lang :/7543/544;
||ver||men|o op! 45 :/56V;
/V"

Jean Langlais :/5.V3/55/;
Concer|o No 2
for organ and string orchestra
edited by *artin Oaselb0ck and Thomas Baniel
Schlee

Jean Langlais :/5.V3/55/;
1h|rd Concer|o |eac||on
for organB string orchestra and timpani
edited by *artin Oaselb0ck and Thomas Baniel
Schlee
/7"

Lars(Erik Larsson :/5.73/574;
5|n|on|e||a op! /. :/5%2;
World premiXre& >lorence /5%2
2."

Georges Lent* :/546;
Cae|| enarran|. J :/55.3/554;
for /2 strings C percssionists and ; bo$
soprano
World premiXre& *udgeeYAustralia /556!
Ale#ander =ewis Australian @hamber Orchestra
/2"

Anestis Logothetis :/52/3/552;
A|omera||on :/54.;
22
for "iolin and string orchestra ad lib!
2."

2
me
3a||ade
for +lteB string orchestra pianoB timpani and
percssion :/5%7;
World premiXre& Auditorium AA, Turin 2./.!
*arco Angius Orchestra Sinfonica Da9ionale
della AA, Torino
/4"

|hapsod|e :/5%6;
World premiXre& <eneva %. *ar /5%4
/2"

@omposed originally for string Huintet this work
can also be performed by a string orchestra!
According to the composer"s widow *aria
*artin the harmonic world of the |hapsod|e is
closest of all of >rank *artin"s works to that of
Arnold Sch0nberg!

3a||ade :/5%7;
for alto sa4ophone @basset hornAB string
orchestra pianoB timpani and percssion
World premiXre& Sydney /5%7
/%"

L,t was with great pleasure that , consented in
/5%7 to write a work for sa#ophone and
orchestra a reHuest e#pressed by the sa#ophone
player Sigurd Aacher! The instrument has played
a prominent role in dance music but has only
made rare appearances in the symphonic
repertoire! , have made my best to e#ploit its
characteristic sonority and techniHue! Among
wind instruments it is the sa#ophone that is
particularly marked by a suppleness which likens
it to the human voice$ it can e#press great
lyricism but also lends itself to virtuosity!N
:>rank *artin;

5ona|a da ch|esa :/5%7Y/562;
for "iola d<amore and string orchestra
/2"

5ona|a da ch|esa for viola d"amore and organ!
,n his programme note the composer reveals
that the piece owes its e#istence to a reHuest by
the 'asle organist Oans 'almer who asked for a
duo for viola d"amore and organ! *artin says
this reHuest was a double challenge& not only
had he never written for either instrument he
had never heard them play together! LDothing
thrills me more than a problem like that 3 it was
comparable to ?aul Sacher"s commission of the
5ymphon|e concer|an|e for harp harpsichord
piano and two string orchestras!N

5ona|a da ch|esa :/52/;
for +lte and string orchestra
/2"

5ona|a da ch|esa for flute and organ!

|assaca|||e :/522Y/562;
World premiXre& >rankfurt am *ain /4 Oct
/56%
Stuttgarter Cammerorchester conducted by Carl
*Qnchinger
/%"

*artin composed the first version of the work in
/522 for organ! ,n /562 he arranged it for
string orchestra and ten years later for full
orchestra! Oe himself conducted its premiXre
with the 'erlin ?hilharmonic! ,n his programme
notes on the organ piece he says that he has
kept faithfully to the classical rules of this
musical form!

||udes :/566Y/564;
World premiXre& 'asel 2% Dov /564
'asler Cammerorchester conducted by ?aul
Sacher!
2."

LAfter so many years spent under the fairy spell
of Zprospero" , felt the need to renounce the
charms of magic if only for a few years! ,
wanted to try myself out in a more sober musical
e#pression devoid of the prestige of orchestral
sonorities! That was the most propitious time for
me to fulfil my promise to ?aul Sacher that ,
would write him a work for string orchestra
26
without any soloists and without any d|v|s| only
occasionally doubling the parts!N :>rank *artin;

J |anses :/5V.;
for oboeB harpB string Gintet and string
orchestra
World premiXre& 8urich 5 Oct /5V.
Oein9 Oolliger oboe Ursula Oolliger harp
?aul Sacher conductor
/7"

LThis work was written for ?aul Sacher who
wanted to have a piece by me for the oboe
player Oein9 Oolliger! , added as a second soloist
his wife Ursula who plays the harp! ,t appeared
to me interesting to have a solo string Huintet
added to the orchestra to provide for contrasting
sound! At the time , sat down to write the work
, happened to be attracted to the rhythms that
accompany >lamenco singing in the south of
Spain perhaps because my younger daughter is
a dancer specialising in this style! , have used
those rhythms without drawing on Spanish
harmonies or melodies! , simply found pleasure
in finding myself in a rhythmic world which was
completely new to me!N

Anthon$ ,ilner :/52632..2;
||ver||men|o op! /5 :/54/;
/2"

:/V643/V5/;
5erenade ||ne ||e|ne Nach|mus||:/V7V;
< maMor C) 626
:A =ittle Dight *usic;
/%"

)tmar 5ssio :/5.23/55.;
var|a||ons on an Ar|e||a oy |ero|es| :/56%;
for bassoon and string orchestra
/%"

This bassoon concerto was a reHuired work at
the /56% <eneva ,nternational @ompetition 3 it
gives a virtuosic bassoonIplayer ample chance to
demonstrate his skills! LThis work won favour in
Betroit some seasons back when it was played
instead of orchestra with piano at a
contemporary music concert! Orchestrally it is
highly inventive and effervescent! Dussio a pupil
of Aespighi is an orchestrator with ideas and
new ways of e#pressing them!N :>rank ?! <ill
The Betroit Times 2VY.2Y/54.;

0al 0atterson :/52V;
5|n|on|a op! 24 :/572;
World premiXre& Warsaw Autumn >estival
22 Sept /57% ?olish @hamber Orchestra
/7"

LA wellIfashioned tautlyIconstructed piece
with an elusively elegiac slow movement!N :Alan
'lyth;

0al 0atterson :/52V;
|ropos|||ons op! 4/ :/57V;
for harmonica and strings
/6"

Ar"o 06rt :/5%6;
|ra|res :/5VVY/556;
for "ioloncelloB string orchestra and
percssion
World premiXre& Aotterdam 5 Bec 2../
, >iamminghi conducted by Audolf Werthen
//"

Ar"o 06rt :/5%6;
|ra|res :/5VVY2..7;
for "iolaB string orchestra and percssion
World premiXre& Oelsingfr /6 Dov 2..7
,da Speyer <rfn viola Athelas Sinfonietta with
young string players of the *alm0 Symphony
Orchestra conducted by *orten Ayelund
//"

Ar"o 06rt :/5%6;
|ra|res :/5VV;
arranged for tromboneB strings and percssion
by @hristian =indberg :/55%;
//"

Ar"o 06rt :/5%6;
|ra|res :/5VV;
arranged for gitarB strings and percssion
by *anuel 'arrueco :2...;
//"

Ar"o 06rt :/5%6;
1r|sa|on :/552Y/552;
24
World premiXre& ,lomantsi :>inland; /7 +ul /552
Ensemble 2/ conducted by =ygia O"Aiordan
/2"

1r|sa|on :Lthrice holyN in <reek; is an ordinary
chant of the eastern @hristian liturgies!
LAccording to legend it was originally revealed
by angelic voices at 6
th
century @onstantinople&
an earthHuake threatening the city subsided as
the populace took up the new chant!N :The Dew
<rove Bictionary of *usic and *usicians; ?Krt"s
composition is dedicated to the parish of Elias at
,lomantsi on the occasion of its 6..
th

anniversary!

Ar"o 06rt :/5%6;
|Aooe Aa|hon :2..2Y2..7;
for mi4ed chors @SA%BA and string orchestra
World premiXre Aichmond USA % Dov 2..7
Tallinn @hamber Orchestra Estonian
?hilharmonic @hamber @hoir conducted by
T_nu CalMuste
/6"

The original version of this work composed in
2..2 was scored for soprano and eight
violoncellos! Arvo ?Krt found the legend of the
2
th
century hermit >ather Agathon in a book! ,t
leads us back to the beginnings of @hristian
monasticism in the Egyptian desert and tells the
story of the hermit who encounters a leper!
After the monk has been put to trial several
times the leper reveals himself as an angel sent
by <od to bless him! L, was inspired by a phrase
by ,saak the Syrian who answered the Huestion
ZWhat is perfect love\" by saying Z>ather
Agathon knows the answer! Oe was willing to
e#change his body with a leper"s one!" Daturally
as a composer , was immediately fascinated and
inspired!N :Arvo ?Krt;

Ar"o 06rt :/5%6;
5a|ve |e|na :2../ 2.//;
for choir :SAT'; celesta and string orchestra
World premiXre& *ilano /. Sept 2.//
Orchestra Sinfonica Da9ionale della AA, Torino
conducted by Tito @eccherini
/2"

Ar"o 06rt :/5%6;
1hese Words . :2..VY2..7;
for string orchestra and percssion
World premiXre& @openhagen 22 *ay 2..7
Banish Dational Aadio Symphony Orchestra
conducted by Tgnu CalMuste
/2"

1hese Words was inspired by an ancient canon
to the guardian angel with the various
parameters of the te#t :number of syllables
inflection punctuation etc!; having a direct
bearing on the structure of the music! The title
itself is taken from lines spoken by the Rueen in
Act % Scene 2 in |am|e|. :LThese words like
daggers enter in mine ears$ Do more sweet
OamletbN;
,ario 0eragallo :/5/.3/554;
|us|ca for double string Huartet :/527;
World premiXre& Aome 2. Apr /527
/7"

*ario ?eragallo"s work for double string Huartet
can also be per+ormed b$ a +ll string
orchestra! All the reviews in UE"s archive stress
the =atinate melodious character of the work
which comes to the foreground despite the
twelveItone techniHue applied by the composer!

Edard 0oldini :/7453/56V;
|o|||s des Carpa|hes :/56%;
Suite for string orchestra
/V"

Bespite his ,talian name ?oldini was a
Oungarian composer educated in 'udapest
)ienna and <eneva! Oe achieved international
renown for his operas especially |ochze|| |m
|asch|n! Ois music was rooted in the >rench
and the <erman traditions the Oungarian
element only serving as decoration! This is also
true of his @arpathian suite for string orchestra!

Wol+gang #ihm :/562;
Nach|ordnun :/5V4;
Seven fragments for fifteen strings
World premiXre& 'erlin /5 Sept /5VV
ASO 'erlin conducted by Oiroshi Wakasugi
/6"

LNach|ordnun is one of four compositions
related to ?aul @elan :the other three being v|er
Ced|ch|e, |ervoredun|e||, ||ch|zwan;!
Nach|ordnun emerges among @elan"s late
poems! , have drawn from it the dream logic
which is followed by the piece! Seven brief
movements formulate this speech from the
other order!N :Wolfgang Aihm;
2V

-a"id Sa!er :/54/;
|emory o| Wa|er :/55%Y/556;
)ersion /
for t!o "iolins and solo strings :%!%!2!2!/;
World premiXre& 'irmingham 24 Dov /55%
'irmingham @ontemporary *usic <roup
/2"

LThe title contains the two ideas of my piece&
the music follows no programme but proceeds
like a seHuence of memories initiated at the
opening and remembered in different ways
through the course of the work& the effect is of
trying to remember :and reIremember; some
elusive moment in the past! P , imagined the
music as a moving piece of water linked by
strands of te#ture echoing back and forth
infecting itself never taking hold or assuming
shape! The Zmemories" merge emerge and
submerge into this te#ture& the two solo violins
provide the initial impulse whose essence is
diluted in gradual phases as the piece
progresses until it finally disappears!N :Bavid
Sawer;

-a"id Sa!er :/54/;
|emory o| Wa|er :/55%Y/556;
)ersion 2
for t!o "iolins and string orchestra :4!4!2!2!2;
World premiXre& =ondon 2% +un
/556'ournemouth Sinfonietta
/2"

Concer|o
for oboeB harp and string orchestra :/5V/;
World premiXre& 8agrebY@roatia /5V/
,gor <Madrov 8agreb Soloists!
/4"

10 |ar|y Wa||zes for string orchestra :/75.s;
World& Sal9burg 2V Aug 2..2
@amerata Sal9burg conducted by =eonidas
Cavakos
/%"
:?ublished by 'elmont *usic ?ublishers;

The manuscript of the ten walt9es for strings
was found among the composer"s papers
housed in the Arnold Sch0nberg @enter in
)ienna! They cannot be dated precisely but were
surely written before 1rans||ured N|h|!

Ja$ Sch!art* :/546;
|us|c |or Orches|ra :2..6;
World premiXre& >rankfurt /. +un 2..6
ASO >rankfurt conducted by Biego *asson
/7"

L, would like my work to be recogni9ed as being
in the classic tradition :@optic Egyptian <reek
@hinese;! @lassical art cannot possibly be eclectic
and is based on a reduction of means for the
highest e#pression of ideals! ,n |us|c |or
Orches|ra one may believe to perceive the
gesture of orchestral instruments other than
strings! The title is intended to embody these
impressions!N :+ay Schwart9;

Ja$ Sch!art* :/546;
|us|c |or Orches|ra ||| :2./.;
World premiXre& >rankfurt 2% Apr 2./.
@onductor& =ucas )is hrISinfonieorchester
2."

5ikos Skalkottas :/5.23/525;
1en 5|e|ches |or 5|r|ns :/52.;
Suite for string Huartet or string orchestra
World premiXre& Athens 4 Dov /562
/5"

L1en s|e|ches ten apparently improvised drafts
brief theatrical scenes& sketches is probably the
best translation of the original <reek! Ten
pieces which initially seem to have been dashed
off savouring strongly of improvisation& in
reality they are highly sophisticated with their
unusual colours the work of a master!N :*arco
,anelli;

,aricio Sotelo :/54/;
|ec|uras de| ||oro de Ioo :/557Y2...;
for narratorB +lte and string orchestra
World premiXre& *adrid 7 +un /555
OrHuesta de la @ommunidad de *adrid
conducted by ?edro Alcalde
/4"

,atthias Spahlinger :/522;
Und a|s w|r :/55%;
for 62 string instruments
27
World premiXre& Bonaueschingen /V Oct /55%
SWAISinfonieIOrchester conducted by =othar
8agrosek
2."

The 62 string instruments are set up in the form
of a cross with the audience filling in the space
left free! ,n this way the sounds coming from
different points in the hall reach the members of
the public in a highly diversified manner!
'ecause of the differing distances of the sound
sources from each listener the time it takes for
the sound to reach the listener as well as its
volume will also differ 3 there come about
phantom sound sources with LimpreciseN and
Lpoorly balancedN sounds! Spahlinger is also
interested in the LellipticalN movements
between identical orchestral groups! >or the
critic Oein9 +osef Oerbort Und a|s w|r was the
most advanced proMect at Bonaueschingen in
/55%!

Johannes ,aria Stad :/5V2;
|nc|p|| ||| :|squ|sse re|ouchee ||; :2..6;
for tromboneB E hornsB percssion and string
orchestra
World premiXre& @ologne /. *ar 2..4
Uwe Bierksen WBA Symphony Orchestra
conducted by =othar 8agrosek
/%"

L|nc|p|| ||| (|squ|sse re|ouchee || continues and
at the same time completes my |nc|p|| cycle
which was composed in close cooperation with
Uwe Bierksen! The two earlier pieces served as
cartographic sketches und topographic points of
reference which helped me to e#plore a new
territory modified through distance in time and a
wider hori9on of e#periences! As the piece
progresses both preceding |nc|p||s take wholly
new paths of development and as a result
different dramaturgical emphases arise which no
longer need a comparison with what went
before!N :+ohannes *aria Staud;

Al+red 7hl :/5.53/552;
|n|roduc||on and var|a||ons on a |e|ody |rom
|he 16
|h
Cen|ury :/52V;
World premiXre& )ienna *arch /527
@hamber Orchestra of the )ienna Con9erthaus
conducted by >ran9 =itschauer
/6"

The work is based on the melody |s eh| e|ne
dun||e Wo|| here|n :There comes a dark cloud;!
While the words may well have a figurative
meaning they were also important for Uhl in
their literal sense as well& he was one of the few
Austrian composers of his generation to have
been inspired by nature!

Anton Webern :/77%3/526;
5a|ze :/5.53/525;
for string orchestra op! 6
World premiXre& ?hiladelphia 24 *ar /5%.
?hiladelphia @hamber String Sinfonietta
conducted by >abien Sevit9ky
/2"

L, have already written an entire string Huartet!
,t has five movements& the first one is fast the
second very slow the third very fast the fourth
slow the fifth in slow 4Y7 time! All the
movements are briefN 3 wrote Webern in a letter
to his teacher Arnold Sch0nberg on /4 +une
/5.5! ,t was indeed the brevity of the
movements both in this original version as well
as in the one that Webern prepared for string
orchestra in /525 that shocked his
contemporaries! ,n /522 at an ,S@* >estival in
Sal9burg it even came to a brawl initiated by the
composer Wilhelm <ros9 and the architect Adolf
=oos!

8an Wilson :/542;
||mena :/557;
@oncerto for piano and strings
World premiXre& =imerick 2 *ar /555
Ough Tinney ,rish @hamber Orchestra
/V"

NThe piece begins with a feeling of mindI
wandering with ideas coming into focus only to
be replaced by other ideas not unlike a +oycean
streamIofIconsciousness! As the piece
progresses the strongest ideas are returned to
sometimes being developed sometimes not! P
The string orchestra is always supportive of the
soloist and , have them muted throughout using
metal practice mutes in order to keep the
atmosphere as intimate as possible and also to
e#ploit the unusual timbre of these devices!N
:,an Wilson;

8an Wilson :/542;
|n |re||a, |n ven|o :2../Y2..2;
25
World premiXre& ?resteigne 26 Aug 2..6
?resteigne >estival Orchestra
conducted by <eorge )ass
/6"

The ,rish composer wrote his 5|r|n uar|e| No 6
:|n |re||a, |n ven|o; in 2../$ in 2..2 he made an
arrangement for string orchestra! ,n his
introduction to the original version he writes&
N*y si#th Huartet is a singleImovement work
bound up with ideas of loss and remembrance
particularly in relation to the 5Y// attacks which
took place Must before , began writing! The piece
is dedicated to my maternal grandmother who
died Must after , completed it!N

;<=;?<

:/V%43/7.5;
5cherzando
arranged for "ioloncello and strings
by *a# Sch0nherr :/522;
%"

Hans Erich Apostel :/5./3/5V2;
|p||aph op! 2% :/547;
/."

|ond|no |ocoso op! 2 :/5%%;
6"

var|az|one su||ar|a d| |apaeno :/564;
Do 2 from ||ver||men|o |or |ozar|
for E basset horns and strings
%"

||ver||men|o |or |ozar| is a collection of /2
views on the air ||n |adchen oder We|ochen
wunsch| |apaeno s|ch composed by /2
different composers to mark *o9art"s 2..
th

birthday! Each work can also be performed
separately! The complete edition is available on
hire!

Chem|ns |v :/5V6;
for oboe and eleven strings
World premiXre& =ondon /V Oct /5V6
Oein9 Oolliger oboe =ondon Sinfonietta
conducted by =uciano 'erio
/."

Chem|ns |v is based on the 5equenza v|| :/545;
for oboe solo! 'erio described it as a
commentary on the solo work in the sense that
certain harmonic aspects have been e#panded
and further developed! These hpathsN were right
from the start inherent in the original piece!
'erio raises the Huestion& NWhy do , insist on
working out and transforming the same musical
material\ ?erhaps it is a tribute to the idea that
nothing is ever completed! Even the completed
work is a ritual and a commentary on something
which came before of something that will come
later P like a Huestion that not only demands an
answer but also an e#planation further
Huestions and further replies! ,n Chem|ns |v the
harmonic phenomena and developments are
even in their continuing transformations related
to the permanent presence of a ZbZ which works
like a point of reference a turning point also
when the sound environment of the
transformations and the density of the sound
landscape seem to suck it up and destroy it!N

Ligi Boccherini :/V2%3/7.6;
Zwe| |enue||e
:Two *inuets;
edited by +osef Oellmesberger
7"

,arc(Antoine Charpentier :/4%23
/V.2;
Ouver|ure pour |e 5acre dun |veque
for strings and basso contino
with ad libD E +ltesB E oboesB bassoon
V"

Cr|s|s. 1houh|s |n a C||y :/547;
for two string orchestras and percssion
V"

Edison -eniso" :/5253/554
Crescendo e d|m|nuendo :/54%;
for harpsichord and /2 strings
World premiXre& 8agreb 'iennale Aug /54V
4"
%.

hThis e#perimental partly aleatoric piece was
marked by many surprising instrumental effects
but it remained music nevertheless and it kept
one"s interest throughout!N :Everett Oelm;

Girolamo Frescobaldi :/67%3/42%;
1occa|a
arranged for string orchestra by Aobert Schollum
:/56.;
2"

,arice Jarre :/52232..5;
Concer||no :/564;
for percssion and strings
%"

This is Do // of the ||ver||men|o |or |ozar|
commissioned by twelve composers to mark the
2..
th
anniversary of *o9art"s birth! The
composers were invited to contribute twelve
aspects of the aria ||n |adchen oder We|ochen
wunsch| |apaeno s|ch! See also under 'erio"s
)aria9ioni!

Ada|o and A||ero :/564;
World premiXre& 8agreb /4 >eb /564
@hamber Orchestra of 8agreb Aadio
conducted by Edouard van Aemoortel
5"

5p|e|e :/567;
=iederIcycle for baritone and strings
Te#t& )asko ?opa
@ontents& Nae|-5p|e|, ver|uhren, vers|ec|en,
Aschensp|e|, |anen, Nach dem 5p|e|
7"

1ro|s |anses :/56V;
for "iola and strings
World premiXre& 8agreb 2. Bec /56V
Stefano ?assagio viola 8agreb Soloists
conducted by Antonio +anigro
5"

|ch s|ne w|eder wenn es |a| op! /6/
:/566Y/564;
:, shall sing again when the day breaks;
words by Walther von der )ogelweide
for mi4ed chors and string orchestra or string
Huintet
World premiXre& =in9 /2 *ay /564
Bavid @hor @hamber Orchestra of the @ity of
=in9 conducted by Ernst Crenek
:published Mointly with Schott *usic;
%"

5ouven|r :/5V/;
4"

|ono|||h :/5V/;
for 27 strings
V"

5eranda|us|a :/5V/;
for "iolin and string orchestra !ith trmpet
and timpani
//"

||ne 5erenade m|| dem 3ec|ensch|a :/5V/;
:A Serenade with the @ymbal Stroke;
V"

Lars(Erik Larsson :/5.73/574;
r|e|ne 5erenade op! /2 :/5%2;
/."

N=arsson is marked by an attractive musical
originality! Ois |||||e 5erenade is clear and
pleasing in its form bright and of a nobility
which could remind one of *o9art if the themes
and the harmonies were not in a modern spirit!N
:Bortmunder 8eitung 2 *ar /5%V;

Georges Lent* :/546;
3|rrun :/55V;
from |ys|er|um (Cae|| enarran|. 7
for eleven strings
World premiXre& Sydney 2V Oct /557
Ensemble Antarctica conducted by *atthew
@oorey
5"
%/
LThe title 3|rrun :a word coming from one of
the Australian Aboriginal languages and
meaning Zstars"; reflects my fascination for the
vast empty spaces of the Australian landscape
with its radiantly beautiful night skies! P *y
overall aim was to try and write music that
would be as pure as possible& hence my
predilection for homophonic lines a result
perhaps of my love of <regorian chant!N
:<eorges =ent9;

#ol+ Liebermann :/5/.3/555;
Ch|nese |ove-5ons (/526;
for high "oiceB harp and string orchestra
@ontents& ||r |a| d|e |e||||e|| der |ampe weh,
W|e des meeres We||n, |er 5|rom ||o, Wenn
|ch an de|nem |unde h|nesun|en
6"

Fran* Anton ,aichelbeck :/V.23
/V6.;
5ona|a a ua||ro
TwoIpart composition arranged for
"iolin solos and string orchestra
by Wilhelm Weckbecker :/52%;
/."

Joan ,ann :/77%3/5V/;
Chanson e| ||ude op! AI7
7"

3a||ade for +lteB string orchestra and piano
:/5%5Y/52/;
World premiXre& 'asel 27 Dov /52/
7"

The original version was scored for flute and
piano composed for the <eneva ,nternational
>lute @ompetition! >rank *artin did not wish to
turn the 'allade into a standard competition
piece with the accent on technical demand 3 he
was out to compose a piece of genuine music
which would enable the young flautists to
demonstrate their musicianship and artistry in
addition to their technical prowess! ,n /52/
>rank *artin prepared a version for flute string
orchestra and piano! :'ased on programme
notes by *aria *artin;

Gio"anni Battista ,artini :/V.43
/V72;
|re|ud|o e A||ero
arranged for string orchestra by Aito Selvaggi
:/5%5;
6"

Joseph ,ar4 :/7723/542;
|er oesche|dene 5cha|er :/5/.;
:The Shy Shepherd;
for high "oice and string orchestra
to words by @hristian Weisse translated into
English by +ohn 'ernhoff
2"

Joseph ,ar4 :/7723/542;
||emon|es|sches vo||s||ed :/5//;
:>olksong from ?iemont;
for high "oice and string orchestra or string
Huartet! Words by *a# <eissler
/"

Joseph ,ar4 :/7723/542;
Wa|dse|||e|| :/5//;
:>orest 'liss;
Huartet! Words by Aichard Behmel
%"

Joseph ,ar4 :/7723/542;
Wo|ur :/5/2;
:What for\;
for medim "oice and string orchestra or string
Huartet! Words by ?aul Oeyse
%"

Joseph ,ar4 :/7723/542;
Am 3runnen :/5/2;
:'y the Well;
/"

Joseph ,ar4 :/7723/542;
3eenun :/5/2;
:Encounter;
2"

Joseph ,ar4 :/7723/542;
5endun :/5/2;
%2
:*ission;
Huartet
to words by ?aul Oeyse
/"

Joseph ,ar4 :/7723/542;
5|andchen :/5/2;
:Serenade;
Huartet
to words by ?aul Oeyse
2"

Joseph ,ar4 :/7723/542;
vene||an|sches W|een||ed :/5/2;
:)enetian =ullaby;
for medim "oice and symphony orchestra or
string orchestra with harp or string Huartet with
harp! Words by ?aul Oeyse English translation
by S! =angford >rench translation by *!@!
@alvocoressi
%"

Joseph ,ar4 :/7723/542;
||e ||eos|e spr|ch| :/5/2;
:The 'eloved is Speaking;
/"

Anthon$ ,ilner :/52632..2;
5|n|on|a |asqua|e op! 2/ :/54%;
for string orchestra and !ood!ind ad libD
7"

:/V643/V5/;
Cradua|e ad |es|um 5anc|a |ar|aN C) 2V%
+or mi4ed chors string orchestra and organ
4"

:/V643/V5/;
Ave verum corpus 3 motet C) 4/7
for mi4ed chorsB string orchestra and organ
2"

Gottlieb ,++at :/45.3/VV.;
Ar|oso
arranged for "ioloncello and string orchestra
by <aspar @assado :/522Y/526; instrumented
%"

5igel )sborne :/527;
|squ|sse / :/57V;
for eleven solo strings
World premiXre& 'ath 6 +un /57V
<uildhall String Ensemble conducted by
@harles Slater
V"

|squ|sse 2 :/577;
for eleven solo strings
World premiXre& @heltenham 2 +ul /577
@ity of =ondon Sinfonia conducted by Aichard
Oicko#
/."

|ommae a |anu|n|| :/55%;
World premiXre& =ondon 24 +an /55%
Scottish @hamber Orchestra conducted by
]oav Talmi
7"

5iccolH 0aganini :/V723/72.;
||na|e
arranged for string orchestra by *a# Sch0nherr
:/522;
%"

Ar"o 06rt :/5%6;
A||e|u|a-1ropus :2..7Y2./.;
Original =anguage& Aussian!
World premiXre& ,stanbul V +un 2./.!
%"

Ar"o 06rt :/5%6;
5||houe||e for string orchestra and and
percssion! Oommage J <ustave Eiffel!
World premiXre& ?aris 2 Dov 2./.
?aavo +Krvi Orchestre de ?aris!
V"

LThe first impulse to write this work came from
my spontaneous reaction to ?aavo +Krvisi firstI
class interpretations of my work which , had
heard on one of his @Bs! , called him
immediately to tell him of my enthusiasm and
%%
thus discovered he was about to take on a new
role as head conductor at the Orchestre de ?aris!
, was filled with the irresistible urge to write
something for this occasion for his "new
orchestra"! ,n the course of the telephone call
?aavo +Krvis agreed! , immediately thought of
<ustave Eiffel and his work of an homage to a
great architect! , was very happy to hear that the
orchestra reacted positively to my idea! A
splendid book of illustrations of the plans and
blueprints for the tower lay on my desk
captivating me! , was impressed and inspired in
many different ways by Eiffelis artistic vision by
his combination of sober rationality and
elegance! >rom the perspective of a composer
Eiffel"s tower has many features which compare
to the structure of a piece of music 3 the
connections between the structural elements
the transparency of the construction and much
more! Even stasis such an important aspect of
architecture is also a key element of a piece of
music! As regards my work 5||houe||e the piece
came out short and light like a dance a walt9
something di99ying 3 perhaps like the winds
which caress this pointed colossus!N :Arvo ?Krt;

Ar"o 06rt :/5%6;
5|a|u|| e| |om|nus :/55. 2.//;
for t!o choirs :SAT'; eight !ood!ind
instrments and string orchestra
World premiXre& *ilano /. Sept 2.//
Orchestra Sinfonica Da9ionale della AA, Torino
conducted by Tito @eccherini

Ar"o 06rt :/5%6;
Wenn 3ach 3|enen ezuch|e| ha||e :/5V4Y2../;
:,f 'ach Oad 'red 'ees;
for pianoB !ind GintetB string orchestra and
percssion
4"3V"

This homage to +ohann Sebastian 'ach
underwent several stages of transformation
before reaching its definitive form in 2../! The
various versions included a concertino for wind
instruments harpsichord and tape then one for
string orchestra and harpsichord$ later still four
string Huartets and two doubleIbasses$
eventually wind instruments piano and string
orchestra! L,t is a strangely whimsical world$
nothing in ?Krt"s new idiom prepares us for its
chromaticisms which seem to lie at an
uncomfortably obliHue angle to the tintinnabuli
scales and triads!N :?aul Oillier;
Ar"o 06rt :/5%6;
|ar| |n|erva||o :/5V4Y/556;
for clarinetB trombone and string orchestra
World premiXre& Stockholm Dov /556
@hristian =indberg Stockholms D]A
Cammarorchester conducted by )ladimir ?onkin
4"

?Krt wrote this version of |ar| |n|erva||o in /556
for the Australian @hamber Orchestra and
@hristian =indberg trombone as the main
soloist! The original version was composed in
/5V4 after the death of a friend! The underlying
musical material consists of two parts which
move strictly in parallel fashion in other words
the distance between them remains unchanged
3 hence the title!

Ar"o 06rt :/5%6;
Can|us |n |emory o| 3enjam|n 3r|||en
:/5VVY/57.;
for string orchestra and bell
World premiXre& Tallinn *ay /5VV
Estonian Aadio Symphony Orchestra conducted
by Eri Clas
4"

L,n the past years we have had many losses to
mourn in the world of music! Why did the date
of 'enMamin 'ritten"s death 3 Becember 2 /5V4
3 touch such a chord in me\ Buring this time ,
was obviously at the point where , could
recogni9e the magnitude of such a loss!
,ne#plicable feelings of guilt more than that
even arose in me! , had Must discovered 'ritten
for myself! +ust before his death , began to
appreciate the unusual purity of his music 3 ,
had had the impression of the same kind of
purity in the ballads of <uillaume de *achaut!
And besides for a long time , had wanted to
meet 'ritten personally 3 and now it would not
come to that!N :Arvo ?Krt;

Ar"o 06rt :/5%6;
5umma :/5VVY/55/;
6"34"

?Krt composed 5umma originally in /5VV! Still
living in his native Estonia censorship would
have made it impossible to call the work
L@reedN which was his original intention! The
title 5umma is a coded form of L@reedN! The
piece was arranged for string Huartet in /55.
%2
and for trombone Huartet in 2..7! The version
for string orchestra was prepared in /55/!

Ar"o 06rt :/5%6;
|ra|res
for string orchestra and percssion :/5VVY/55/;
/."

LThe tonal harmony appears to be simple and
transparent 3 still this music seems to hold a
secret it even appears to be unapproachable!
This is music without any ballast without any
effort any pompous gestures! ,t is marked by
great clarity and concentrates on a few
stubbornly recurrent ideas! ,t is music which
while it is about to turn silent starts to bloom
anew!N :Oans +oachim Schaefer;

Ar"o 06rt :/5%6;
ven| crea|or :2..4Y2..5;
for mi4ed choir and string orchestra!
Te#t& )eni @reator Spiritus
World premiXre& =ublinY?oland 2./.
@em *ansur =ublin ?hilharmonic Orchestra
@racow ?hilharmonic @hoir
2"

Ar"o 06rt :/5%6;
Wa|||ahr|s||ed :?ilgrims" Song; :/572Y2../;
for male choir and string orchestra
5"

LWhen my friend <rigori Cromanov the
Estonian film and stage director died in +uly
/572 it was like a bolt from the blue! Suddenly
an invisible rift had opened up between us 3
with me still on the side of time and him already
in the sphere of timelessness! *y |||r|ms 5on
is an attempt to overcome this insurmountable
gap through a gentle touch a greeting! ,
wanted the two worlds Oere and There to
merge in the music as contrasting layers 3 that
was the origin of the work! On the one side
there is the dynamism and mobility of the
orchestra 3 and on the other the static Huality
of the men"s voices reduced to a single pitch
with the serenity of a mountain! , will lift up my
eyes unto the hills PN:Arvo ?Krt;

Ar"o 06rt :/5%6;
|sa|om :/576Y/556;
World premiXre& 'erlin / Apr /556
Cammerorchester Unter den =inden
Andreas ?eer CKhler
2"3V"

The first version of |sa|om was composed in
/576 for organ but was withdrawn by the
composer! ,t reIemerged in /55/ as a string
Huartet composed to mark the 5.
th
birthday of
Alfred Schlee director of Universal Edition! The
version for string orchestra was composed in
/556! |sa|om 3 LpsalmN in English 3 is based on
a te#t in <lagolitic :Old @hurch Slav;!

Ar"o 06rt :/5%6;
|es||na |en|e :/577Y/55.;
for string orchestra and harp ad libD
World premiXre& 'onn 24 +un /577
Orchester der 'eethovenhalle conducted by
Bennis Aussell Bavies
4"35"

L?Krt has composed an adagio for strings and
harp a romantic but subtle nod to the earliest
days of the @hristian era! Three groups of
instruments are divided into canonic and
tintinnabuli voices& violas at centre stage first
and second violins to one side cellos and
doubleIbasses to the other the optional harp
providing a melodic undercurrent!N
:*ichael >leming;

Ar"o 06rt :/5%6;
|e|n We :/575Y/555 rev! 2...;
:*y ?ath;
for /2 strings and percssion
World premiXre& <ra9 2 +ul /555
Arco *usicale conducted by *ichael >endre
V"

LThe title of |e|n We ha| C|p|e| und
We||en|a|er is taken from a poem in the ||vre des
ques||ons by Edmond +abXs which describes the
moments of splendour and the moments of
tribulation that attend the spiritual path likening
them to the cresting waves and answering
troughs in a deep ocean swell! The music
captures this image to perfection with three
layers of melodicItriadic activity each mirroring
the other but moving at three different
speeds!N :?aul Oillier;

%6
Ar"o 06rt :/5%6;
Credo from the 3er||ner |esse :/55.Y2..2;
for mi4ed chors and string orchestra
2"

The buoyant setting of the Credo makes use of
rising and falling scaleIlike melodies and Nthe
seemingly random disposition of the te#t across
the musical phrases so that one pair of voices
will often end or pick up again in the middle of a
word while the other pair simply continues! ]et
there is of course nothing random in the
composition at all and in fact both pairs
:sopranoYalto and tenorYbass; are in leapIfrog
canon at the octave throughoutL! :?aul Oillier;

Ar"o 06rt :/5%6;
|ar| |ch . (|ay | . :/556Y/555;
for solo "iolinB bell in C sharp @ad libDA and
strings
World premiXre&
<staad *usic >estival 7 Aug /556
Edna *ichell violin @hamber Orchestra of
England conducted by ]ehudi *enuhin
World premiXre of the revised version&
<ra9 % +ul /555
<idon Cremer violin Cremerata 'altica
conducted by *ichael >endre
%"

@ommissioned by and dedicated to ]ehudi
*enuhin! On receiving the score *enuhin
replied to Arvo ?Krt on % >ebruary /556& LBear
@olleague very dear and wonderful @omposer ,
am so grateful to you for the lovely piece , have
Must received! ,t is beautifully melodic and even
has a part for solo violin! All my thanks! , see
that you took my suggestion of open strings
Huite literally and , shall play the very last chord
on open B and strings! Edna *ichell Moins in
thanking you! Bevotedly ]ehudi!N

Ar"o 06rt :/5%6;
|s|n|sches W|een||ed :2..2Y2..4;
:Estonian =ullaby;
for +emale choir or t!o +emale soloists and
string orchestra
2"/6N

Ar"o 06rt :/5%6;
|n spe for !ind Gintet and string orchestra
:2./.;!
World premiXre& @ardiffYWales 2./.
T_nu CalMuste ''@ Dational Orchestra of Wales

Ar"o 06rt :/5%6;
Or|en| & Occ|den| :/555Y2...;
World premiXre& 'erlin %. Sept 2...
=ithuanian @hamber Orchestra conducted by
Saulus Sondeckis
V"

NAs in his earlier instrumental works |sa|om
5||ouans 5on and 1r|sa|on Arvo ?Krt has used
a te#t as the structural basis for his composition
Or|en| and Occ|den| written in 2...! The
underlying musical idea is a monophonic line
which runs resolutely through the work
sometimes undisguised with the orchestra
playing in unison sometimes concealed in a rich
chord! With perfect consistency like links in a
chain tiny contrasting musical segments 3
oriental tinted monody and chordal density 3
converge yet produce a gently flowing stream
of music!N :Dora ?Krt;

Ar"o 06rt :/5%6;
|assaca||a 2..%Y2..V;
for one or t!o "iolinsB "ibraphone ad libD
and string orchestra
World premiXre& SaarbrQcken 2 +un 2..V
Cremerata 'altica soloist and conductor
<idon Cremer
6"

|assaca||a for violin and piano was
commissioned by the ,nternational )iolin
@ompetition in Oannover in 2..%! On the
occasion of <idon Cremer"s 6.
th
birthday in
2..V ?Krt arranged the work for one or two
violins vibraphone ad lib! and string orchestra!

Ar"o 06rt :/5%6;
|a pacem |om|ne :2..2Y2..4;
World premiXre& Tallinn 2 Dov 2..4
Estonian @hamber Orchestra conducted by
Andres *ustonen
4"

Ar"o 06rt :/5%6;
|a pacem |om|ne :2..2Y2..4;
World premiXre& Tallinn /7 *ay 2..V
Estonian ?hilharmonic @hamber @hoir
%4
Tallinn @hamber Orchestra conducted by Tgnu
CalMuste
4"

?eter Ruinn writes of the version for choir& NThis
engaging a cappella setting which takes the 5
th

century <regorian antiphon as its musical Zfons"
et Zorigo", possesses the same statuesHue
beauty contrapuntal elegance and measured
unfolding as |ar| |n|erva||o one of the first fruits
of ?Krt"s tintinnabuli style composed some %.
years earlier!N

Ar"o 06rt :/5%6;
|ur |ennar| |n memor|am :2..4;
World premiXre& Tallinn 24 *ar 2..4
Tallinn @hamber Orchestra conducted by
Tgnu CalMuste
V"%.N

=ennart <eorg *eri :/52532..4; was ?resident
of Estonia between /552 and 2../! 'y
profession he was historian filmmaker and
writer 3 a charismatic personality and a fine
orator! Ois country owes him a great deal for his
role in its swift reconstruction following fifty
years of Soviet occupation! When *eri realised
he was terminally ill he commissioned ?Krt to
write a work to be performed at his burial!
Accordingly the world premiXre took place as
part of *eri"s funeral service in the Caarli
@hurch Tallinn!

Ar"o 06rt :/5%6;
5||ouans 5on :/55/;
L*y soul yearns after the =ord PN :?salms
/%.Y/25;
World premiXre& AKttvikYSweden 2 +ul /55/
SilMan @hamber Orchestra conducted by
CarlIOve *annberg
6"34"

Silouan :/7443/5%7; was a Aussian monk who
entered the monastic community on *ount
Athos and spent the rest of his life there! ,n the
second half of the /5
th
century the monastery
came increasingly under the influence of the
Aussian Orthodo# @hurch! That is why Silouan a
young man without any formal education
Moined the Aepublic of *onks and devoted
himself to contemplation and a simple
industrious life! Oe was inspired to Mot down his
thoughts in the form of sketches and more
e#tended te#ts which have recently been
translated into a number of languages! Often
his writings were reminiscent in content and
form of psalms! ?Krt"s composition is based on
the first of these Lnew psalmsN!

Ar"o 06rt :/5%6;
Chr|s|mas |u||aoy :2..2Y2..4;
for +emale choir or one "oice and string
orchestra!
=anguage& Aussian
Te#t Source& The 'ible St =uke 2&V
2"

#iccardo 0ick(,angiagalli
:/7723/525;
1ro|s m|n|a|ures op! 2 :/5.5;
for piano and string orchestra
7"

?ickI*angiagalli was an ,talian composer and
pianist of @9ech e#traction! Oe was director of
the *ilan @onservatory :/5%43/525;! According
to <rove LOis best music whether for the
theatre or not tends to alternate between the
basic moods of gentle nocturnal contemplation
and sparkling mercurial e#uberance!N

Henri 0osser :/52532..5;
1ra|| :/542;
for /6 string instruments
World premiXre& @ologne 4 >ebruary /54%
Aheinisches Cammerorchester conducted by
Thomas 'aldner
/."

Helmt #iethm/ller :/5/23/544;
|omanze op! 24 :/52%;
6"

|an|as|a op! 2 :/545;
for string orchestra with obbligato piano
World premiXre& 'ottropY<ermany /6 Bec 2./.
Cai A0hring 'ottroper Cammerorchester!
7"

|and|er :/5V5;
%V
for /% strings
World premiXre& 'adenI'aden /7 Apr /57.
Ensemble /% conducted by *anfred Aeichert
/."

The piece was composed in Aome first for piano
and subseHuently for string ensemble! L,t is an
attempt to come to terms with a traditional form
:the =Kndler; and traditional means :the triad; in
a new way! 'asically we are dealing with a
pianissimo sound bordering on audibility
interrupted only once through a frightening tutti
in Zfff". ?recisely because of its roots in the
Z=Kndler" this music makes it absolutely clear
that the 3|edermeyer bliss associated with this
dance is gone once and for all!N
:Wolfgang Aihm;

Na|ure |or|e 5|||| A||ve :/5V5Y/57.;
Ski99e fQr /% Streicher :A Sketch for /% String
,nstruments;
World premiXre& 'adenI'aden /7 Apr /57.
Ensemble /% conducted by *anfred Aeichert
5"

L+ust as in a still life obMects stand directly ne#t
to one another with nothing in between 3 in
other words still! They are nameable musical
obMects dances! Bead nature as dance Must
about alive! Or& nature is already dead and what
is still alive is in motion& who is still
lookingYlistening\ The first step& na|ure mor|e 3
literally the words mean dead nature or to be
more precise :in a musical sense;& a last almost
lifeless but stubborn Huiver! This na|ure mor|e is
no still life! Na|ure |or|e is first and foremost a
piece of music a song and a dance!N
:Wolfgang Aihm;

Ceo||d :/572Y/55V;
for high trmpetB E percssionists and string
orchestra
World premiXre of the revised version&
=ucerne V Sept /55V
Oakan Oardenberger trumpet Stockholms D]A
Cammarorkester conducted by +oseph Svensen
5"

The first version of Ceo||d was composed in
/572 and was dedicated to ?aul Sacher who
conducted the world premiXre in 8urich in /57%!
,n his introduction Aihm described the work as a
fantasyIpiece which stands by itself with no
references to any other composition! ,t is a
musical moment grown freely and without any
LespressivoN! LCeo||d is an e#tract from my
fantasy world! , always write "Ceo||d is P" and ,
still do not know!N

No||urno :/754;
for strings and harpD The part for solo "iolin
can be played by the concert master!
World premiXre& )ienna 2 *ar /754
?olyhymnia conducted by Ale#ander von
8emlinsky
2"%.N
:published by 'elmont *usic ?ublishers;

*usicologists were aware of the e#istence of a
Sch0nberg manuscript for harp and strings ever
since the early /55.s! ,t was part of the
*oldenhauer Archives which had found its way
to the Washington =ibrary of @ongress! ,t was
not until 2... however that Antony 'eaumont
succeeded in identifying the work as the
No||urno composed for a concert of the
amateur orchestra where Sch0nberg himself
played the cello! The composition first appeared
in print in 2../!

Fran* Schreker :/7V73/5%2;
|n|ermezzo :composed around /5..;
7"

|n|ermezzo is the third movement of the
|oman||sche 5u||e, premiXred in )ienna in /5/.!
The Suite was as Schreker wrote in an
autobiographical note Ltoo wild for the timesN!
L,t very nearly won the 'eethoven ?ri9e of 2...
kronen but the Mudges could only agree on an
honourable mention and after a ?hilharmonic
readIthrough under >eli# *ottl the work was
reMected for performance by the orchestra"s
members!N :@hristopher Oailey;

Fran* Schreker :/7V73/5%2;
5cherzo :/5..;
4"

L>ran9 Schreker"s |n|ermezzo and 5cherzo for
string orchestra are part of a late nineteenthI
century revival of the classical and preIclassical
suite and serenade! Such gatherings of short
%7
clearly structured movements often lyric in
inspiration represented a decided reaction
against the ponderous pretensions of the
symphonic poem and sheer bulk of many postI
Wagnerian symphonies!

LThe |n|ermezzo and the 5cherzo were in all
likelihood composed toward the end of /5.. or
the beginning of /5./! One clue to this dating
comes from the two works" autograph title
pages which give the composer"s name as
"Schreker" rather than "Schrecker" a spelling
adopted only after /5..! The similarities of style
scoring as well as the nearly identical format of
the aforementioned title pages suggest that they
were conceived together most likely for
submission to a competition!N
:@hristopher Oailey;

Fran* Schbert :/V5V3/727;
A||ere||o raz|oso B 72/Y%
edited by <aspar @assadj
2"

|un| r|ech|sche 1anze :>ive <reek Bances;
:/5%/Y/5%4;
for string orchestra or string Huartet
5"

The dances merge elements of <reek folk music
with the composer"s highly individual approach
to dodecaphony! This approach resulted in a
surprisingly simple harmonic idiom! The colourful
instrumentation together with asymmetric
rhythms make this a very attractive piece!

r|e|ne 5u||e :/522; :=ittle Suite;
World premiXre& )enice 'iennale /2 Sept /56%
Orchestra of =a >enice conducted by
>r! @aracciolo
7"

?remiXred four years after the composer"s death
the r|e|ne 5u||e was welcomed by those
attending the )enice 'iennale as a genuine
discovery not Must of the work but also of Dikos
Skalkottas himself! The positive response wrote
a critic confirmed Arnold Sch0nberg"s view that
Skalkottas was one of his most talented pupils a
composer of great individuality! At eight
minutes the suite is one of the shortest pieces
that emerged after Skalkottas" death!

Lci&an ,ari&an Sker&anc
:/5..3/5V%;
|ra|ud|um :/527;
V"

Gilbert 'inter :/5.53/545;
Wa|zer Ouver|ure :/564;
V"

|||||e |s|and |hapsody :/564;
for +lte or "iolinB harp and strings
2"

|u|ch Car|||on :/564;
for "ioloncello soloB harpB celesta and strings
%"

Arthr Willner :/77/3/565;
Concer|o op! %V :/524;
5"

Arthur Willner is now more or less forgotten! ,n
the archives of Universal Edition there is a highly
laudatory review of a piano piece of his written
by Aomain Aolland! There are also positive
reviews of a portrait concert marking his 6.
th

birthday in /5%/! Apparently Willner lived and
worked withdrawn attracting little attention 3
which is why that concert was hailed as a
genuine discovery! The review of the Deues
Wiener Tagblatt recalls the premiXre of the
Concer|o for string orchestra conducted by >ran9
Schalk as one which should have attracted more
attention than it received! ?erhaps Willner ought
to be given a second chance P

Eric 9eisl :/5.63/565;
5cherzo and |uue :/5%%;
World premiXre& )ienna /. *ar /5%7
7"

%5
-omenico 9ipoli :/4773/V24;
12 Canzone da||Orano
for oboe and string orchestra! Arranged by Aito
Selvaggi

Works for String Ensemble

Beat Frrer :/562;
1|me Ou| 1 :/556;
for +lteB harpB 2 violins 2 violas 2 violoncellos
World premiXre& Bavos /2 Aug /556
Eva >urrer flute <abriele *ossyrsch harp
Ad hoc ensemble conducted by 'eat >urrer
/4"

Beat Frrer :/562;
1|me Ou| 2 :/556;
for +lteB harpB 2 violins 2 violas 2 violoncellos
World premiXre& 'adenYSwit9erland 5 *ay /554
?hilip +undt flute Dotburga ?uskas harp
@hamber Orchestra of the Bavos *usic >estival
conducted by Carel 'oeschoten
/2"3/6"

L>our beginning lines of a ?etrarch sonnet 3
images of rigidity 3 are e#plored by listening 3
like spirals they become distant to an imaginary
centre 3 here movement means shifting the
perspectives or continuous deformation of initial
constellation 3 Must as the perspectives and light
conditions change for a walking observer in a
church the rhythmical or harmonic
constellations for the listener change PN
:'eat >urrer;

Unhe|ma| :2..5;
for /5 string instruments
World premiXre& BornbirnYAustria 25 Apr 2..5
Unhe|ma| 3 music for /5 strings was
commissioned by the *Qnchener
Cammerorchester with the support of the Ernst
von Siemens *usic >oundation and is now
reiceived its first and second performances by
the chamber orchestra! ,n this piece the
Austrian composer uses microIintervals and
harmonic series! The concert halls where the
piece is performed also reHuire a particular
layout& the three groups of musicians sit
separately from one another on the stage! The
double bass which plays a special role is
positioned between the first and second groups!
The new work is also about the Alps in the
Austrian state of )orarlberg!
>lorian Olters

2.
,artin Haselb1ck :/562;
w||| n|ch| mehr we|den |equ|em |ur |rns|
Iand|
6 pieces for string ensemble
Te#t& >riedericke *ayr0cker

Do /& Ndiesmal ist er 9u weit gegangenL$ Do 2&
Ndenn der Kste bewegungL$ Do %& Ndas du
umarmen m0chtestL$ Do 2& Nach ich mache die
wasserstube 9ur wQsteL$ Do 6& Nbist gan9
sausenN
World premiXre& 8wettlYAustria 2../
*artin Oaselb0ck Wiener Akademie!

-aris ,ilhad :/7523/5V2;
||x|uor J cordes op! V2 :/52/;
4"

The original version of this work for ten
instruments is part of *ilhaud"s 5|x 5ymphon|es
|or sma|| orches|ra 3 the ||x|uor is 5ymphony No
4! This is a neoI'aroHue piece of music with an
overture reminiscent in its taut rhythmic world of
'ach"s 3randenour Concer||! ,n Chora|e, a solo
doubleIbass conducts a dialogue with a tutti
based on two themes whereas in the closing
||udes there is a Zfugato" in two sections
consisting of two subMects which start out a fifth
apart in contrary motion demonstrating
*ilhaud"s contrapuntal skill!

Ar"o 06rt :/5%6;
|Aooe Aa|hon :2..2Y2..6;
for sopranoB 2 violas and 2 violoncellos
/6"

The original version :2..2; is scored for soprano
and eight violoncellos! ,n addition to that and
the version for soprano four violas and four
violoncellos there also e#ists one for soprano
and baritone :or alto; soli SA choir and string
orchestra composed in 2..7! :>or details see
the section on works for string orchestra;!

,ario 0eragallo :/5/.3/554;
|us|ca for 2 Huartets :/527;
World premiXre& Aome 2. Apr /527
/7"

The work can be performed by two string
Huartets or string orchestra! >or details see the
section on string orchestra pieces!

|rsche|nun 5||zze uoer 5chuoer| :/5V7;
:Apparition 3 A Sketch about Schubert;
for three violins three violas three violoncellos
and ad libD piano
World premiXre& 'adenI'aden /4 +un /5V7
Wolfgang Aihm piano Ensemble /%
conducted by *anfred Aeichert
/2"

The work begins with a long section in unison 3
for Aihm a kind of magic formula to conMure up
Schubert to see if he is willing to make an
appearance! The music seems to be marking
time$ again and again there emerge turns which
evoke the LSchubertianN idiom! Everything is
moving in a circle 3 an attempt to break out fails
right at the start! ,t is like a dream where you
cannot get rid of a picture tormenting you!
?erhaps the piece formulates the Huestion
whether nature threatened with death is still
alive and how one can e#ist 3 and compose 3 in
the face of the e#perience of petrifying!

5||||es 5|uc| :2...; :Ruiet ?iece;
for baritoneB 2 violins 2 violas 2 violoncelli
to the poem |eeres|u|| by Oermann =en9
World premiXre& Oanover /7 Oct 2...
]aron WindmQller baritone
)ogler Ruartet Arditti Ruartet
7"

5||||es 5|uc| 2 :2..%; :Ruiet ?iece 2;
for l$ric baritone or tenorB horn 2 violins 2
violas 2 violoncellos / doubleIbass
to the poem An s|ch by ?aul >leming
World premiXre& *unich 22 *ay 2..%
Thomas 'auer baritone$ *unich @hamber
Orchestra
conducted by @hristoph ?oppen
/."

The two 5||||es 5|uc| works can be performed as
a diptych!

2/
Arrangements for String Orchestra

1he ||s| exc|udes arranemen|s made oy |he
composers |hemse|ves.

>?<=

Heinrich .aminski :/7743/522;
Wer| :Work; :/5/V3/52V;
Arranged for string orchestra and obbligato
solo "iolin
from the composer"s string Huartet in >Isharp
minor by Aeinhard Schwar9
4."

:?<=

5|r|n u|n|e| in @ maMor op! /4%YB 564 :/727;
Arranged for string orchestra by +ulius =ehnert
22"

E;<=C?<

Al+redo Casella :/77%3/52V;
Concer|o op! 2. for string Huartet :/52%Y/522;
arranged for string orchestra by Erwin Stein
:/525;
22"

Georg ,atthias ,onn :/V/V3/V6.;
Concer|o |n C ||nor
arranged for solo "ioloncello or harpsichord
and string orchestra by Arnold Sch0nberg :/5/%;
2/"

Ale4ander "on 9emlinsk$
:/7V/3/522;
5|r|n uar|e| No 4 op! 26 :/5%4;
arranged for string orchestra by Simeon
?ironkoff +r! :/552;
26"

;;<=E?<

Johann Christoph Friedrich
Bach :/V%23/V56;
|es amours de 5||vandre in < maMor
for "iolin and "ioloncello solo and strings
)ariations on an old >rench folk song in a free
arrangement by *a# Sch0nherr :/522;
/2"

Bla Bartk :/77/3/526;
5u||e paysanne honro|se
arranged for +lte and string orchestra
by ?aul Arma :/56V;
/%"%.N

The original work by 'art[k is part of the
1 |unar|an |easan| 5ons

|yr|c 5u||e :/524;
*ovements / 6 and 4 arranged for string
orchestra with optional
soprano part in the last movement
by Theo )erbey :2..6;
World premiXre& =eiden 2 >eb 2..4
Aenate Arends soprano Amsterdam Sinfonietta
conducted by @hristoph ?oppen
/6"

L>rom previous e#perience :my adaptation of
the 5ona|e op 1 for piano :/5.7; for orchestra
:/572;; , know that the enormous intensity of
the music asks for a great diversity of ideas
regarding te#ture and individual part writing! On
a more basic technical level this means that the
double stops in the Huartet version are usually
replaced by soloYtuttiIdivisi or ordinary divisions!
The adding of the double bass line often has
conseHuences for the other parts! These Zsi#
rather short movements of a lyrical rather than
symphonic character" :as 'erg called it; are easier
to perform with larger groups than with a string
Huartet! The piece is enhanced by the richness of
sound and clarification of structure!N
:Theo )erbey;

Arcangelo Corelli :/46%3/V/%;
Concer|o
arranged from a sonata from op! 6
for organ and string orchestra
by <ian >rancesco *alipiero :/52V;
22
/%"

Florian Gassmann :/V253/VV2;
5ymphony in ' minor
arranged for E oboes and string orchestra
by Carl <eiringer :/5%.;
/V"

|cho :/V4/;
'ased on the Bivertimento Do / in EIflat maMor
Oob! ,,&%5
arranged for string orchestra by +en0 Tak(cs
:/5%2;
/%"

Heinrich .aminski :/7743/524;
|ue (|uue :/52V;
from Wer| for string orchestra
arranged by Aeinhard Schwar9
/7"

Ar"o 06rt :/5%6;
|ra|res :/5VV;
arranged for tromboneB strings and percssion
by @hristian =indberg :/55%;
//"

Ar"o 06rt :/5%6;
|ra|res :/5VV;
arranged for gitarB strings and percssion
by *anuel 'arrueco :2...;
//"

1r|oI5ona|e :/576;
arranged for string orchestra
by +uri 'ashmet :/575;
2."

The noted viola player arranged Schnittke"s
string trio of /576 for string orchestra!

5|r|n uar|e| No J :/57%;
arranged for string orchestra by ?eter *anning
:2..4;
/4"

.arol S*$mano!ski :/7723/5%V;
5|r|n uar|e| No 2 op! 64 :/52V;
arranged for string orchestra by Aichard Tognetti
/5"

Antonio 'i"aldi :/4V73/V2/;
Concer|o |n C ||nor op! 5Y// A) /57a
:/V/V3/V/7;
from L=a @etraN
arranged for "iolin and string orchestra
by Alfredo @asella :/5%V;
/6"

;<=;?<

:/V%43/7.5;
5cherzando
arranged for "ioloncello and strings
%"

Johann Sebastian Bach :/4763/V6.;
|uue in A minor 'W) 522
by +osef Oellmesberger :son;
6"

5u||e in ' minor 'W) /.4V
arranged for +lte and string orchestra
by Oans von 'Qlow
7"

v|o||n 5ona|a in E minor 'W) /.2%
by +osef Oellmesberger
4"

Bla Bartk :/77/3/526;
1hree |ondos on |o|| |e|od|es
by Antal Bor(ti :/54V;
7"

Bla Bartk :/77/3/526;
|oman|an |o|| |ances
by Arthur Willner :/5%V;
4"

2%
Ld!ig "an Beetho"en
:/VV.3/72V;
|er russ (1he r|ss in A maMor op! /27 :/722;
to words by @hristian >eli# Weisse
arranged for high "oiceB E clarinets and strings
without doubleIbass
by >eli# von Weingartner
2"

An |eu|on :/5.V;
arranged for high "oice and string orchestra
by @hris <ordon :2..4;
World premiXre& SurbitonYUC /7 Dov /5V7
Cathryn Oarries soprano$ Cingston ?hilharmonia
Orchestra conducted by Walter Wur9burger
2"

An |eu|on :/5.V;
arranged for medim "oice and string
orchestra by @hris <ordon :2..5;
2"

An |eu|on a setting of a poem by the /7th
century <erman poet +ohann Wilhelm =udwig
<leim was one of 'ergis youthful compositions!
,n all 'erg wrote over 7. songs before and
during his studies with Sch0nberg most of
which he suppressed! Oe did relent in the case
of seven songs which were published in /527!
These 5even |ar|y 5ons have received
uncountable performances! This was not to be
the fate of An |eu|on which first remained
known only to 'erg"s wife Oelene and possibly
one or two others! Oowever it did appear in
print in /5%V in a biography of 'erg written by
his pupil Willi Aeich! Aeich included it as a
ZHuaint" e#ample of 'erg"s early style! ,t wasn"t
until the /57.s that it was published by UE! The
arrangement , have made :Universal Edition UE
%%7//; is intended to be performed with the
seven published songs and enhances the cycleis
lateIromantic sumptuousness!N :@hris <ordon;

Girolamo Frescobaldi :/67%3/42%;
1occa|a
arranged for string orchestra by Aobert Schollum
:/56.;
2"

Christoph Willibald Glck
:/V/23/V7V;
5ymphony in < maMor
arranged for t!o horns and strings
by Oans <(l :/5%2;
V"

Gsta" ,ahler :/74.3/5//;
||ano uar|e| :/7V4;
arranged for string orchestra by
Ale#ander Asteriades :/555;
/."

Fran* Anton ,aichelbeck
:/V.23/V6.;
5ona|a a ua||ro
after twoIpart compositions arranged for
solo "iolins and string orchestra
by Wilhelm Weckbecker :/52%;
/."

Gio"anni Battista ,artini
:/V.43/V72;
|re|ud|o e a||ero
arranged for string orchestra by Aito Selvaggi
:/5%5;
6"

5ikola& Andre&e!itsch #imski(
.orsako! :/7223/5.7;
var|a||ons on a 1heme oy C||n|a
arranged for oboe and string orchestra
by Tam(s Sulyok
7"

-omenico Scarlatti :/4763/V6V;
Concer|o 3 after a sonata by Scarlatti
arranged for string orchestra and organ
by <ian >rancesco *alipiero :/527;
V"

Johannes Schenk :/V6%3/7%4;
C|ue
%"

A||ere||o raz|oso B 72/Y%
2"

22
#ichard Strass :/7423/525;
5erenade op! V :/77/;
arranged for string orchestra by Erwin Stein
/."

#ichard Strass
:/7423/525;
5erenade op! V :/77/;
arranged for string orchestra pianoB harp and
harmonim ad libD
by Oermann =ey
/."

'oth arrangements are based on Aichard
Strauss" early 5erenade for /% wind instruments
also published by Universal Edition! Oermann =ey
also prepared a version for violin and piano!

String Orchestra Catalogue

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