Enjott Schneider, born in Weil am Rhein in 1950, is one of the leading German composers of film music with over 600 soundtracks and numerous awards to his name. His music for Schlafes Bruder, Stalingrad, Herbstmilch and many other films will never be forgotten. Schneider’s compositional output also includes full-length operas, oratorios, symphonies and concertos alongside chamber music, sacred works and organ music. As professor of music theory and later as Germany’s first professor of film music, he passed his knowledge to innumerable students at the Munich Musikhochschule. He has also displayed equal enthusiasm in his long-term post as a board member of GEMA [German performing rights association] (chairman from 2012 to 2017) and as president of the Deutscher Komponistenverband [German Association of Composers] to support his fellow composers.
Schott Music offers its heartfelt congratulations to Enjott Schneider on the occasion of his 70th birthday on 25 May 2020 and has recently published a new catalogue of his works.
Nikolai Rimsky-Korsakov’s penultimate dramatic composition was as ambitious as its exceedingly long title suggests. From 15 May, Dutch National Opera Amsterdam’s production of The Legend of the Invisible City of Kitezh and the Maiden Fevroniya, conducted by Marc Albrecht,will be available to watch on OperaVision. Director Dmitri Tcherniakov, who was also the stage designer for the production, created a visual language that is both realistic yet magical, and which was highly acclaimed by the international press.
The four-act opera is set in the mythical city of Kitezh and is likely to be inspired by a thirteenth century duchy at the Volga River. Legend has it the city disappeared while under siege by enemy forces. Rimsky-Korsakov combined this Russian version of the Atlantis myth with a retelling of the invasion of the Mongol army during the thirteenth century.
Nikolai Rimsky-Korsakov: The Legend of the Invisible City of Kitezh and the Maiden Fevroniya – “A Russian Atlantis”
This war is the backdrop for a love story between the virtuous farmer’s daughter Fevroniya and the Duke of Vsevolod. Their marriage is prevented by the assault of the enemies during which Vsevolod is killed. In her grief, Fevroniya prays for help for the people of Kitezh and a golden fog surrounds the city rendering it invisible to the invaders. Ultimately, Fevroniya also dies but the spirit of her fiancé brings her back to the hidden city where the opera culminates in a Wagnerian ascension of the loving couple.
Prior to the opera’s premiere, Rimsky-Korsakov faced his own personal Kitezh when in 1905, as riots against the Tsar spread throughout Russia, he supported protesting students and was suspended from his professorship. Only when public opinion shifted in his favor and he was reinstated could the first production of The Legend of the Invisible City of Kitezh and the Maiden Fevroniya find its way to the stage.
Marc Albrecht, conducting the ambitious and beautifully sounding Nederlands Philharmonisch Orkest, was not only able to form an arc of tension over three long and unshortened acts of the masterfully crafted score. He also miraculously balanced the epic inner act and the lyric framing acts in a way that the action on the stage and in the pit came to perfect harmony. The production, subsequently to be shown in Paris, Barcelona and Milan is an ambassador for the huge masterwork by Rimsky-Korsakov which hopefully leads to a general revival of his operas. – Uwe Schweikert (review in ‘Opernwelt’)
The production, which is also available on DVD and Blu-ray, will be available to stream on OperaVision until August. The performance material is available from M.P. Belaieff publishers, exclusively distributed by Schott Music.
Composer Krzysztof Penderecki passed awayrecently at his home in Poland, aged 86. As a tribute to the legacy left by one of the world’s foremost composers, Hamburg State Opera have made their original production of Penderecki’s The Devils of Loudunavailable to stream on demand for free from 13 April. This world premiere production from 1969 is part of a series of videos from the era of the legendary intendant Rolf Liebermann that the theatre is offering during its present shutdown. It was directed by Konrad Swinarski with costume and stage design by Lidia and Jerzy Skarzynski, and conducted by Henryk Czyz.
The opera is set in the small French town of Loudun, a showplace for sensational occurrences in 1633-34 that were extensively documented and gained renown around Europe, regarded with a mix of fervent repulsion and voyeurism. Urbain Grandier, the village priest of Loudun, was accused in 1633 of having bewitched the nuns, above all Prioress Jeanne of the newly founded Ursuline-Cloister. Under torture he admitted to regretting his lapsed lifestyle and having had relationships with two women – one of whom expected a child from him – but refused steadfastly to confess to his “Devil’s Work” despite “proofs” of the same. In the summer of 1634 he was burned at the stake. For years afterwards the obsessions of the nuns occupied doctors and exorcists, the events ending only as Cardinal Richelieu withdrew his financial support of the cloister.
Krzysztof Penderecki: The Devils of Loudun – an opera about tolerance
The trial against Urban Grandier was included in François de Pitaval’s collection of famous criminal cases. This source, along with the autobiographical recollections of Prioress Jeanne from 1644, and two reports of the trial from 1634 and 1693, were used by Aldous Huxley in 1952 as the basis for his non-fiction novel, The Devils of Loudun. Eight years later John Whiting dramatised Huxley’s writings, and this was the starting point for Penderecki’s libretto (translated into German by Erich Fried).
For Penderecki, The Devils of Loudun is a work about tolerance and intolerance. Grandier was the victim of political intrigue, where even Jeanne was not really his enemy, but a victim of religious-political fanatics; her erotic neuroses exaggerated by Richelieu’s handiwork into a necessary possession by the Devil. – Wolfram Schwinger
This world premiere production will be available on Hamburg State Opera’s streaming service until 27 April.
Through the myriad compositional styles György Ligeti explored between the 1940s and the 2000s, the composer’s strict focus on form and instrumentation always remained at the forefront of his work. Among the best examples of this is undoubtedly hisKammerkonzert (Chamber Concerto) from the middle period of his output. Exactly 50 years ago, on 5 April 1970, Friedrich Cerha and his ensemble ‘die reihe’ premiered the first two movements of this work in Baltimore. The third movement followed shortly after, premiering that May in Vienna, and the concerto’s final movement was first performed the following October in Berlin.
The scoring of Kammerkonzertfor thirteen players sits at the midpoint between chamber music and a more symphonic texture. The work is highly varied, encompassing passages of extreme density and contrasting sections where individual instruments emerge from the ensemble with exposed melodic lines reminiscent of Schoenberg and Berg’s expressive twelve-note writing, or of virtuosic cadenzas.
György Ligeti – Kammerkonzert: from failure to standard repertoire
The four-movement work is a concerto in the sense that all 13 players are equal and have virtuoso solo tasks. Rather than frequent changesbetween soli and tutti, there is constant concerto-like cooperation. The parts always flow simultaneously but use different rhythmic configurations and tempi. […] The world premiere of the completed Chamber Concerto in 1970 was a complete failure. Critics wrote that this work massively fell behind my second string quartet, its predecessor. However, as time went by, more and more ensembles performed it multiple times. Nowadays, it is a standard repertoire work because its instrumentation is very fitting for groups like the Asko ensemble. All these things are impossible to anticipate for a composer. – György Ligeti
In advance of Ligeti’s centenary on 28 May 2023, we invite you to explore his music further. We’ve created an extensive playlist with detailed insights exploring Ligeti’s work –follow the link below to find out more.
With the death of Krzysztof Penderecki, the music world has lost an outstanding representative of the generation of composers who received their original impulses from 20th century avant-garde. As early as the late 1950s, Penderecki looked for and found new possibilities of compositional expression in the tension-filled area between noise and music. Thus, he unsettled the conservative concert audience, yet at the same time opened new artistic horizons and reached the forefront of the European avant-garde. After turning away from his early sound experiments, Penderecki was said to have taken a neo-Romantic turn. Unlike any other composer of his generation, he drew both criticism and admiration for his development as a composer. In the mid-1980s, he found himself in an exposed position right in the middle of the postmodernism discussion. However, Penderecki never followed a purely Orthodox movement. For him, the equation of avant-garde and tradition was no contradiction. He rather believed in the aesthetics of synthesis: ‘I have spent decades looking for and finding new sounds. At the same time I have studied forms, styles and harmonies of the past. I have continued to adhere to both principles …’. It was works like his Symphony No. 7 Seven Gates of Jerusalem, the opera The Devils of Loudun, the Polish Requiem and the monumental St. Luke’s Passion that made him one of the most internationally admired and frequently performed contemporary composers
One of the last representatives of the large-scale form
Anyone who listens to the St. Luke Passion from 1966 today, with a distance of time, will not only discover experimental ways of composing but also find traditional elements in this work. It is not least the distinctive a cappella settings that revealed Penderecki’s close ties to historical composition techniques. Over the decades, the dense clusters of early works thinned into tonal structures, with complex sound surfaces taking second place to a rhythmically and melodically accessible score. Reminiscences to the late Romantic tradition of Bruckner, Mahler, Shostakovich or Strauss were chosen deliberately. ‘I am one of the last representatives of the large-scale form who writes everything: symphonies, operas, oratorios, concertos and chamber music. I work like a 19thcentury composer who had to know everything, even conducting.’
In numerous compositions, Penderecki embedded extra-musical content in; his sacred compositions often testify to his strong Catholic faith. With his music, he also set political accents time and again. The instrumental work Threnos was dedicated to the victims of the catastrophe of Hiroshima, the piano concerto Resurrection to the events on 11 September 2001. In the Polish Requiem Penderecki established connections to his native country in different ways. Lacrimosa was commissioned by the Polish trade union ‘Solidarnosc’ in 1980, other parts were written by the composer in memory of the victims of Auschwitz and the Warsaw Uprising. When the composer received the news of the death of Pope John Paul II in 2005, he added Ciaccona in memoria Giovanni Paolo II. Penderecki never minced matters, not even when he was accused of embracing the aesthetics of Socialist realism in a Polish press campaign after the world premiere of Resurrection.
Faith and fugaciousness
For decades, Penderecki worked in close friendship with outstanding soloists. The composer’s catalogue of works contains numerous solo works for artists such as Anne-Sophie Mutter (2nd violin concerto Metamorphosen, among others), Boris Pergamenshikov (Concerto grosso) and Mstislav Rostropovich (Concerto per violoncello ed orchestra no. 2). He effectively learned instrumental tone colours and performance techniques by listening, and gave the performers as much space for development as possible. As Penderecki also wanted to share his love of music with the following generations of composers, he built the European Krzysztof Penderecki Music Centre not far from his country estate in Lusławice which has become a meeting place for musicians from all over the world.
In his eighth symphony Lieder der Vergänglichkeit, in which Penderecki set texts of famous poets on all aspects of the subjects ‘forest’ and ‘tree’ to music, he managed to combine his two great passions: music and his private arboretum where he collected more than 1,700 different kinds of trees. Just as the list of his commissioners, dedicatees and countless awards and distinctions provide information on his recognition in the international music world, so the trees collected by the internationally acclaimed conductor on his concert tours tell of his great love of and his close affinity with nature. After his seventh and eighth contributions to the symphony genre, Penderecki finished his 6th Symphony with the subtitle “Chinese Songs” for the world premiere in Guangzhou in 2017. Films like “The Shining”, “Shutter Island” or “Katyń” brought his music to the silver screen and home televisions worldwide.
Krzysztof Penderecki died on March 29 in Kraków, Poland.
With almost every opera house and concert hall around the world closed, we focus this week on a recent production of Hans Werner Henze´s opera The Bassarids, currently available for free on the online platform OperaVision. Reviews of Barrie Kosky´s staging and Vladimir Jurowski´s musical direction were splendid so this is a fantastic opportunity to explore the depths of this opera, considered a pinnacle of not only Henze´s dramatic output but of the entire mid-century classicism in opera.
The libretto for The Bassarids, written by W. H. Auden and Chester Kallman, is based on Euripides’ Bacchae; it tells the story of Pentheus, the new ruler of Thebes, banning the cult of Dionysus before being unwittingly drawn into the revelry by Dionysus himself, disguised as a stranger. Pentheus is eventually killed by his own mother, who has mistaken him for a wild animal, before Dionysus reveals his true identity and demands adoration from the Thebans for his revenge against the tyrant. The one-act opera’s large instrumentation and sophisticated libretto make The Bassarids an ambitious project. With Dionysus and Pentheus embodying two extremes of human existence, there is great potential for reference to the present day.
Today I consider The Bassarids, which I now understand to a far greater degree and hold much dearer than when I was composing the work, to be my most important music theatre work. It is […] still relevant for us, but specifically addresses questions associated with the years around 1968: what is freedom and what is bondage? What is repression, what is revolt and what is revolution? This is all in fact demonstrated, insinuated and suggested by Euripides. The multiplicity and richness of relationships, the tangible sensual relationships between the ancient civilisation of this Archaic period and our time are captured in Auden’s text; Euripides is transposed into our time in a manner which could not have been better achieved with the best possible stage production of the original Greek play, as we are constantly reminded of our distance from a different, long-gone civilisation. – Hans Werner Henze
The video will be available to stream on demand until 13 April and a final performance of the Komische Oper Berlin production is scheduled for 26 June.
The COVID-19 pandemic is an ongoing challenge faced collectively around the world. At present, our greatest concern must be to safeguard your health and that of our employees while doing what we can to prevent the continued spread of the virus. We will continue providing our services to you as best we can as the situation evolves and are currently able to serve all orders, products, and services without limitations. Any new developments will be announced across our website and social media channels.
You can reach all at Schott using the usual phone lines and email addresses. We urge you to take care of yourselves and send our best wishes at this difficult time. Through a collective we will navigate this unprecedented challenge together. We all share a love and passion for music – it will guide and help us.
“For me, it is vital to move and inspire individuals through music, listen to them and reflect on their problems.”
The composer and viola player Volker David Kirchner who was born in Mainz devoted himself to this artistic statement throughout his life.
Thirteen music dramatic works form the core of his comprehensive compositional output, including Gilgamesch which was premiered within the framework of the EXPO Hannover in 2000, but he has also composed two symphonies and a wealth of other compositions for orchestra, string orchestra and solo concertos. Kirchner’s catalogue of works additionally displays an opulent collection of vocal compositions, among them larger-scale pieces such as the Missa Moguntina (1993) composed for the city of Mainz.
Kirchner was however especially devoted to chamber music, enriching the repertoire with numerous works in a variety of formations, chiefly in classical genres including string quartets, piano trios and solo instruments with piano accompaniment.
Kirchner died in Wiesbaden on 4 February at the age of 77 following a brief serious illness. Schott Music is grateful for very many years of friendly cooperation.
Schott Music is thrilled to announce that Lei Liang has been awarded the prestigious University of Louisville Grawemeyer Award in Music Composition for his orchestral work A Thousand Mountains, A Million Streams.
In two movements, A Thousand Mountains, A Million Streams meditates on the loss of landscapes of cultural and spiritual dimensions and implies an intention to preserve and resurrect parallel landscapes, both spiritual and physical. Norman Ryan, Schott Music New York, comments:
Lei Liang’s richly expressive compositional voice reflects the depth and diversity of human experience. Th e exquisite fusion of narrative, symbolic, and lyrical forms in his music heightens our consciousness of the world around us and invites us to embrace a universal humanity. All of us at Schott are deeply proud of Lei Liang and heartily congratulate him on this welldeserved honor.