Die Quellenlage zu Beethovens 3. Klavierkonzert c-Moll op. 37 ist schwierig, weil das Autograph der Klavierstimme nicht erhalten ist. Jonathan Del Mar legt eine überzeugende Neuedition vor, bei der er jedoch in Details um Abwägungen nicht herumkommt.

Solomon, Handel’s late oratorio in English, sparkles not only because of its stirring plot, but also through musical tableaus of great variety. Now this major work has been published as part of the Handel Complete Edition.

The first volume of the New Anton Bruckner Complete Edition contains the “Linz Version” of his 1st Symphony, based on the latest evaluation of the sources. The work will be performed using this edition for the first time at the Salzburg Festival.

(21.3.2014) Swiss composer Othmar Schoeck’s orchestral output is comparatively small. Conductor Andreas Delfs, who is extremely familiar with Schoeck’s major music-theatre work Penthesilea, has added to his output with a 25-minute long Suite. In this, extended orchestral excerpts have been sensitively brought together to create a continuous short instrumental version of the opera. Delfs has also modified the unusual original instrumentation to make the work more performable, without sacrificing the characteristic tonal idiom. Mario Venzago conducts the Düsseldorfer Symphoniker in the first German performance of this Suite on 30 May, and on 1 and 2 June at the Schumann Festival.

At first glance, Beethoven’s opus 19 presents few editorial problems. And yet, Jonathan Del Mar’s new edition corrects mistakes which have existed throughout all previous editions.

Performances  of the symphonies of Bohuslav Martinů are increasingly numerous these days. By contrast, his earliest orchestral endeavours remain obscure.  Bärenreiter Praha, however, is determined to throw new light upon them, having recently added three to its Hire Library.

(25.11.2013) Pier Paolo Pasolini’s Le ceneri di Gramsci (Gramsci’s Ashes), is the starting point of Manfred Trojahn’s latest work for baritone and ensemble. Pasolini’s text seems, says Trojahn, “to be a burning necessity to me now. For we, like Pasolini at that time, have chosen art and not socially useful work.” A visit to Antonio Gramsci’s grave in Rome, the guiding intellectual force of the Italian Communists, became the starting point for a contemplation of ideology and passion. Dietrich Henschel and the Ensemble musikFabrik, conducted by Peter Rundel, give the first performance of the monodrama on 13 December 2013 in Rome at the “Nuova consonanza” Festival. The Austrian premiere takes place on 18 December in the Konzerthaus in Vienna.