Janáček’s Glagolitic Mass has an extremely complicated genesis and presents an intricate set of problems for an editor. Now, an authoritative edition has been published as part of the complete edition.

A scholarly-critical edition of Gabriel Fauré’s Requiem is an editorial adventure, since the composer expanded the work several times after the premiere of the “small” version of 1888. The edition in the new Fauré complete edition offers a convincing solution.

Christopher Hogwood edits Mendelssohn’s overtures and symphonies for Bärenreiter. In this article he reports on the problems associated with the sources, and the conclusions for his edition.

“Something wonderful which suddenly appears before you.” The picture of the “beautiful vision” is a metaphor for the aura of sound created in Matthias Pintscher’s Violin Concerto Mar’eh. The chamber music-like transparency is now further unfolded in a version for violin and ensemble. The Ensemble intercontemporain gives the premiere of this version on 23 March 2016 in the Paris Philharmonie with Hae-Sun Kang (violin). The orchestral version can be heard before on 10–11 March in Geneva with the Orchestre de la Suisse Romande, also conducted here by the composer. The soloist is Renaud Capuçon.

Charlotte Seither has been commissioned to write Recherche sur le fond for the Ensemblia Mönchengladbach Festival. It is an orchestral work which examines polyphonic linearity. “What interests me is the radical quality of a form which is completely at a standstill in itself, and in which everything grows apart, without its architecture having to set down all too evident markers,” says the composer. The Niederrheinische Sinfoniker give the premiere of the work, conducted by Graham Jackson, on 10 June in Mönchengladbach. Seither’s All’aperto for 16-part chamber choir is performed on 7 and 9 July by the SWR Stuttgart Vocal Ensemble conducted by Celso Antunes at the RheinVokal Festival in Koblenz, and then in Stuttgart.

In two important new compositions Heinz Winbeck has paid tribute to major antecedents: Lebensstürme [Life’s storms] after Schubert and Jetzt und in der Stunde des Todes [Now in the hour of death] as a reflection on Bruckner’s 9th Symphony.

L’ubica Čekovská’s orchestral piece Adorations receives its first German performance on 24 April in Gera conducted by Howard Arman. The Slovakian composer is Composer-in-residence with the Philharmonic Orchestra of Altenburg-Gera in the 2010/11 season. Čekovská’s most important future project is her opera Dorian Gray after the novel by Oscar Wilde. It will be premiered at the Slovak National Opera in Bratislava in a production by David Pountney on 22 November 2013. The libretto is by the British writer Kate Pullinger, and the conductor is Lukasz Borowicz.