Here we curate works of Universal Edition's new composers

New UE composers and works

Les Mains Nues by David Chaillou played by Moises Fernandez Via

Georg Streuber-Chraniuk, baritone
Markus Syperek, piano

The 'Kaddish' prayer is one of the central and best-known texts within Judaism. It is considered as a Jewish Prayer for the Dead and for Mourners and is recited at Jewish funerals as well as at the anniversaries of a death or at memorial events. Death and Mourning do not as such appear in the text; the Aramaic and Hebrew words speak more of a glorification of God and God's forthcoming Kingdom - words which should traditionally provide comfort for the mourners and strengthen them for their continuing lives.

The Kaddish has however also  a further function and is recited more frequently in traditional Jewish services; here it serves always as a division between different sections of the service text, as the conclusion of a reflection or meditation, and also as a form of transition and division between different themes. Special about the Kaddish is that it may only be used in a liturgical context when there is a 'Minyan' present, a quorum of at least ten Jewish adult males. 

Max Doehleman has now set this multi-layered traditional mourning song with the methodology of a Lied. The basic mood is melancholy, as is appropriate to the main theme - the setting should however not illustrate total hopelessness; the listener should instead experience a communication direct to the soul despite all the sense of loss and sorrow. A Kaddish that (as the prayer text itself indicates) reflects also the continuity of life and the cycle of arrival and departure. As well as the moment of grief the music can also beas an expression of transition or change.

Max Doehlemann: Kaddisch

Continuing from my piece “The Time To Run”, this track is all about what happens when you have succeeded in the goal of starting a new life. The excitement, relief, and thrill. All entwined in the ongoing hard work and forever changing ideas but never faltering determination for a great life.

From the updated version of The Score (Part One). The Score features over an hour of soundtrack themes from the gentle opening through to full and epic hollywood.
 
Download at Bandcamp: http://dexterbritain.bandcamp.com/

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To license this music for your project please contact The Music Bed, or see dexterbritain.co.uk for information.

Having Run

Radmila Bocev, violina / violin
Božo Banović, klavir / piano

Recorded in 2007

Sheet music available at https://www.universaledition.com/en/Works/Robots/P0213639

Roboti / Robots

Performed by Nikola and Zeljko Starcevic.

Inqualieren - for two guitars (2004)

Mauro Giuliani - Grand Duo Concertant op. 85 - Allegro

Dusan Bogdanovic - Prelude

Astor Piazzolla - Histoire du tango - Nightclub 1960

For Flute, Clarinet in Bb, piano, violin, cello

Unknown album (7/4/2016 2:41:3

Reverie(2014) Op.7  Mohammadreza Azin

Ana Radovanovic: mezzo-soprano
Neda Hofman: MIDI keyboard
Srdjan Sretenović: electric violoncello

Svetlana Savić: O vukovima i vozovima

Tales Of The Macabre no.I  for Piano

Ivan Brkljacic - Eleganza Nuova

Claudia Antonelli ( harp) Ensemble Algoritmo dir. Marco Angius 

The word RICERCARE comes from the instrumental music composed in Italy in XVI and XVII centuries.  Reworking, revisiting, reinventing: these words can help us understand the mindset of a composer transforming and excavating the ruins of his musical memory to recreate an entity of sound.
This is of course not a matter of transcribing or arranging (there are in fact no references, but only archetypal musical devices from those long-ago times.). Rather, it is a case of adopting lexical elements extrapolated from their original context and utilized in a new syntax (words of an ancient language immersed in an extremely modern narrative construct), reconstituting them through  the filter of modern times.

RICERCARE is almost an imaginary portrait of something pre-existing, which we have completely transfigured within ourselves, to give it a different appearance that no longer belongs to the original. In the past few years it has often occurred to me to compose in this direction.  Perhaps the most important experience for me in this vein has been composing An Imaginary Portrait for ancient instrument ensemble (commissioned by Luciano Berio for the Accademia di Santa Cecilia in 2000). In this, material from Girolamo Frescobaldi’s first songbook (written about 1630) is freely superimposed, interwoven and transfigured in myriad ways, to tonally recreate a galaxy of sound both “ancient and true,” yet “new and false.”   


FABRIZIO DE ROSSI RE - RICERCARE PRIMO per arpa e quartetto d'archi

Composed by Juan Arroyo and played by Omar Nicho.
Live at Quipu 2019, Paris

1. Evil Man

Kompozicija za komorni orkestar i glas prema pjesmi E.A.Poea "The Raven"
Nekim instrumentima su dodijeljene uloge koje su podijeljene na 2 pozitivne i 2 negativne s čime se zadaje početni dramatički balans koji se tokom kompozicije mijenja… Lenore predstavlja solo violina, Tama se materijalizira u solo violoncellu, Pripovjedača utjelovljuje bariton, a sama ptica Gavran se krije u klarinetu...

Roboti / Robots

Božo Banović

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