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

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

Played by Attila Sztán, recorded in Budapest Music Center, 29 March 2022

Máté Balogh: Three Jim Carrey Speeches

Máté Balogh's Sinfonia Nr. 1 played by the Győr Philharmonic Orchestra, led by Martin Rajna. Was recorded by the Bartók Rádió, May 2022 (concert recording)

Balogh: Sinfonia Nr. 1 - Omaggio a Giuseppe Haydn

Concert recording, 20/07/2024, Bratislava, recorded by Krisztina Megyeri. Performed by: Anna Lachegyi - viol, Róza Lachegyi - baroque violin, Dóra Pétery - harpsichord.  
Cover photo credit: George Logan.

Favourite Tunes

Máté Balogh's new industrial soundpainting piece entitled 'East-German Car-Phantasy' depicts the engine sounds of Trabant 601, IFA W50 and Wartburg 353. Tuba solo: Roland Szentpáli. The Zsolnay Wind Orchestra is led by András Major. The concert was recorded in April 2024, at the Kodály Centre, Pécs, Hungary.

Balogh: Ostdeutsche Autofantasie

Double

Performers: Silvana Saldaña - Javier Bravo

California Traum (for two guitars)

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

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

Reverie(2014) Op.7  Mohammadreza Azin

Reginald Smith Brindle (1917 - 2003)

MEMENTO
in two movements

Cuando  yo  me  muera,
Enterradme  con  mi  guitarra
Bajo  la  arena.                                    F.  García  Lorca



Dino  Dornis  :  Gitarre
Mai  2017

Reginald Smith Brindle - Memento

"Kalotana" - Konzert für Bratsche und Kammerorchester
Solistin: Mandy Tung Ou-Yang
Dirigent: Han Kyeol Yoon
Projektorchester mit Studenten der Musikhochschule München

2016-05-13_21: drei UA fuer Kammerorchester

"Kalotana" Konzert für Viola und Kammerorchester

Staccato - Quartett

Altflöte: Ting-Wei Chen
Klarinette: Marvin Balzer
Violine:  Ronja - Sophie Putz
Violoncello: Caio de Azevedo

Staccato - für Altflöte, (Bass-)klarinette, Violine und Violoncello

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

1. Evil Man

Bence Hartl: Variations on a Theme of Liszt - (M)aradi szvit

for solo guitar

I. Szechenyi
II. Blackwell
III. Bott

This piece was composed as a part of a mixed-media project inspired by the hungarian revolution and the political events of 1848-49. The piece varies a theme from Franz Liszt's Historical Portraits No. 1 (R. 112). 

Performed by Dora Cserenyec
Recorded and mixed by Sandor Arok

Graphic art video by Jenõ Lévay available at:

https://youtu.be/MQdeNQL_xjI

Budapest, 2020

I. Szechenyi

ÂKÂSHA, for string chamber orchestra performed by Ensemble Allegria on 18 September, 2020, in Oslo, Norway. Recording by Wolden Lyd.

The meaning of Âkâsha derives from a description that I found in the book Raja-Yoga And Patanjali's Yoga Aphorisms written by Swami Vivekananda in 2012:

“The whole universe was composed of two materials, one of which is called Akasha. It is the omnipresent, all-penetrating existence. Everything that has form, everything that is the result of combination, is evolved out if this Akasha. It is the Akasha that becomes the air, that become the liquids, that becomes the solids; it is the Akasha that becomes the sun, the earth, the moon, the stars the comets; it is the Akasha that becomes the human body, the animal body, the plants, every form that we see, everything that can be sensed, everything that exits; it can not be perceived, it is so subtle that it is beyond all ordinary perception; it can only be seen when it has become gross, has taken from. At the beginning of creation there is only this Akasha. At the end of the cycle the solids, the liquids, and the gases all melt into the Akasha again, and the next creation similarly proceeds out if this Akasha”.

This became a source of inspiration for a new work, exploring continuous interwoven sonic entities of gradually changing timbre based on textile patterns. My intention was to create distinct patterns of timbre, which develop from one noisy material into seven independent timbral layers, later transforming into one monolithic soundscape.

The work is dedicated to Anton Lukoszevieze.

I. Szechenyi

BenceHartl

Related tracks