1'HE TEX'I'S: POEMS BY IiKNS'I' MEIS'I'EK A N D AI,KUN MOLL
Etiiden (Auszug) Elysium Komet Kartusche
5 . irn Aufwind leuchten die Fesseln
1. Nacht, wo der Diamantberg glf nzt und Rabe und Nachtigall zur Schaukel machen den werdenden Mond.
3. ich lote die sturzende Tiefe in den gefesselten Sprung
4. in Gold gefalSt die Lapisnacht am Kratermund der Skarabien
lichtgestrandet treiben die Fliigel
zur Dunkelhaft vergliihten basaltgefiederte Schwingen
fossile Glut ritzt ihre Schwerkraft in die Sonnenzeichen
7 -. Diese langen
Rege nf aden enden nicht in deiner Hand.
kaltgeschlagen ufert die Ebbe
Fadenkreuze fanden GewiEheit
[zielsuchtige]
Wo das Kreuz ist der Sanduhr, wurzelt der Blitz
die Feuerprobe im Wendekreis des Nichts
jenseits der Blendung
(A.M.)
Duftschwere noch in seligen Gefilden
Die Sorge: als Wind bespringt sie den Rand erblickter See, verdingt sich, als Segel dern Grunde.
mein Schlifenbrand will euch die Sohle wetzen
Inbrunst verseigeln am Flugelblei der Silbe
Woran gebrichts? Kind sagt dirs nicht noch Vogel
Mohnstaub hinfallig ausgespien
Zeit zielsiichtig sonst, spricht plijtzlich dir von Raurn.
verwurzelt eure Blitze
Mit schonen Knien kommt Vernunft vorbei
(A.M.)
(E.M.)
@ 1977 by Hermann Luchterhand Verlag GmbH & Co KG, Darrnstadt and Neuwied (Meister: Ausgewahlte Gedicbte 1932.1976)
'This word does not appear in the published version of the poem; the composer's setting is of a n earlier verslon @ 1987 by Edition Klaus Isele, Eggingen (Moll: Mauersegler)
Der Grund kann nicht reden
6. Der schreibt kein Tagebuch, 7. Grund, der aus Totem und Toten
steht, der die Saulen aus Wasser tragt und die immer geschlagene Flotte der Worte . . .
Er, behauft mi tver ro t t und Dunkel, kehllos Ohnsilbiger unter rudernden Flossen, fahrenden
Kielen!
StoB ich hinab? Ich griffe im Finstern wohl wie faulen Zunder phonizischen Kindes Gewand, gelostes Lotblei, irrendes Echo, das Wrack einer Laute . . .
Tauche ich? Ich suchte mit Lampen, ich finde ein Logbuch, welches jedoch von des Totseins Bewandtnis nicht spricht, sondern allein von des Unterganges Beginn: WIR SINKEN. WIR WERDEN GRUND.
Kalypso
Sirenenschliff
Steinschlag verziickt die rachenden Zikaden eintiinig fiebergetrieben Aufruhr im Brennglas der Fliigel
Windrisse iiber den Diinen
schrill meiB eln die Peitschenhiebe Stimmbruch in glaserne Schwingen sprunghaft erlischt das Begehren verijdet bleichen die Segel
Medusen treiben an Land
In.rel der Kykluden
(A.M.)
Pythia Persephone
8. 1' du reimst diedunkle Saat vergebens zur Neige liebte mich die Fackel die Todesrunen warf das Licht ausbluten will das Unsichtbare
raffgierig vergilbte der Marmor tragt noch die Worte zur Schau stimmlos
bis Lava dir die Sichel bleicht
Delphi
Griinspan auf lichten Anemonen
Wundbrand des Schwerelosen
wirft Anker iiber Nacht
(A.M.)
9. entfliigelt treiben meine Ruder
steil ruht der Abgrund bleicher Spiegel
mit fahler Iris sank die Flut
im Widerschein Hochzeit der wildernden Kristalle
das Irrlicht blaut mondsteinenstriickt
ein Gletscherbrand in atemloser Halle
der Taube Schrei am Flammenriff der Stalaktiten
in lodernder GewiBheit eisgeborgen versteinert das Gefieder
WeiBdorn in bliitenloser Trauer
die Netzhaut ri Mundraub frohlockt
an schattenleerer Mauer
( A M ) 'See Performance Notes (Voice) >This word does not appear in the published version of the poem; the cornposcr'c cettinx i 01 C I I I earlier version
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Violot~ccllo Voice
.. Glissando. T h e small note in brackets indicates the pitch to be reached at the end of the notated duration. Do not re-attack
i Natural harmonics are notated at sounding pitch, except where more detailed indications are necessary 'Half-harmonic' fingering: pressure of finger on string should be halfway between harmonic and normal fingering. Tone-
w production will be unstable and diffuse Gettato. T h e rapidity of the rebounding action is indicated graphically, but the exact number of rebounds need not be observed precisely
Finger percussion. Strike string sharply with fingertip in the 7 position indicated Exaggerated vibrato, almost a (narrow) wavy glissando, rapid and irregular
Grace-notes: see remarks for Flute and Oboe
Harpsichord
(9) Mordent. T h e sniall number indicates the interval between - the main note and the upper note. A small '9' represents a +, major ninth, and a small '7', a major seventh. T h e same (7 principle applies to inverted mordents
Grace-notes: see remarks for Flute and Oboe
Dynamic markings indicate not only amplitude but also appropriate articulation; thus occasionally the dynamics change even though no keyboard modification has been marked. T h e 4' register should not be used unless specifically indicated
au-,-v-.-., J Each syllable is followed by a dotted line unless it is the last f syllable of a word, in which case it is followed by a solid line. Dotted lines (even over rests) represent word continuity: the words are to be ' thought through'
------- * Transition from one sound to another
" rr " Clearly rolled Italian 'r', akin in effect to fluttertonguing
Glottal stop; the following sound begun by a n explosive 3 release of air in the larynx In Song 8 an extra system (one line) has been added beneath the stave in some places, to indicate explosive consonant sounds. These sounds should normally be very short, and cut off abruptly with glottal action as if under high pressure. Black noteheads indicate slightly-voiced sounds; white
I z t a----- noteheads indicate unvoiced consonants
T h e letters A and B represent two structurally distinct texts - and types of texture which alternate throughout the
movement. T h e voice should aim to move from one to the other with as little sense o f transition as possible, giving the impression of a 'schizophrenic' division of function. In sections marked A, the dynamic p p p p indicates that the voice should be almost inaudible, though careful observance of the articulation should ensure that the flow of tension is always maintained. This applies even when the harpsichord is playing at a dynamic level which may render the voice completely inaudible. The lack of inter'iction between the two performers is intended
Y Breathy sound (pitch scarcely audible) f Qw.ri purlando; some admixture of breath sound
In Song 9, all consonants and vowels should be separated. T h e first vocal section presents only consonants, and every effort must be made to avoid colouring these with vowels. Each consonant should abut the next with n o transition, giving a percussive effect which will sometimes merge with the hard, dry sound of the claves
T h e voice and harpsichord may be amplified slightly to enhance their effect. T h e amplification must be carefully regulated, however, to avoid the emergence of any characteristic sonorities associated with amplification
Brian Ferneyh oagh
boe
ETUDES TRANSCENDANTALES 1 Brian Ferneyhough
NachfL wo- der,
Edition Peters No. 7310 @ Copyright 1987 (this edition) by Hinrichsen Edition, Peters Edition Ltd., London
Wo 1 d u L huz~ist- der- Sand--~uhr,
sub. agitato 14 r 4
I
I der I Blih.1
Die Sor---dge;~ 7 SIP I drn Hfltdr bra----
1 R
Cello
+ ) (A) un poco meno mosso
/M
meno mosso
H psd
r
Cello
non rail.-.-.-.-.-.-,
- JJJ I1
# C Sop. t J. / Y I
Flute
presto enigmatic0
Soprano
I T abbastanza
marc. marc. PP.t?P-P.'?,P- ' i n p
i ZW?.P-e- E??' i n p ==-o [ p y ~ f
.. -
I l ombraso I 0) /marc.in ' ! 3- I aPpena ; t ' ; vrbraro rn p9 simile + -- i I 8:f- :
3 I H='-L- ---'-~ 1 I I V Y 7 T dr r 0 n A -1 / . . n>
marc in- 0
FI.
SOP
Alto Flute
Cor Anglais
Cello
Soprano
11 die n Fes se i
A. FI.
C.A.
Cello
Sop.
+
Hpsd
Tempo 1 >= 63
6 +
secro A A
cresc -.
der nus tern- und der
1 I foul---- --ew Zunder
1331 Picc.
Ob.
H psd
Sop.
. -. . . -
---------.. ,j'---- dpf - blei - - - - ---------[he --------- n(n )- die
Sop.
p-?=-?P mftp-=- TZqT $,Llrp-=5?f-p f vf v* P-"f S f . - ~ - f f l - f v - = m f -
I
Ob.
Cello
r
Sop.
.I psd
4 2 5 2 inquieto 1
I ! Sop. I 1
18
casionally obscured.
HoM main note long enough t o I (*)a tablish i h pitch then slide I II I evenly over remainder of value. I
en f fliigel t tret ben meine Ruder
stei l ruht der Abgrund blelcher Spiegel
mit fahler Ir is sank d ie Flut
im Widerschein Hochzeit der wildernden Kris tul le
das Irr l icht blaut mondstelnentrwkt
e in Gle fscherbrand in atemloser Halle
der Taube Schrei am Flammenrl f f de r S ta lak t i t en
in lodernder Gewissheit I e isgeb w qen vers t e i e r t das G e f ~ e d e r
Weissdorn in bl i i tenloser Trauer
d ie N e t z h a u t r i s s Mundrau b f roh lock t
an scha t t en lee re r Mauer
Eishohle I
I UI.. 61 89
/ n bliss. pas. ~ o r d .
ICoda-Quodl ib~t l for C l y f u s G o f f ~ a l d
1 . Superscriptio Solo Piccolo S t ~ ~ d y Score P-7289. Performing Score P-728Oa
2. Carceri d'lnvenzione I Chamber Orchestra (16 players) Study Score P-7291. Performing materi'll 011 hire
3 . Intermedio al la ciaccona Solo Violin Performing Score P-7346
4 . Carceri d'lnvenzione 111 Solo Flute and Chamber Orchestra (20 players) Study Score P-7292a. Performing material on hire
T H E CARCERI D'INVENZIONE CYCLE
BRIAN FERNEYHOUGH
5 . Etudes T~atzscendatztules/Zntermedio Z Z Flute, Oboc, Sl~prarlo, H,~rpsichord, Violoncello Study Score P-7310. Performing marcrial on hire
0 . Carceri d'lnvenzione ZII Fittee11 Wind 111srr~1ments and Percussion ( 3 players) Stuciy Score P-729.1. Performing material on hire
7. Mnemosytze U;iss I;lure and pre-recorded Tape t'erformi~~g Score P-7.147. Tape on hire
l'hc. . ~ l t e r n , ~ t ~ v e i c ~ - i ~ o ~ i s ot t l r~s \vork, Cilrterz d'lrzvenzioize I16 (1985) tor solo tlute ~ n d C'irrcri d'lirlcii:toi7c 11; ( 1087) for flute and pre-recorded rdpe. do not form part of the cycle
Etudes Transcendantales 1 a 4Etudes Transcendantales 5 a 9