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→ Performances
From this World's Black Earth Concert cycle of 17 pieces for 2 recorders, chitarrone, viola da gamba, and harpsichord and 16 poems about exile (ca. 85 Min.; comp. & FP 1992) Poems of: → Zafer Senoçak, → Erich Fried, → Mazisi Kunene, → Odia Ofeimun, → BahadurTejani, → Suleman Taufiq, → René Schwachhofer, → Ferreira Gullar, → Martin Gumpert, → Nelly Sachs, → Hasan Dewran, → Noémia de Sousa, → Nicolás Guillén, → Alberto Vanasco, → Şiir Eloğlu and one poem of the Yoruba dedicated to the → camerata moderna → Download legend pdf 300 kB Download of music at the single pieces The pieces No. 5, 6, 7, 8, 9 and 11 are composed in commission for the Town of Oldenburg for the awarding the Carl von Ossietzky-Preis 1992. They were first put together with the title „Sechs Stücke mit Lesetexten“ (“Six Pieces with Lyrics to Read“) and edited in the documentation for the Carl von Ossietzky-Preis, Edit. of the Stadt Oldenburg, Kulturdezernat: Bemmann, Helga: Kurt Tucholsky - Ein Lebensbild. Sassin, Horst: Die Robinsohn-Strassmann-Gruppe 1934-42. Charakterinseln im Schlammsee des Dritten Reiches. Holzberg, Oldenburg 1993. The pieces of music are to be performend allone. If the cycle is performed comletely the poems should be spoken between the pieces. Introduction
The music reflects the lyrics without interpreting them, takes up text motifs to concentrate its own associations, but leaves the strangeness of the lyrics and their message open. First of all, they want to be taken as condensed human statements, whose necessity is hardly comprehensible, even suppressed in this country - the pogroms of Hoyerswerda, Rostock-Lichtenhagen, Mölln and Solingen speak a clear language. They want to be heard, perceived. That's why the music wants to open. The individual pieces and poems→ 1. Bottomless in Expectation for 2 recorders (sopr in C, alto in F), chitarrone, viola da gamba and harpsichord
auch am Zaun ragen die Äste von Garten zu Garten geben sich die Blätter zu einem Wald → 2. FleetingReflexiveRelation - for recorder (tenor in C)
Kann der Kulturschock bei Begegnung mit fremden Kulturen den Schock verringern den mir meine eigene bringt? → 3. FerventRetort - for chitarrone, viola da gamba and harpsichord
Europe You laughed at the blind men But you yourself were blind. Struggling in this great night. Children have inherited the fire. They blow ist flames to the skies Burning others in their sleep. → 4. Bitter Sediments - for 2 recorders (voice flutes)
And how ca I sing When they stuff cobwebs in my mouth spit the rheum of their blank sense of direction in my eyes - who will open the portals of my hope in this desultory walk? → 5. Distraught Toward One Another for 2 recorders (alto in G, voice flute), chitarrone, viola da gamba and harpsichord
Only one solace: there have been others too, lingering in that twilight, who shed home and country and at times colour → 6. Open Eyelid from the Depths - for viola da gamba
squashed like an insect sent into exile they make him into a refugee they are looking for him → 7. Roots of Stone - for 2 recorders (tenor in C) and chitarrone
Ich trage das Schandmal der Armut Durch meine Träume treiben die Verfolgten und Elenden. Mich berührt der Aussatz der Erde - Meine Stimme füllt sich mit Haß. → 8. Spring Crush - for viola da gamba and harpsichord
auch die Früchte die wir nicht essen werden machen den Abend (Euren Abend, an dessen Rand ich stehe) → 9. The Salt Of The Rose - for chitarrone
Euch ist die Macht geraubt, euch zu erschrecken Euch ist der Ton versagt, um aufzustöhnen Euch ist das Glück versagt, vor Scham zu weinen. → 10. Where to Pause? - for 2 recorders (alto in G), chitarrone, viola da gamba and harpsichord
We are so sore
that we believe we are dying when the gutter curses us. The gutter doesn’t know it, but it cannot bear such a burden, is not used to seeing a volcano of pain erupting in it. → 11. Tricking from Dreams for 2 recorders (alto in F), chitarrone, viola da gamba and harpsichord
The thunderstorm of poverty broke Took the lives of bradless people with it Split their destiny off from Anatolian soil And washed them up on foreign banks → 12. Lack of You - for 2 recorders (voice flute, tenor in C) and viola da gamba
For I’m nothing but a shell of flesh Where Africa’s revolt congealed Ist cry pregnant with hope. → 13. On an Inner Road - for harpsichord
Ohne uns zu kennen, werden wir uns am Hunger erkennen, an der Tuberkulose und an der Syphilis, an dem an schwarzer Börse gehandelten Schweiß, an den Kettenresten, noch immer der Haut verhaftet → 14. Carved into the Heart for 2 recorders (alto in F, voice flute), chitarrone, viola da gamba and harpsichord
Die Wasser der Inexistenz dürfen nicht weiter ansteigen Die schweren Alkohole des Vergessens dürfen nicht länger fließen die langsamen Schamröten des Verbrechens dürfen nicht länger schweigen → 15. Possible Succession - for recorder (sopr. in C)
Zurück Auch die Gedanken müssen mitgenommen werden die Gedanken an Sehnsucht und Wärme man braucht sie nicht mehr Doch es bleiben andere Gedanken die an Hohn Schweiß und Verachtung Diese lassen sie zurück denn sie gehören hierher → 16. bedeutlichkeitshalber - for chitarrone and harpsichord
Incantation to Cause the Rebirth of a Dead Child Death catches the hunter with pain. Eshu catches the herbalist in a sack. (...) The black soil of the earth is on the farm. The red soil of heaven is in the grave. You my child, Oludande, you born-to-die, Return from the red soil of heaven. Come and eat the black soil of this world Yoruba-Tradition → 17. Until One Voice Reaches Another for 2 recorders (sopr. in C, alto in G), chitarrone, viola da gamba and harpsichord PerformancesFirst performance: of the pieces No. 5, 6, 7, 8, 9 and 11 titled „Sechs Stücke mit Lesetexten” 1992 May 4th: Stadtmuseum Oldenburg, award ceremony of the Carl von Ossietzky-Preises 1992 of the town of Oldenburg; → camerata moderna: → Ulrike Volkhardt - rec., → Ulrike Nitz - rec., → Ulrich Wedemeier - chit, → Simone Eckert - viola da gamba and → Karl-Ernst Went - harps. Further performances of this pieces with the camerata moderna: 1992 October 2nd: St. Michaelskirche Waldkirch/Brsg, 1992 October 3rd: Kaufhaussaal Freiburg; 1992 October 4th: St. Marthakirche Nürnberg, 1992 October 10th: Eisfabrik Foro Artistico Hannover First performance of the whole cycle: 1992 November 20th: Kulturzentrum Peter-Friedrich-Ludwig Oldenburg; camerata moderna and → Christina Böckler Speaker Further performances of the whole cycle: 1992 November 29th: Kunsthalle Bremerhaven 1996 June 8th: Gießhaus Kassel, concert of the ERTA-congress; with → Eckhart Kuper - harps. Further performances of single pieces: 1994 May 31st: Sprengel-Museum Hannover, Nr. 7, 8, 9, 12, 13, 14 1994 June: Repeat of 1994 May 31st in Nürnberg 1995 January 20th: (Premiere) Dance Theatre in the courtyard, Hannover; 16 Repeats between 1995 Jan. 21st and Febr. 26th, Nr. 6, 8, 9, 10, 11, 13, 14 1998 July 4th: Amsterdam, unknown selection Recordings and broadcast: 1992 May 9th: CD production of the camerata moderna: „Palimpsest“ R & M Digital Music Nürnberg, 2-1023 1992 November 29th: Recording of the concert in Bremerhaven 1993 October 27th: Broadcasted by Radio Bremen 2 |