related works
Canzona : for saxophone quartet, 1969 / Robert Heppener
Genre:
Chamber music
Subgenre:
Saxophone
Scoring:
4sax
Genre:
Vocal music
Subgenre:
Mixed choir and orchestra
Scoring:
GK org str
Genre:
Vocal music
Subgenre:
Mixed choir and instruments
Scoring:
alt GK4 sax-s sax-a sax-t sax-b
Genre:
Vocal music
Subgenre:
Mixed choir and orchestra
Scoring:
sopr alt ten bas 2GK4 3333 4331 timp perc cel 2hp str
composition
Im Gestein : a cycle of six choral songs on poems by Paul Celan, for mixed choir, percussion and string quintet, 1992 / Robert Heppener
Other authors:
Celan, Paul
(Text writer/Librettist)
Heppener, Robert
(Composer)
Contains:
Flügelnacht
Die Halde
Nacht
Zuversicht
Schneebett
Flügelnacht (2)
Description:
Program note (English): (Première multi-instrumentation: 19-12-1998 - Beurs van Berlage, Amsterdam - Netherlands Chamber Orchestra, Philippe Entremont, conducting) - I have chosen Paul Celan's poems for my cycle of choral songs 'Im Gestein' and as such classified them in a certain connection. This way the songs I and VI are related, not only in text (the same poem!) but also in music: in I everything is twisted around the tone e, in VI the same tone is also the basis. The songs II and V are also connected. These are the most forceful songs (although V more than II) of the series, the two poems have also been linked by a common image: the downwards falling of the night in "Rinnsal zu Rinnsal" in II finds its continuation in V: "Wir fallen und liegen und fallen". III and IV are, in spite of the harsh entrance in III, mainly contemplative songs. There is therefore a symmetrical construction: I-VI, II-V, III-IV. Furthermore it is obvious that all the poems are metaphorically placed in a mountain world.
Moreover everyone will be attentive to terms such as a - . Stein, Steine, Gestein, Kreide, Kalk, Geröll etc. or - b. Auge, Augentausch, Weltblind, Netzhaut, Wimper etc. and - c. Nacht, Flügelnacht, Mondspiegel, Sterngleich etc. - giving an entirely pronounced entity. Concerning the substantive and exegetic sides of these poems I remain silent. Everyone will have their own (frequently associative) ideas upon listening. I have given my comments with my music, a music which simply I, in order to make the text as audible as possible, have kept simple: a little counterpoint, homophony and unison or even monotony (song I). The string quintet and the percussion, aside from a motoring function, have mainly a colouring role. - ROBERT HEPPENER