composer

Heppener, Robert

Robert Heppener was born in Amsterdam in 1925. He died on August 25, 2009 in Bergen. He studied piano with Jan Odé and Johan van den Boogert at the Conservatory of ...

related works

Een suite voor De Suite : tien composities voor piano (2- en 4- handig), twee piano's [en] viool en piano / van tien componisten

Genre: Chamber music
Subgenre: Piano; Violin and keyboard instrument
Instruments: pf pf4h 2pf vl and pf

Correspondances : pour baryton, choeur et orchestre, 1991 / Carlos Micháns

Genre: Vocal music
Subgenre: Mixed choir and orchestra
Instruments: bar GK4 3333 4331 timp 2perc hp str

De vloed in klank : oratorium, voor spreekstemmen, 4 zangsolisten, 3 koren, 6 blokfluiten, 3 orgels, 2 orkesten en geluidsband, 1983/84 / gebaseerd op een Hebreeuwse legende en een collage van gedichten en tekstfragmenten, samengesteld met medewerking van Antje Melissen, Wim Franken

Genre: Vocal music
Subgenre: Mixed choir and orchestra; Mixed choir and HaFaBra; Electronics and singing voice(s) with or without instrument(s)
Instruments: 6recit sopr alt ten bas 2GK4 MK4 6rec 2222 4330 perc hp 3org str wind-band: 1131 3sax 1202 3crt barh euph perc cb

Geestelijke liederen : voor koor en orkest, 2000 / Micha Hamel

Genre: Vocal music
Subgenre: Mixed choir and orchestra
Instruments: GK4 2222 2221 hp perc 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 (librettist)
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