composer
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
Canti carnascialeschi : per coro da camera a cappella / Robert Heppener
Genre:
Vocal music
Subgenre:
Mixed choir
Instruments:
GK4
Requiem : for narrator, mixed choir and symphonic orchestra / Kuzma Bodrov
Genre:
Vocal music
Subgenre:
Mixed choir and orchestra
Instruments:
GK 2fl 2ob 2cl 2fg 4h 3tpt 3trb tb perc hp cel pf str
Christmas cycle : six carols for mixed choir and small symphony orchestra, 1976 / Marius Monnikendam
Genre:
Vocal music
Subgenre:
Mixed choir and orchestra
Instruments:
GK4 1111 1100 perc str
Genre:
Vocal music
Subgenre:
Mixed choir and orchestra; Mixed choir and instruments
Instruments:
4sopr 4alt 4ten 4bas str / 4sopr 4alt 4ten 4bas 4vl 2vla vc cb
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