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Voice, Bass Clarinet in B-flat, Piano Bass Clarinet; Piano Accompaniment; Voice (Performance Score)
SKU: HL.48025037
Performance Score Voice, Bass Clarinet, and Piano. Composed by Iris ter Schiphorst. Boosey & Hawkes Chamber Music. Classical. Softcover. 128 pages. Duration 1200 seconds. Bote & Bock #M202536025. Published by Bote & Bock (HL.48025037).
UPC: 196288020936.
Iris ter Schiphorst understands her piece as an homage to the writer Inge Muller (1925 - 1966), whose poems were included in this work, and as a 'scientific-artistic examination of the intellectual climate of her life', especially of the Nazi era as well as her reception in the 1960s by Hannah Arendt, among others. The idea of abandoning the Lied as a constitutive unity of text and music andworking with different text genres (including so-called folk songs) opened up the possibility for the composer to think theatricallyand to be able to create narrative, sometimes 'scenic' connections between the elements: Sometimes the music comments on the text, sometimes it contradicts or questions it, and vice versa. Most of the texts are spoken, singing is almost exclusively done on vocalises. The composition is explicitly written for a female solo singer, and the musicians accompanying her should ideally be male. 'The sung parts are designed like a commentary ... The performer/singer must be trained in theatrical bodywork and has to assimilate and embody the texts.'.
Voice, Bass Clarinet in B-flat, Piano Bass Clarinet; Piano Accompaniment; Voice (Performance Score)
SKU: HL.48025037
Performance Score Voice, Bass Clarinet, and Piano. Composed by Iris ter Schiphorst. Boosey & Hawkes Chamber Music. Classical. Softcover. 128 pages. Duration 1200 seconds. Bote & Bock #M202536025. Published by Bote & Bock (HL.48025037).
UPC: 196288020936.
Iris ter Schiphorst understands her piece as an homage to the writer Inge Muller (1925 - 1966), whose poems were included in this work, and as a 'scientific-artistic examination of the intellectual climate of her life', especially of the Nazi era as well as her reception in the 1960s by Hannah Arendt, among others. The idea of abandoning the Lied as a constitutive unity of text and music andworking with different text genres (including so-called folk songs) opened up the possibility for the composer to think theatricallyand to be able to create narrative, sometimes 'scenic' connections between the elements: Sometimes the music comments on the text, sometimes it contradicts or questions it, and vice versa. Most of the texts are spoken, singing is almost exclusively done on vocalises. The composition is explicitly written for a female solo singer, and the musicians accompanying her should ideally be male. 'The sung parts are designed like a commentary ... The performer/singer must be trained in theatrical bodywork and has to assimilate and embody the texts.'.
Preview: ...meine-Keine Lieder / die Aufgabe von musik
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