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Home , Antony Pay, Cantata, Der junge Lord, Die Reihe, Edda Moser, Ingeborg Hallstein

~ - SlDE 1 THE SlNFONlETTA 1. LABYRINTH Nona Liddell, Violin . Violon . Violine In 1951, when I was artistic director of a Joan Atherton, Violin . Violon . Violine small ballet company attached to the Donald McVay, Viola . Alto . Bratsche National Theatre of Wiesbaden, I wrote this Jennifer Ward Clarke, Cello . Violoncelle . Violoncello psycho-chamber- ballet for it. It was John Steer, Double- . Contrebasse . Kontrabass never staged because the company Sebastian Bell, . Fllite . Fldte dissolved before we could put it on. I con- Janet Craxton, , . Hautbois, Cor anglais . Oboe, Englischhorn ducted the score in a concert on the Darm- Tony Coe, . Saxophone . Saxophon stadt-Frankfurt a.M. Music Festival on May , , Bass-clarinet . Clarinette, Clarinette basse . Klarinette, 29th, 1952. Bassklarinette The ballet tells the story of Theseus, * John Stenhouse, Bass-clarinet . Clarinette basse . Bassklarinette Ariadne, and the Minotaur, in a condensed, Brynly Clarke, . Basson. . Fagott anagogical and anagrammatical fashion. It Barry Tuckwell, . Cor . Horn is, as a subject, quite similar to Gozzi's Elgar Howarth, . Trompette . Trompete "The King Stag" which I composed as an David Purser, . Trombonne . Posaune three years later. John Constable, Piano . Piano . Klavier Howard Shelley, Celeste . Celesta . Celesta I. Permanent Menace: Adolescents of Sidonie Goossens, Harp . Harpe . Harfe Knossos under the threat to be fed to the James Holland, Percussion . Percussion . Schlagzeug Minotaur. David Johnston, Percussion . Percussion . Schlagzeug II. Cantus choralis: Plea to Theseus to kill Terence Emery, Percussion . Percussion . Schlagzeug the monster. John Donaldson, Percussion, . Percussion, Marimba . Schlagzeug, Marimba Ill. Conflict: Ariadne tries to prevent * Robert Howes, Percussion . Percussion . Schlagzeug Theseus from facing the dangers involved * Stephen Henderson, Percussion . Percussion . Schlagzeug by going into the Labyrinth and * John Beadle, Percussion . Percussion . Schlagzeug challenging the Minotaur. But Theseus is * Anne Collis, Percussion Percussion . Schlagzeug adamant. . IV. Variation: She invents the device of " L'Usignolo dell'lmperatore the thread stuck to Theseus, made to pull him back out of the Labyrinth in case he SIDE 2 I Ill. It sings- for him (2 variations and would get lost in it. 1. WlEGENLlED DER MUTTER GOTTES ). V. Minotaurus Blues: Theseus in the IV. The emperor weeps with . Labyrinth fights the Minotaur and kills About Christmas time, 1948, in Got- V. An artificial nightingale is presented at him. tingen, I found Lope de Vega's "Lullaby" Court. VI. Fantasy in Rose: Theseus and Ariadne printed (in German translation, I have VI. Song of the artificial nightingale happily reunited among the people of never been able to see the Spanish original) (~iccoloflute) which cracks at the end of Crete who are grateful to be l~berated in a playbill of the local theatre, and set it to the song. from their nightmare. music the next day. I think it mirrors quite VII. The emDeror wishes the true nightin- clearly the tender and happy mood of those gale to sing'again but it has disapp&red. 2. APPOLLO ET HYAZINTHUS months, but is quite different in structure The emperor falls ill, he is taken to bed. In the Autumn and Winter of 1948, 1 from the other pieces written in that VIII. Death sits at the bedside, wearing spent some time in the small town of period. They all have one thing in common, the emperor's crown and sceptre. The Gottingen, where I was looked after by though: the same which, I remem- emperor is dying. The natural nightingale Heinz Poll, a ballet dancer of the local opera ber, seemed to me the key to all mysteries comes in and begins to fight against house. It was a very quiet time, I liked to then. I could write sad music on it as well as Death with its song. Gradually, it forces walk along the Stadtwall (the rampart) sarcastic one, comic and lyrical. Death to give back crown and sceptre, among the glorious autumnal colours, and The first performance of this piece seems and to steal away. think of my work. I had just had first per- to have taken place in Duisburg, 1954, IX. The emperor recovers. Universal formances of my music and felt en- under Georg Ludwig Jochum, but I was happiness. already living in Italy then. As a matter of couraged. It was there that, among two The first stage performance was on theatrical works ("Ballet Variations" and fact, I heard it for the first time when I made the present recording. September 16th, 1959, in the Fenice "The Magic Theatre") most of "Apollo et Theatre in Venice during the Biennale, in a Hyazinthus" was written. Some of it 2. L'USIGNOLO DELL'IMPERATORE show entitled "Spettacoli per bambini", remember I also wrote sitting on a suitcase staged by Franco Enriquez. Aurele Nicolet in an overcrowded train to , where I "The Emperor's Nightingale" was written played the first concert performance during would go to visit an old lovely painter, in Spring 1959, during a visit to Wolfs- the Festival the same year. Werner Gilles, whose approach to mytho- garten in Hesse, in a room on top of a logy, art and life had influenced my voliere with Chinese,nightingales in it. It is FACE 1 thoughts and even my composing for many dedicated to Ludwig and Margareth of years. Hesse. It is a ballet pantomime as well as a 1. LABYRINTHE The score of "Apollo et Hyazinthus" I flute ; the structure, in its rigour of En 1951, je me trouvais charge de la dedicated to Ren6 Leibowitz in sign of rhythmic austerity, should bring out the direction artistique d'une petite compagnie gratitude for his teaching. The work is a ceremoniality of the action as I imagined it de ballet attachbe au Staatstheater de miniature symphonic poem, but at the same to be put on sta e. The story, designed for Wiesbaden et c'est pour elle que j'kcrivis ce time a harpsichord concerto (a similar my music by t%e Neapolitan composer. ballet psycho-musique de chambre- hybrid form you can encounter 25 years Giulio di Majo d'apres H. C. Andersen, is musique de jazz. La compagnie fut dissoute later in my work "" which was told in simple terms. avant de pouvoir le monter A la scene et premiered in London in October 1974). All seule la musique recut une audition, le 29 the means of expression in it were then I. A cavalier with his friends walking in mai 1952, sous ma conduite, lors du quite new to me, I was discovering and com- the forest near the sea. They hear the Festival de musique de - posing my world. song of the nightingale. They meet the Francfort-sur-le-Main. "Apollo et Hyazinthus" was performed bird and invite it to sing for the emperor "Labyrinthe" raconte I'histoire conden- for the first time at the Contemporary who is a child still. s6e de Th6s6e, Ariane et le Minotaure sous Music Festival in Frankfurt a.M. on June II. The nightingale is presented to the I'angle de I'anagogie et de I'anagramme, et 26th, 1949. emperor. le sujet est tres apparent6 4 celui du "Konig Edda Moser

Februar 1966. ~Gerade habe ich eine neue Sopranistin gehort. Sie hat mir vorgesungen. Wir werden zusammen arbeiten.~Henze zeigt sich begeistert. - BWie heisst sic?* - ~Edda M0ser.a Im April singt Edda Moser unter Henzes Leitung in einem Konzert der BBC in London [A HANS WERNER. HENZE ,Being Beauteous* und die * della Fiaba (geb. 1926) Estremaa. Es wird ein Erfolg fur den Kompo- nisten und seine junge Interpretin. A-SEITE: Auf London folgt Dresden. Wieder singt Edda Moser .Being Beauteous* - diesmal auswendig. Fiaba Estrema (19 63) Ein Aufnahmeteam der Deutschen Grammophon hort das Konzert. Die Telegraphendrahte spie- sulla poesia a Alibi B di Elsa Morante len. Sie ticken das Angebot eines Exklusivver- per , piccolo coro e tredici strumenti trages fur die Sangerin. auf das Gedicht *-Alibia von Elsa Morante Sie ubernimmt von Ingeborg Hallstein die Partie fur Sopran, kleinen Chor und 13 Instrumenre der Autonoe in Henzes *Die Bassaridena in der Auffuhrung der Deutschen Oper Berlin, die on the poem "Alibi" by Elsa Morante, Christoph von Dohndnyi dirigiert. Als neuer for soprano, small chorus and 13 instruments Generalmusikdirektor Frankfurts offeriert er Edda Moser sofort einen Vertrag. Herbert von sur le @me a Alibi B d'Elsa Morante Karajan hart sie und verpflichtet sie fur seine pour soprano, petit chceur et 13 instruments Salzburger Festspiel-Einstudierung des ~Rhein- (Flauto, Corno inglese, Clarinetto basso, Fagotto, gold.. Unter singt sie in Berlin Vivaldis ~Gloriaa, in Luigi Nonos Corno, Tromba, Trombone, Chitarra, Arpa, Violino, *Canto sospesoa. Als Partnerin Fisher-Dieskaus Viola, Violoncello, Contrabbasso) ubernimmt sie in Karl Richters Aufnahme von Gludrs ~Orpheusund Eurydikea die Rolle des B-SEITE: Amor. Es spricht sich herum: Edda Moser ist eine ausgezeichnete Sangerin fur moderne Musik. 2. Whispers from Heavenly Death (1 948) Aber - und hier zieht man den Hut - sie singt genauso gut Mozart. Fiir Edda Moser ist das Kantate auf das gleichnamige Gedicht von Walt Whitman eine die Voraussetzung fur das andere. Sie um- fur hohen Sopran und 8 -Instrumente geht die Spezialisierung. Sie schopft aus dem Cantata on the poem of the same name vollen Reichtum des Repertoires. Sie kann es sich by Walt Whitman, leisten. Sie arbeitet sich vor zu den Partien der for high voice and 8 solo instruments dramatischen Koloratursoprane: Konigin der Nacht, Konstanze, Lucia, Gilda, Violetta, Cantate sur le pdme du meme nom de Walt Whitman, Fiordiligi - ddas isf das Ziel. pour voix aigiie et 8 instruments solistes Die Erfahrungen aus dieser Arbeit investiert sie in ihre, Interpretationen moderner Musik. Ge- (Trompete, Celesta, Harfe, Violoncello, Xylophon, sangstechnik tritt in den Dienst interpretatori- Vibraphon, , Kleines Schlagwerk) sher Formanalyse, bewahrt diese aber gleichzei- tig davor, in Nuchternheit zu veroden. Sie bluht 3. Being Beauteous (1 9 63) auf im Gesang, verwandelt in einem kunstle- Kantate auf das gleichnamige Gedicht rischen Durchgangsprozess. An seinem Ende er- aus rpLes Illuminations~(1872/73) von Arthur Rimbaud lost sich die Strenge der Formen zu jener Musik, fur Koloratur-Sopran, Harfe und 4 Violoncelli die dem Komponisten vorschwebte. Gtl. Cantata on the poem of the same name from "Les Illuminations" (1872/73) by Arthur Rimbaud, for soprano, harp, and 4 violoncelli February 1966: "I have just heard a new soprano. She has sung to me. We shall work together." Cantate sur le po&medu m&menom extrait was enthusiastic.-"Her des a Illuminations B (1872/73) d'Arthur Rimbaud name?"-"Edda Moser." That April, at a B.B.C. pour soprano-coloratura, harpe et 4 violoncelles recital in London, Edda Moser sang Henze's "Being Beauteous" and "Cantata della Fiaba Edda Moser, Sopran Estrema" under the composer's direction. The event was a success both for Henze and for his RIAS-Kammerchor (Einstrrdier~ng:Giinther Arndt) young soloist. Fritz Helmis, Harfe (3.) After London came Dresden. Edda Moser sang "Being Beauteous* again-this time from Eberhard Finke 1 memory. A recording WolfgangBijttcher Violoncello (3.) team heard the concert. The telephone wires Peter Steirper I began to buzz, and the singer was offered an exclusive contract. She to~kover from Ingeborg Hallstein the r81e Philhamonisches Kamerorchester Berlb of Autonoe in Henze's "Die Bassariden" when the opera was performed at the German Opera, Dirigent :Hans WmerHenze Berlin, conducted by Christoph von Dohnlyi. As the new General Musical Director of Frank- furt he at once offered Edda Moser a contract there. heard her, and engaged her for his Festival production of "". She sang under Claudio Abbado in Vivaldi's "Gloria" in Berlin, and in 's "Canto sospeson in Hamburg. She takes the part of Amor, as partner of Fischer- Dieskau, in 's recording of Gluck's "Orpheus and Eurydicen. It has become common knowledge that Edda Moser is a magnificent singer for modern music. But-and we should take off our hats to her for this-she sings Mo- zart equally well. To Edda Moser the one presupposes the other. She refuses to be type cast. She draws on the riches of the entire repertoire, and is fully equipped to do so. She worked on dramatic r6les: the Queen of Night, Constanze, Lucia, Gilda, Violetta and Fiordiligi-these were her goal. She has invested the experiences thus acquired in her interpretations of modern music. Vocal tech- nique is put to the service of interpretative analysis of form, at the same time preventing this from becoming drily academic. The inter- pretation blossoms out in song, transformed into a seemingly free artistic process, as the rigidity with which notes have to be set down on paper gives place to that music which the composer imagined.

Fkvrier 1966: u Je viens d'entendre une nouvelle soprano. Elle m'a fait entendre sa voix. Nous travaillerons . n Henze fait montre d'enthousiasme. - a Comment s'appelle-t-elle? * - a Edda Moser. n En avril Edda Moser parti- cipa, sous la direction de Henze, a un concert de la BBC A Londres et chanta u Being Beauteous r et la cantata della Fiaba Estreman. Ce fut un succks de premier ordre pour le compositeur Instrumentalisten des et sa jeune interprete. Dresde succkda A Londres. Edda Moser chanta A Philharmonischen KammerorchestenBerlin: nouveau u Being Beauteous n, mais par cceur. Une (in &n Kantaten Nr. 1 und Nr. 2) 6quipe de la Deutsche Grammophon kcouta ce concert. Le t6lkphone entra en jeu. I1 proposa un contract d'exclusivitk A la cantatrice. Karlheinz Zoller, ~iote(I.) Celle-ci remplace Ingeborg Hallstein dans le Gerhard Stempnik, Englisch-Horn (I.) r81e de u Autonoe D des u Bassarides * de Henze, dirigkes sur la sckne de la u Deutsche Oper n de Frank-Ullrich Wurlitzer, Bassklarinette Berlin par Christoph von Dohnhnyi. En tant que nouveau Directeur general de la Musique A Hans Lemke, Fagott (I.) Francfort, il offre un confrat a Edda Moser. Gerd Seifert, Horn (I.) Herbert von Karajan entend egalement la cantatrice, il I'engage pour la reprksentation de Fritz Wesenigk, Trompete (I., 2.) u L'Or du Rhin n A son Festival de Salzbourg. Sous (I.) la direction de Claudio Abbado elle chante le Karl-Heinz Duse-Utesch, Posaune u Gloria m de Vivaldi A Berlin, le u Canto Karl Heinz Bottner, Gitarre (I.) sospeso n de Luigi Nono A Hambourg. Elle participe en tant que partenaire de Fischer-Dies- Fritz Helmis, Harfe (I., 2.) kau, dans le r6le d'A,mor, A l'enregistrement que Alfred Malecek Rudolf Hartmann Karl Richter fait de a L'Orphke et Eurydice n de . Gluck. Cela commence A se savoir: Edda Moser Hoist Rosenberger - Alexander Dietrich interprkte parfaitement la musique moderne. Emil Maas . Johannes Blau, Violine (I.) Mais - et cela vaut un coup de chapeau - elle &ante tout aussi parfaitement Mozart. Pour Edda Kunio Tsuchiya . Peter Muck. Martin FisAer Moser l'un ne va pas sans l'autre. Elle refuse la Lutz Steiner, Viola (I.) A spkcialisation. Elle puise toutes les richesses du (I.) (2.) repertoire. Elle peut se le permettre. Elle travaille Eberhard Finke Wolfgang BGttcher les parties vocales des dramatiques Peter Steiner (1.) Heinrich Majowski (I.), lkgkres: la Reine de la nuit, Constance, Lucia, Violoncello . Gilda, Violetta, Fiordiligi - voila le but. L'expkrience ammasske au cours de ce travail est Rainer Zepperitz, Kontrabws (1.) investie dans I'interprktation de la musique Horst GGbel, Celesta (2.) moderne. La technique du chant se met au service de I'interprktation et de l'analyse des formes tout Gerassimos Avgerinw, Schlagzeug (2.) ea les prkservant du prosaysme. Edda Moser sakn,amit, se mktarmophose en chantant. A la Axel Knuth, Xy10phon (2.) fin, h.s6v6ritk des formes se transforme en cette Hans-Dieter Lembens, Vibraphon (2.) mtlsique doat I'isge dcait prksente 21 l'esprit du ~p~~~r~Hans Hansen, Glodsenspiel (2.) Henze's Vocal Compositions

It is a cause of surprise that Hans Werner Henze, who in Beauteous" and the "Cantata della Fiaba Estrema", links his and many other compositions has evolved a in a chain of works which also included the Giordano vocal style which is both extremely singable and offers a Bruno "Novae de Infinito Laudes", the "Six wide range of expressive possibilities, wrote his first opera Absences", the 5th , the " Fantasia", the "Das Wundertheater" not for singers but for actors. He "Ariosi", the "Lucy Escott Variations", and "Los may therefore be said to have embarked upon his work in Caprichos". They stand between the operas "Elegy for the sphere of dramatic music at point zero. The spoken Young Lovers" and "". word, not singing, was his starting .point. A certain "Being Beauteous", for which Henze had made sketches diffidence vis-a-vis opera determined the nature of his first and studies at Castelgandolfo in 1962, was completed after work of an operatic character. his return fromAmerica. He had gone to NewYork-for However, it had been preceded by several vocal composi- the first time in his life-to be present at the world tions: choral pieces on texts by Goethe, Villon and Lope premikre of his 5th Symphony under . de Vega, and the concert "Der Vorwurf", to words by He had left New York quickly, oppressed by the teeming Franz Werfel. Also among this group of early attempts to impressions of the city-Harlem by night, and the all- draw the human voice into a composition, and to assign to pervading atmosphere with its blend of sweetness and it the principal rBle which it was later to claim with ever- apprehension, decay and danger. He incorporated the increasing insistence, is the Whitman Cantata "Whispers essence of this atmosphere into the sketches which he had from Heavenly Death" (1948). The brief form of the left behind in Italy, and fashioned them into "Being almost aphoristic poem originally inspired Henze to a Beauteous". Only after the composition was clear in his composition for piano and voice, and it was only later that mind's eye did Henze look around for a suitable text, and he re-wrote it for eight solo instruments and high soprano. he recalled to mind Arthur Rimbaud's hallucinatory For the first time in his career he attempted on that verses, his ecstatic works shot through with alarming occasion to employ the twelve-tone system, in whose use he visions. In the "Illuminations", which the poet wrote in had recently been instructed to fashion a vocal line, around 1872/73, he found "Being Beauteous", a "prose poem". which a web of sound is woven by trumpet, celesta, harp, Henze set each of Rimbaud's phrases as an aria in minia- cello and small percussion instruments. The scoring is ture, illustrated by interjections of the four cellos and distantly reminiscent of that which was to harp, which constitute the small instrumental ensemble. choose a few years later for his "Marteau sans ma?trev. Despite the intensity of feeling the music has a clear formal Fifteen years after the Whitman Cantata appeared "Being shape, which derives from a wide diversity of rhythmical patterns. Strict construction preserves the continuity of the melodic line spun out by the instruments. The voice surrounds this line with lyricism. In the Interlude before the last Aria the muted cellos arrive at the verge of silence. Then, below tranquil harp triplet figures, the voice is heard again-a suggestion of rapture which transcends pain and sings its way to Nirvana. It is not known where and when Elsa Morante was born. She is at present living in Rome. She has published a num- ber of works, including "Menzogna e Sortilegio" (False- hood and Sorcery), 1948, "L'Isola di Arturo" (Arthur's Island), 1957, and "Lo Scialle Andaluso" (The Andalusian Shawl), 1964. The poem "Alibi", which Henze has set, is taken from a collection which appeared under the same title in 1959. It seems as though this composition-the "Cantata della Fiaba Estrema"-with its succession of choruses and solo numbers, had the of Bach as its model. This is especially clear in the of the "Cantata": on the "Mein liebster Jesus, was hast du verbrochen", it introduces the intervals of the theme in all four parts, and varies it. The "Cantata" is a dream piece, in which the imagination has invented a human being. Henze has attempted to follow the lines of the poem, and to interpret them through his music.

Klaus Geitel Cantata on the poem of the same name E.y Walt Whitman

Darest thou now, o soul Walk out with me toward the unknown region, Where neither ground is for the feet Nor any path to follow?

No map there, nor guide, Nor voice sounding. Nor touch of human hand. Nor face with blooming flesh, Nor lips, nor eyes are in that land.

I know it not, o soul. Nor dost thou. All is a blank before us. All waits undream'd of In that region, that inaccessible land.

Till when the ties loosen, All but the ties eternal, Time and Space, Nor darkness, gravitation, sense nor any bounds bounding us.

Then we burst forth, We float in Time and Space, 0 soul, prepared for them, Equal, equipt at last. (0joy! 0 fruit of all!) Them to fulfill, o soul. Cantate sur le pohme du mgme nom extrait des rIlluminations* (1872/73) &Arthur Rimbaud

Devant une neige, un Btre de Beaut6 de haute taille. Des sifflements de mort et des cercles de musique sourde font monter, s'klargir et trembler cornme un spectre ce corps adork. - Les couleurs propres de la vie se foncent, dansent, et se dkgagent autour de la Vision, sur le chantier. Des blessures kcarlates et noires kclatent dans les chairs superbes. - Et les frissons s'klkvent et grondent, et la saveur forcenke de ces effets se chargeant avec les sifflements mortels et les rauques musiques que le monde, loin derrihre nous, lance sur notre mire de beautk, - elle recule, elle se dresse. Oh! nos os sont revetus d'un nouveau corps amoureux.

0 la face cendrke, l'kcusson de crin, les bras de cristal! le canon sur lequel je dois m'abattre 21 travers la mClke des arbres et de Pair Ikger! SlDE 1 THE LONDON SlNFONlETTA KAMMERMUSIK Nona Liddell, Violin . Violon . Violine In "Kammermusik" again we come close Joan Atherton, Violin . Violon . Violine to ancient Greece. This time it is not in the Donald McVay, Viola . Alto . Bratsche way of an expressionistic glance onto Jennifer Ward Clarke, Cello . Violoncelle . Violoncello broken sculptures in a November garden, John Steer, Double-bass . Contrebasse . Kontrabass or by ways of a dream of bodies, glittering Sebastian Bell, Flute . FlOte . FlOte sunlight, and monsters. This time it is an Janet Craxton, Cor anglais . Cor anglais . Englischhorn encounter between and Greece in Antony Pay, Clarinet, Bass-clarinet . Clarinette, Clarinette basse . Klarinette, the vision of a poet who has clouds of Bassklarinette madness around his head, and who stam- Brynly Clarke, Bassoon . Basson . Fagott mers in fragments, with beautiful, Barry Tuckwell, Horn . Cor . Horn seemingly dislocated, phrases. I can feel Elgar Howarth, Trumpet . Trompette . Trompete this link to theancient world, understand it. David Purser, Trombone . Trombonne . Posaune In our eyes our landscapes turn into living things which could be described as SlDE 2 hellenic features. much more beautiful than the flowers. Oh! I IN MEMORIAM: DIE WElSSE ROSE A number of sketches for this work I know that well. For does it please God that made in Greece in the summer of 1958. one should bleed in body and heart, and Winter 1964-65, while at work with the When the work was completed, I dedicated completely cease to exist? I believe the soul composition of "", I wrote it to . It was first per- must remain pure, otherwise the voice of this work as a contribution to the Congress formed in November 1958 in Hamburg, many birds and the winged eagle with of the European Antifascist Resistance, sung by Peter Pears. The guitar music was songs of praise rise to the Almighty. This is held in in March 1965. 1 chose the played by Julian Bream. I conducted essence and form. occasion to remind audiences of one of the members of the radio . 1963, 1 groups who attempted open resistance to added an epilogue to it, on the occasion of Beautiful stream, how touching you look as the Nazi regime inside Germany. This my old friend Josef Rufer's 60th birthday. you bubble along so brightly, like the eye of movement was called "The White Rose" In this epilogue, 1 pick up the mood of the God through the Milky Way. I know you and the same name appeared on the whole work once more and introduce a well, and tears gush from my eyes. I see numerous antifascist leaflets composed by semi-quotation from SchOnberg's 1st cham- serene life bloom all around me in the forms their founders, the students Hans and ber symphony as a sign to Rufer, whose life of creation, for, not unreasonably, I Sophie Scholl, Christoph Probst, Alexander and thought are all most affectionately compare it with the lonely doves in the Schmorell, Willy Graf, and the Munich concerned with the late Viennese master. churchyard. But the laughter of men seems University Professor, Kurt Huber. The to grieve me, for I possess a heart. movement began its activities in 1942 in 'In a beautiful blue sky'- Would I like to be a comet? I think so. For Munich, but quickly spread to other impor- Friedrich Holderlin they are as swift as birds; they blossom in tant cities and gained a membership The metal roof of the church tower fire and are as pure as children. The nature number of more than a hundred. A year blossoms in a beautiful blue sky. The cry of of man cannot presume to wish for greater later the founders were arrested, tried, swallows hovers round it, the most thrilling things. The serenity of virtue also deserves condemned, executed. They defended blue surrounds it. The sun travels high over to be praised by the true spirit, which themselves with great courage and died it and colours the thin metal; above it in the hovers between the three pillars of the proudly for their ideas. wind the weathercock crows silently. Then garden. A beautiful maiden must adorn her My work in their honour is a double ~f someone descends the stairway under head with myrtle blossom, because she is , and obviously inspired by and , it is suspended life, because when simple in her nature and her feelings. composed in the sense of Bach's the shape is so very detached, the sculp- Indeed, there are myrtles in Greece. "Musikalisches Opfer" structures. tured form of man is emphasised. The When a man looks into a mirror, and sees windows through which the bells sound are his image there, as in a painting, it resem- FACE 1 like gates opening on to beauty. For bles the man; the image of the man has KAMMERMUSIK because the gates are close to nature, they eyes, whereas the moon has light. Perhaps "Kammermusik" nous ramene pres de la resemble the trees of the forest. But purity King Oedipus has one eye too many. His IS also beauty. Grece antique. II ne s'agit pas cette fois sufferings seem indescribable, inex- d'expressionnisme, d'un regard jet6 sur From inner diversity arises a true spirit. pressible, inconceivable. If the drama des sculptures Bcroulees dans un jardin de The images are so simple, so very holy, that presents such an idea, this is why. But how novembre, d'un r&vede beaut6 plastique et really one is often afraid to describe them. do I feel when I think of you now? de monstres fabuleux sous le soleil radieux. The heavenly ones, however, who are As if by a stream I am swept along by the II s'agit d'une rencontre entre I'Allemagne always good, are virtuous and joyful, ending of something which extends as wide et la Grece vue avec les yeux d'un pohte possessing everything as their kingdom. as Asia. Of course Oedipus undergoes this perdu dans les fum6es de la folie, begayant Man may imitate that. When life is nothing suffering. Of course that is why. Did des bribes de phrases prodigieuses et but toil, may a man look up and say: "I wish Hercules suffer too? Indeed; did not the apparemment d6cousues. Je peux sentir ce to be like that too"? Yes. As long as pure Dioscuri suffer too in their friendship? For lien avec le monde antique, je peux le saisir. kindliness abides in his heart, man can that is suffering, to be in conflict with God, Devant nos yeux s1hel16nisent nos measure himself against God not like Hercules. And to share immortality pa ysages. unfavourably. Is God unknown, or is he when life is so desirable, that is suffering Je fis quelques esquisses de cette oeuvre manifest like the sky? I think the latter is too. But it is also suffering when a man is en Grece pendant 1'6t6 de 1958. Une fois more likely. Man's measure can be no less. covered with summer-blisters, is wholly achevke, ellefut dbdi6e 3 Benjamin Britten. Man lives on this earth praiseworthy and covered with many summer-blisters! The Elle fut jou6e pour la premiere fois, a poetic. Yet the shadow of the starry night is beautiful sun does that: for it makes Hambourg en novembre 1958, avec Peter not purer, if I can put it like that, than man, everything grow. It leads young men along Pears pour la partie vocale, Julian Bream 3 who is called the image of God. their paths with the delights of its rays as if la guitare; je conduisais I'orchestre de la What is the measure of God on earth? with roses. The sufferings of Oedipus seem station de radiodiffusion. En 1963, 9 There is none. For the creatures God made like a poor man complaining that there is I'occasion du soixantieme anniversaire de cannot impede the course of his thunder. A something he lacks. Son of Laius, poor mon vieil ami Josef Rufer, j'ajoutai un flower is beautiful too, for it blossoms under stranger In Greece! Life is death, and death epilogue ob se retrouve le sentiment de the sun. Often in life the eye perceives is also a life. toute I'oeuvre, et j'y introduisis un rappel Side 1 : Band 1. HANS WERNER HENZE: COMPASES para preguntas ensimismadas- Music for Viola and 22 players

LONDON SINFONIETTA CONDUCTED BY HANS WERNER HENZE HIROFUMI FUKAI solo viola

Side 2: Band 1. HANS WERNER HENZE: 2nd VIOLIN CONCERTO (for solo violin, tape, and 33 instrumentalists, using the poem "Hommage a Godel", by Hans Magnus Enzensberger) Voices: (1) Brenton Langbein (2) Alan Evans (from electronically modified pre-recorded tape) (3) Robert Bateman

LONDON SINFONIETTA conducted by HANS WERNER HENZE BRENTON LANGBElN solo violin

HANS WERNER HENZE HANS WERNER HENZE was born in Westphalia and began his formal studies at the Ne en Westphalie, c'est dans le Brunswick, a la Staats- Staatsmusikschyle in . After a period of musikschule (Ecole de Musique d'Etat) que Hans Werner military service he continued his studies privately with Henze commenqa a etudier serieusement la musique. Ses Wolfgang Fortner until in 1948 he was appointed musical etudes, apres un intervalle militaire, se continuerent, a titre adviser to the theatre in Konstanz in collaboration with Heinz prive,avec Wolfgang Fortner jusqu'en 1948, date a laquelle Holpert. From 1950 to 1952 he was artistic director and Henze fut nomme conseiller musical du theatre de conductor of the Wiesbaden ballet but then moved to Italy Constance ou il travailla en collaboration avec Heinz where he now lives permanently. Holpert. De 1950 a 1952, il fut directeur artistique et He is now established as one of the world's foremost conduisit I'orchestre du ballet de Wiesbaden. II s'etablit composers whose works, which include operas, ballets, six ensuite en ltalie ou il reside actuellement. ,' choral and , are performed On s'accorde a voir en Hans Werner Henze I'un des regularly in all the major music centres of the world. premiers et des plus avances parmi les grands com- positeurs internationaux. Ses oeuvres, qui comprennent operas, ballets, six symphonies, de la musique pour choeurs et de la musique de chambre, sont constamment jouees dans tous les principaux centres mondiaux de la musique.

COMPASES PARA PREGUNTAS ENSIMISMADAS COMPASES PARA PREGUNTAS ENSIMISMADAS

Music for Viola and 22 Players Pour alto et vingt-deux instrumentistes

"Compases para preguntas ensimismadas' was begun Compasesparapreguntas ensimismadasfut commence in the summer of 1969 and completed in the spring of 1970. pendant I'ete de 1969 et termine au printemps de 1970. Un Small groups of other string instruments are attached to the alto monologue: d'autres cordes, par petits groupes, monologuing viola, together with a wind sextet and a s'unissent a lui, comme le font aussi des instruments a vent number of percussion instruments. The work is com- (un sextuor) et un certain nombre d'instruments a per- pounded of small, moulded cells; some of them are to be cussion. Le morceau est forme de courtes cellules played in strict time, and others in groups of notes whose modelees; quelques-unes doivent &re jouees selon un durations are regulated by second-timings, and whose temps strictement defini, d'autres se constituent en groupes rhythmic execution is left to the players' discretion. The core de notes dont les durkes sont donnees en secondes, le of the work consists of a cantilena, a long, continuous, hori- rythme &ant laissee a la discretion des interpretes. La partie zontal line, which, right up to the end of the piece, secures centrale constitue une cantilene-une ligne droite, longue, for itself still greater expansivity. This music is like taking continue, qui se deploie toujours davantage jusqu'au terme. short notes on transient moods, the vibration of the strings Les cordes fremissent comme feuilles au vent. On dirait des like the rustling of leaves in the wind. There are letters, impressions fugitives qu'on note a la hate. II est des which could not be written, because the nature of their missives qui n'ont pu &re Bcrites: seul le son, dans sa content can only be imparted through sound, just as sound communication privilegiee, peut transmettre la nature de itself accomplishes communication of a sort, which cannot leur message. be realised in any other way. Hans Werner Henze CONCERTO POUR VIOLON No. 2 Violin Concerto No. 2 Pour violon solo, bande, voix, et trente-trois For solo violin, tape, voices and 33 instrumentalists, using instrumentistes, sur le poeme "Hommage a GUdel" by the poem 'Hommage a GUdel' by Hans Magnus Hans Magnus Enzensberger. Enzensberger. En 1971, vingt-deux ans apres mon premier concerto In 1971 , twenty-two years after my first Violin Concerto. pour violon, j'en composai un second. II est caracteristique I composed a second. This has several interlinked sections par ses differentes sections qui s'entrecroisent et sa partie and a concertante solo part, so that the title is quite appro- solo concertante qui lui vaut son titre, titre tout a fait priate and not, as might be thought, simply an expedient; the approprie et qui n'est pas simplement un kchappatoire. Et whole, however, is not just a conventional concerto. It is pourtant, il ne s'agit pas d'un concerto dans la forme very nearly a stage piece, but not quite. Enzensberger's gkneralement admise: c'est presque du th62tre. La forme poem determined the form of the music. The poem itself is musicale a 6tB determinee par le poeme d'Enzensberger qui projected into the music from a tape. The voice has est projet6 dans la musique a partir d'une bande de undergone electronic treatment, so the words are not magnetophone. La voix sur la bande, traitee electronique- completely audible any more and should therefore be ment, n'est plus parfaitement audible; I'auditeur doit donc studied beforehand by the listener. They have become part connaitre par avance le texte. Seules les lignes finales sont of the general sonority. Only the last conclusive lines are prononcees normalement, par une voix "vivante" venue de uttered 'live' again, by a gentleman in the audience. I'audience. La musique comporte aussi quelque chose de There is also to be found something of my own person- mes propres essais dans le domaine de IU'actionmusic", alized attempts at 'action music', variants on my El Cimarron variantes de mon El Cimarrdn et du Langwierigen Weg in and on The Tedious Way to the Place of Natascha die Wohnung der Natascha Ungeheuer. Le virtuose fait une Ungeheuer. The virtuoso makes his appearance as the apparition, une vision digne du romantisme: sorcier, Romantic Age would have seen him-as a conjuror and conjurateur, nimbk de tragique; mais il surgit ici comme une sorcerer, enveloped in tragedy-but here presented in the sorte de Baron de Crac qui, empetre dans une dialectique version of a Baron Miinchhausen who, entangled in a embrouillee, cherche vainement A se tirer du bourbier par le dialectic imbroglio,tries in vain, right to the very end of the collet, ou plut6t persiste a exhiber sur son violon un work, to drag himself out of the bog by the scruff of his neck; optimisme sans bornes. De temps en temps, des effluves de or rather, who keeps on playing his fiddle with a display of musique Venus d'autres violons se font entendre en contre- infinite optimism. point avec le soliste; ces passages sont trait& synthetique- From time to time, strands of music from the other ment. Des fragments de musique ancienne, elisabethaine et violins can be heard in with the soloist, and romantique, viennent 6clore a la surface sans s'y maintenir. these passages are treated through synthesizers. Frag- Marginales, elles semblent toujours proposer une solution, ments of Elizabethan and Romantic music rise to the surface mais elles peuvent tout aussi bien Bgarer I'auditeur dans les and sink back. These could be regarded as aural signposts, sophismes. La plurivalence des formes fixes, la methode but might also become aural traps and lead the listener to aleatoire, le chevauchement des scenes vocales, la arrive at sophisms. The polyvalency of closed forms, musique de concert associke a une idee de thestre, tout est aleatory, the overlapping of vocal scenes, concert music calcul& de facon a sembler ne vouloir au prime abord que and theatre is intended to please at first sight and hearing, chercher le plaisir de I'oreille et de I'oeil. Mais I'auditeur and to come as easily as Enzensberger's poem appears to ferait bien de ne pas s'y arr6ter. Un sujet, qui est le do. The listener, however, Should not there. Ideally, the theorbme du mathematicien Kurt GUdel, est expose, en subject of the poern-the theorem of the mathematician principe par le soliste, et Enzensberger I'enonce de la facon Gddel-should be recited by the soloist. It reads (in suivante: Enzensberger'sversion): Dans tout systbme suffisamment riche en donnkes "In every sufficiently rich system of axioms il existe des propositions propositions exist that have a meaning qui dans le cadre du systeme lui-m6me which within the system itself ne Deuvent &re ni demontrees ni refutees cannot be proved nor refuted, a moins, bien entendu, que le systeme lui-m6me unless, of course, the system is inherently ne soit intrinshquement contradictoire. inconsistent." A well-known Old Testament story is boobam, tomtoms and kettle-drums. He that of Jephthah and of how he found explains his aims thus: ''All the instru- himself forced to sacrifice his daughter ments in my version have an Old Testa- in consequence of a vow he had rashly ment history behind them and date back made. It is told in Judges I1 1-40, but to archaic times; yet thanks to a con- outside the Bible, too, the myth recurs in stant process of renewal and improve- various forms, e.g. in Mozart's Zdo- ment, they are also the means of expres- meneo. ( 1605-1 674) sion for the music of our own day. The moulded it into his masterpiece, Jephfe. sounds I have created with them evoke Probably composed for performance the feel and atmosphere of music in the during Lent, it is an oratorio, a kind of Mediterranean world in biblical times, large-scale cantata or, more strictly and in so doing my intention was to pro- speaking, a type of church opera dis- ject the essence of Carissimi's score to tinguished from its theatrical counter- our own day and make his musical tra- parts only by the fact that it was not gedy of Jephthah and his daughter produced in stume and with scenery come alive in all its realism, glowing in- on a stage. It was a new form which tensity and emotional power." The re- Carissimi, the outstanding Italian com- sult is a masterly adaptation of the work poser between Monteverdi and Ales- of one composer by a later one. sandro Scarlatti, endowed with Another remarkable example of such structural unity and brought to full per- adaptation is the Organ Mass of Franz fection. Liszf (181 1-1886). On the score, which The oratorio was composed after he completed in 1879/80, Liszt wrote a Carissimi had been placed in charge of title formulated by himself in Latin: music at the church of Sant'Appolinare "Missa pro organo lectarum celebra- in Rome (1630). Twenty years later it tioni missarum adiumento inserviens" was still so well known that the Jesuit (Organ Mass to serve as an aid in he ce- scholar and musicologist Athanasius lebration of said masses). In fact this was Kircher used it as an example complete the third version of a work which had with musical quotations in his Musurgia first seen the light of day in 1848 as a Universalis. He described it as being "Consecration Mass" for male chorus "succo et vivacitate plena" (pulsing with and ad lib organ which life and vitality), and may well have be- Liszt had written for his friend Antal come acquainted with it at the socially Augusz in Szerkszard. However, it was fashionable Oratorio del Crocefisso di not performed at the actual service of San Marcello; from here hand-written consecration at Ujbaros, and had to copies soon spread its fame across the wait until 1872 for its first performace, Alps. given in a revised form in the presence Despite its somewhat aristocratic ori- of the composer at Jena. gins, Jephfeis really a popular work, not Ten years later Liszt turned this male a work for the connoisseur. Its chorusses voice choral work into an organ mass in have about them an elemental force re- the manner of the French 17th-century miniscent of Monteverdi's " composers and Bach's "German Mass". of War", while its do not as yet In its original form it had consisted of conform to the already popular "da the usual section (Kyrie, Gloria, Credo, capo" scheme, and are primarily aimed Sanctus, Benedictus and Agnus Dei) to- at expressing the words of the text as ef- gether with a piece to be played during fectively as possible. The narrative as- or after the elevation. But he later re- pect of the oratorio, i.e. the part of the moved this "Elevazione" and added two "Historicus" of narrator, is kept de- new sections: a Gradual and an Of- liberately simple and direct so as to hold fertory, the latter being an organ version the attention of the audience. of the (or "Prayer") written A glance at the artistic development of in 1846 for mixed which also reap- the composer Hans Werner Henze (born pears in more familiar guise in the 1926) soon explains his interest in Caris- " poktiques et religieuses" simi's Jephfe. He was a private pupil of for piano. Wolfgang Fortner at the Institute for Liszt's Organ Mass is firmly based on Church Music at Heidelberg, and that is thematic material derived from plain- doubtless where he first met Carissimi's song, while its polyphonic writing is oratorio. When, later, he was working after the style of Palestrina. But his with the theatres at Constance and handling of the material is highly indi- Wiesbaden and turning more and more vidual, and there are times when his to the theatre in his own music, the idea leaves even late Wagner be- of his updating Carissimi's score began hind. Its characteristic lyricism and apt to seem to him as desirable as the mo- dynamics illustrate the mastery he dernization of Handel's had achieved in his late works. Indeed the seemed to Mozart when he was involved Organ Mass may be regarded as a major with Baron van Swieten's Sunday con- contribution to his efforts to reform certs. church music, for by having recourse to Henze left the vocal parts intact, and his particular type of mass, then widely confined himself to expanding the or- popular, he was able, via the , to chestration in line with authentic ba- educate the taste of the concregation. roque practice. What Carissimi gives to Leos Janacek (1 854-1923) was a handful of strings and a basso con- probably unaware of the compositional tinuo - and even in those days other in- history of the Liszt Organ Mass; all he struments were used, e.g. a continuo knew was the definitive score published harp - Henze rescores for a colourful by Kahnt of Leipzig. But he revealed his ensemble with four (including extraordinary musical insight by trying piccolo, bass and double-bass flutes), to recreate a choral mass with organ ac- mandolin, guitar, banjo, harp, and companiment out of it. Janacek was a various percussion instruments : ma- late romantic at heart, but he was intent rimbaphone, glockenspiel, crotales, on carrying out a fundamental renewal Historicus I: Ptre, si tu as fait ce voeu pour la cas AMS 3534 F Lorsque le roi du peuple dYAmmon oh tu rentrerais vainqueur, moi, ta fille eut provoqut les enfants dYIsrael au unique, je veux m'offrir en holocauste combat et qu'il ne se laissait plus cal- pour ta victoire. Accorde une seule mer par les arguments de Jephtt, chose A ta fille unique avant qu'elle ne l'esprit du Seigneur descendit sur meure. Jephtt et il fit ce vceu en avanqant Qu'est-ce qui pourrait consoler ton contre le peuple d'Ammon : cceur, toi qui es voute A la mort? German pressing Jephtb (Aria): Permets-moi d'aller durant deux mois Si le Seigneur remet entre mes mains dans la montagne avec mes amies afin le peuple d'Ammon, je lui offrirai en que je puisse dtplorer ma jeunesse. holocauste la premitre personne qui Va, ma fille, va, ma fille unique, dt- sortira de ma maison a ma rencontre. plore ta jeunesse! Chsur: Chsur: Jephtt alla donc A la rencontre du La fille de Jephtt alla donc dans la peuple d'Arnrnon pour lui livrer ba- montagne avec ses amies et dtplora sa taille avec grande confiance dans la jeunesse en disant: force du Seigneur. Fille de Jephtb (Aria): Tromba I & I1 (Duo): Pleurez, collines, souffrez, montagnes, Meister bearbeiten Meister Et les cors rtsonntrent, les timbales prenez le deuil en raison de I'angoisse tclatkrent, la bataille contre Ammon de mon cceur! Voyez, le jeune sang Masters adapt masters s'engagea. que je suis va mourir et je ne puis con- Les maitrespar les mai'tres Le soldat (Aria) : soler mes compagnes en raison de ma Fuyez, reculez, vous, les sans-Dieu, mort. Soupirez, fortts, sources et ruis- ptrissez, vous, les peuples, par le glai- seaux, pleurez le dtcts d'une jeune fil- ve. Le Seigneur a l'armte dans sa le! Ah, pauvre de moi, tandis que le Seite 1 / Side 1 / Face 1 main et combat contre vous. peuple se rtjouit et qu'Israel est vain- Chsur : queur, tandis que la gloire environne Giacomo Carissimi Fuyez, reculez, vous, les sans-Dieu, mon pbe, moi, vierge sans descendan- soyez dttruits et chassts par le glaive ce, moi, la fille unique, je vais mourir (1605 - 1674) furieux. Vous ptrirez par la fureur du et je ne vivrai plus. Soyez saisis de glaive. crainte, figez-vous, rochers, collines, Jephte - Oratorium latinum in Historicus I: valltes et cavernes, renvoyez 1'tcho de der Neuinstrumentierung von Et Jephtt dispersa vingt tribus d'un ma douleur. Enfants d'Israel, pleurez seul coup uissant. ma jeunesse, deplorez en une lamen- Jephte - Oratorium latinum, new Chsur: tation la fille unique de Jephtt. orchestration by Et le peuple gtrnissant d'Ammon fut Chsur : abattu par les enfants d'Israe1. Pleurez, enfants d'Israel, pleurez, Jephtt - Oratorio latin dans la Historicus 11: vous, toutes les jeunes filles, pleurez la nouvelle orchestration de Mais lorsque Jephtt, victorieux, revint fille unique de Jephtt en une deplora- a sa maison, sa fille vint A sa rencontre tion, lamentez-vous sur elle. avec tambours et instruments A cordes Hans Werner Henze (1926) et chanta: (B. Schott's Sohne, Mainz) Fille de Jephtb (Aria): Entonnez avec tambours et louez avec cymbales. Nous voulons chanter la Georgine Resick louange du Seigneur et entonner un (Sopran) chant de ftte. Nous louons le roi ctle- Cornelia Dietrich (Alt) ste, nous louons le chef de guerre qui Frieder Lang a donnt la victoire au conducteur des (Tenor) enfants d'Israel. Phillip Langshaw Chsur: (Bass) Nous voulons chanter la louange du Madrigalchor Klaus Fischbach Seigneur et adresser un chant de fEte Mitglieder des RSO Saarbriicken A celui qui a donnt la victoire aux en- Dirigent / Conductor fants d'Israel. Klaus Fischbach Fille de Jephtb (Aria): Chantez avec moi le Seigneur, chan- tez, peuples, louez le chef de guerre A Weitere Informationen qui a donnt gloire et victoire Israel. auf den Innenseiten Seite 2 / Side 2 / Face 2 Chsur : Nous chantons tous au Seigneur, nous Texts enclosed louons le chef de guerre qui a donnt Leos Janhcek (1854 - 1928) gloire et victoire A Israel. Textes incl6s Historicus I: Messe B-dur fur Orgel und Chor Lorsque Jephtt, qui avait fait le vceu nach der ,, Missa pro organo " von au Seigneur, vit sa fille, il dtchira ses Mass in B flat major for organ vttements et pleura en disant dans sa and chorus based on ,,Missa pro douleur: organo " by Jephtb et sa fille (Duo) : Malheur A moi, ma fille, tu as involon- Messe en si be'mol majeur pour tairement croist mes desseins, ma fille orgue et choeur d'aprks ,,Missa unique, tu es trompte. Produktion: Saarlandischer Rundfunk pro organo" de Pourquoi, ptre, ai-je involontairement in Koproduktion mit Schwann, Dusseldorf Aufnahme: 20./21. 11. 1979 in St. Matthias, croist tes desseins, et pourquoi suis-je, Trier (Janhcek) moi, ta fille unique, celle qui a Ctt 15./16. 10. 1980 und 23.2. 1981 im Franz Liszt (181 1 - 1886) trompte? Saarlandischen Rundfunk (Henze) Aufnahmeleiter: Gunter Braun (SR) J'ai promis au Seigneur que je lui of- Technik: Gunter Bosschieter (Janhcek) Trierer Domchor frirai en holocauste le premier ttre qui Helmut David/Heinz Plunien (Carissimi) Hans Kohn viendrait A ma rencontre, sortant de Foto +Gestaltung: Peter J. Kahrl (Orgel / organ / orgue) Druck + Fertigung: Maack, Ludenscheid Dirigent/Conductor ma maison. Malheur a moi, ma fille Printed in Germany/Imprimt en Allemagne etc. O 1982 Pad. Verlag Schwann GmbH, Dusseldorf Klaus Fischbach that the Nazis banned atonal music because it was degener- more specifically the serial, method, Henze (born in Giiters- ate and a product of "Jewish cultural Bolshevism", and the loh in 1926) has never really gone over to it completely. The authorities in East Germany condemned it in the 1950's be- fact that he emigrated to Italy as early as 1953 may partly cause it was decadent and bourgeois.) have been because Henze felt the recent past still cast too deep For Blume, at any rate, there can be no music across the a shadow on the Federal Republic of Germany; in musical border of tonality. As a music historian, however, he is aware terms, the move meant that Henze's sensuous approach to of the fact, historically speaking, that the term tonality has sound and his art felt more at home in a southern environ- onlv limited validitv. As a result. he takes a broad view of ment and it also brought about a physical separation from tonality; it exists wherever a tonal system exists which, the creative musical situation in of that without itself being natural, is related to natural sounds. period, from his teachers, such as Wolfgang Fortner, and This broad definition of the term has the advantage that it from the centres of new music, in particular from the bastion includes what is normallv understood as atonal music (which of serial com~ositionin KranichsteinIDarmstadt. is why Blume was justifiably surprised at the reaction of Henze rapidly acquired a reputation from the beginning some who attacked him as an opponent of atonal music), but of his com~osineL " career at the end of the second world war nevertheless suggests that everything except tonal music is because he was in less danger than others of being caught not music (which is why all those who regarded him as an between two fronts, and because his music appealed more opponent of atonal music, were also justified); even a noise directly to a larger public than the often esoteric, brittle - A - a phenomenon which has always been present in music, style of many of his colleagues. Another, even more impor- e. g. as made by drums - presents no problem: it is a "splash tant reason for his rapid success was that bv the end of the of colour" which does not affect tonality, something that 1950's he had produced a rich variety of vocal and instru- enters music from outside, literally an exotic phenomenon. mental works, of which the operas "Konig Hirsch" and "Der By Blume's definition, however, the musical sphere is quite Prinz von Homburg", ballets like "", and (by 1955) definitely forsaken by , in which synthetic four symphonies spring to mind, although these are only sounds replace natural ones. The pattern of argumentation is points of orientation in his larger creative landscape. similar to that used in connection with' the homoeopathyl Henze's search for an individual musical language has also allopathy controversy. Just as this often ignores chemical, been (mis)understood as a rejection of the principles of new even medical arguments, so does the naturalIelectronic con- music, and Ulrich Dibelius went so far in 1966 as to speak of troversy often ignore musical ones. Instead, ethical argu- Henze's "Neoromantic music". This classification was not ments are resorted to. new; in a lecture given in 1959, Henze remarked on the For two and a half thousand vears it has been a traditional "suspicion of Romanticism" which was "so difficult to fend procedure in Western music to take refuge in ethics in the off" as one was not sure whether, "if it proved to be justified case of questions that cannot be answered in musical or aes- it would really displease one". Henze, whose comments at thetic terms. Blume says: "I must admit in this connection, that time tended to be rather extravagant, spoke in the that I am not sure whether or not . . . higher ethical prob- middle of the fifties of his "longing for a full, wild euphony", lems are not involved. Is it permissible for us to take the which could only be satisfied by a "feeling of loneliness and axe to one of God's most perfect creations . . .?" freedom". Henze's compositorial aims of that period are The question is rhetorical in quality; for "clearly" there perhaps best described in his own words: he aimed at music has been a fall from grace, and ,it is implied that those in which "poetry and subject are at one with their realiza- "completely denatured products built up out of physical tion in sound". Consequently he was commended for his sounds" should be expelled from the paradise of the arts. taste for "the most delicate of poetry" and for lyrical ex- The two main features - the serial principle and synthetic pression - whatever may be meant by that -, for sophisti- sound production - are incontrovertibly important to the cated sound, and above all, for cantabile expression, and he art of composition, and thus to the historv of music. Never- was soon seen as an "over-sensitive musician", as a "singer theless, the new music of the 1950's was controversial in its of lovely, oftcn dangerously lovely, ", as Bernd own day and is so still - or again. The toughness of the re- Miiller remarked on the occasion of the first performance of sistance that has been put up against what is, so to speak, a "Nachtstucke und Arien" in 1957. Thus, Hans Heinz Stuk- pure, independent, form of composition, highlights this mu- kenschmidt, a music critic who closely followed and pro- sic's social importance - an importance which is partly based pagated the development of new music in Germany after on the fact that such music is suspected of being escapist and the second world war, ended a portrait of Henze in the same esoteric, elitist and socially ineffective. year as follows: "He is the richest in talent and breadth of Albrecht Riethmiiller (Translation: John Bell) horizon among the Germans of his generation."

Nachtstiicke und Arien HANS WERNER HENZE after by , It has always been to Henze's advantage that he has never for Soprano and Orchestra committed himself to a particular direction in music. He The title "Nachtstucke" (Night Pieces) does not stand for has thus avoided any pressure to conform; in this way his a or a divertimento, or for one of those pieces works have avoided the process of stereotyping and la- which, after John Field and Chopin, soon degenerated into belling so dear to the general public. (Whether this has changed "drawing-room music" - the single movement 19th century since the end of the 1960's, when Henze completed a move piano piece called nocturne or notturno. "Nachtstiicke" is towards politically committed music with a communist col- closer to orchestral works such as Debussy's cycle "Trois ouring will be discussed in another connection.) Despite ap- Nocturnes" (1897-1899) or Busoni's "Nocturne sympho- proaching, and experimenting with, the twelve-tone, and nique" (19 I q), espccially as - although the title does not make it completely clear - Henze's composition consists of three mpact clusters of sound acd sharp dissonant formations purely instrumental pieces (Nachtstudre I, 11, and 111), nething of the Apocalyptic awakening". Schweizer con- between which two vocal pieces (Aria I and Aria 11), are iidered this unseemly, and found that Henze's work lacked inserted, so that the instrumental pieces form the beginning, L "binding, constructive principle, despite alleged use of the middle, and end of the work. It can therefore not be said serial method". Here the complicated reciprocal relationship with any certainty whether the work is more in the tradition between constructive order, which was sought in music (and, of orchestral songs or more in the tradition of cyclic jespite all opposition was believed to have been found in orchestral pieces (symphonies with vocal parts). The dif- he serial principle), and a reality threatened with total de- ferences in musical genre were levelled out in post-1910 itruction, is revealed. The journalist had correctly understood, music, and it is perhaps worth noting that in his Violin Con- no matter how much he wished not to believe it, what Inge- certo (of 1931), Stravinsky also used the titles "Aria I" and borg Bachmann meant, and what Henze was trying to ex- "Aria 11" as headings for movements. "Nachtstucke und press in music: the "mushroom of smoke" referred to is not Arien", composed, and given its first performance at Donau- merely - as would be in keeping for an idyllic nature poem eschingen in 1917, has rightly been regarded as one of those - the cloud of smoke over Etna and Vesuvius. but the cloud attempts in contemporary music to present instrumental and that rose above Hiroshima and Nagasaki in 1941. In the in a new manner. Henze's interest in this prob- I~so's,a decade in which many atom-bomb experiments lem - outside opera, in which it occurs in a different way - were made, everyone had seen photographs of the "atomic goes back to an earlier period, and, after "Nachtstucke und mushrooms". Schweizer holds, both rightly and wrongly, the Arien", which calls for a large orchestral apparatus, resulted dissonance responsible for the degree of threat, dangerous- in another major work in 1973: "Voices" for two vocal so- ness, and destruction, and thus confirms the thesis put for- loists and a smaller instrumental ensemble. ward in Th. W. Adorno's "Philosophie der neuen Musik" of The texts of the two arias are based on poems by Ingeborg 1949: "The dissonances which shock them (the listeners) refer Bachmann - another Italophile - with whom Henze fre- to their own condition: that is the only reason they cannot quently collaborated until her death in Rome in 1973. "Aria bear them." Albrecht Riethmuller (Translation: John Bell) I" is based on what was originally a two-verse version of the poem called "Im Gewitter der Rosen", which, in an oneverse version, was included in the collection "Die gestundete Zeit" (1913); only the beginning of the poem (lines I and 2) is evidently not from the original version, but is taken from the published version of 1913. The poem used in "Aria 11" was If the 1950's are regarded as the decade in which electronic apparently written for this purpose, and was first introduced music experienced its pioneer period and serial music its to the public under the title "Freies Geleit" by the Suddeut- peak, then Karlheinz Stockhausen must be named first among scher Rundfunk in Sruttgart on 19th June I 957. the composers of that period. He was born in Modrath near The word "night1' occurs in both poems, but only the first in 1928, and studied from 1947-195 1 at the CO- of them can properly be regarded as a "night piece", the logne Academy of Music (composition under Hermann Schro- second being more of a "morning poem". Both are about der and ), before a stay in Paris in 1912/13, nature, which ties in with Henze's wish regarding agreement where he studied with . Another important between poetry and subject and their realization in sound, phase was a period of study from 1914-1916 under the especially if one considers that for the concept "night", light, physicist Werner Meyer-Eppler (1913-1g60), who taught colour, and atmosphere play a central role and that the crea- phonetics and communications research at the University of tion of atmosphere and virtuoso subtleties of tone-colour are . From 1953, Stockhausen was an assistant at the "Stu- special strengths of Henze's music. But that the term "ni",tU, dio fiir Elektronische Musik" at the the favourite sphere of the Romantics, is by no means limited in Cologne which was at that time directed by Herbert to the representation of special light effects, pleasant enter- Eimert (I 897-1 972). From 195 5 together with Eimert, Stock- tainment, and dreamy, voluptuous fantasies, but is also hausen edited the publication " - Information uber suitable for describing the sombre sides of life, full of horror serielle Musik"., .~ublished bv in Vienna. and fear, is demonstrated more effectively in the poetry of and, from 1913, lectured at the Internationale Ferienkurse the night (E. T. A. Hoffmann's "Nachtstucke" of IS 17, for fur at Darmstadt. example, or works by Poe) than in music, to which such di- The works that Stockhausen published during the 50's re- mensions were not available until the 20th century; it was flect the modifications to the serial principle which occurred not by chance that the "nocturnes" withdrew to the draw- during that period. Many of them had a significant effect on ing room in the further course of the 19th century. No mat- the direction taken by serial music, and have become para- ter how succesful the first performance of "Nachtstucke und digmata for the "state of the art" at the time. Here we can Arien" might have been, or how often the work has been mention only "" (1951) and "Kontrapunkte" played since then - it nevertheless has an oppressive effect. (1952/13) for "pointillist music", "Studie 11" (1914) for This becomes clearest if one looks at the text of "Aria II", serial music composed of syi~theticsounds, "Klavierstuck in which the apparently idyllic setting is suddenly shattered XI" (I916) and " fur einen Sdnlagzeuger" (I 919) for by the force of the third verse: "Die Erde will keinen Rauch- the music of the later rgjo's, which was increasingly or- pilz tragen, 1 kein Geschopf ausspeien vorm Himmel, / mit ganized by statistical methods. Iiight from the beginning, Regen und Zornesblitzen abschaffen / die unerhorten Stim- Stockhausen ~roducedtheoretical analvses of the extremely men des Verderbens." complex and extensive compositorial problems occurring The words "Rauchpilze" (mushroom of smoke) and "Stim- during the course of this development - in general form, men des Verderbens" (voices of doom) caused a critic (Gott- and in the form of notes and comments on specific works. fried Schweizer) to write in 1959 that Henze suggested "in One of these articles was the muchquoted ". . . wie die

Hans Werner Henze (geb. 1926)

Seite 1 : Gaston Salvatore, der Autor des spielern gebildet, deren Zentrum Gedichts nVersuch uber Schweinecc, der Abraxas-Club in Hampstead ist. Versuch iiber Schweine wurde 1941 in Valparaiso (Chile) Hart hat bei mehreren internationa- (1968) geboren. Er lebt seit einigen Jahren len Kongressen fur Psychotherapie (Essay on Pigs, in Berlin und nimmt aktiv an der referiert und arbeitet zur Zeit an Essai sur les cochons) sozialistischen deutschen Studen- einer Produktion der ~Bacchan- Gedicht von Gaston Salvatore (1968) tenbewegung teil. Salvatore schrieb tinnen(t.von . das Gedicht im April 1968, und , Stimme (voice, Henze begann im Dezember des- Gary Karr voix) selben Jahres mit der Vertonung. Gary Karr wurde in Hollywood ge- Philip Jones Brass Das Orchester im ,,Versuch uber boren und begann sein Musik- Schweinec

~behauptungale selbstbehauptungu

fur dich sind for you alle baume verbrannte all trees are burnt ones die boote kanonenboote the boats gunboats aber ein berg die notwendigkeit but a rock is the necessity die nackten steine zu meiden to avoid naked stones zeitweilig at times sind alle tiiren tot all doors are dead versuchen wir let us try ein floss daraus zu zimmern to make a raft from them wenn jeder sich an den andern legt if each lies next to the other in gut durchdachter anordnung in a well thought-out order dann Ibst sich vielleicht then perhaps eine wegstrecke weit vorankommen a stage of the journey can be covered jedoch yet the paleness die blasse der verteidigung of the defence besteht weiter persists die zufalle accidents geraten ins schwimmen begin to meander dir steigen in you are conjured up die bildervon fruher auf the images of the past kleine symptome der mudigkeit small symptoms of fatigue alltagliche verheerungen everyday devastations also schonheit that is to say beauty immer wiederkehrend always recurring ein zuruckbleiben a remaining behind [they are hunting me down I must move on is.the wind in that door still?] ein bruchiges floss a brittle raft gestrandet stranded im stadium der sprachlosigkeit in a state of speechlessness

danger exkurs fur entenlodmMeu "extended dlscaurse for duck decoy blrdcali" einmal hiess es von ihm once it was said of him er sel eln stiller mensch that he was a quiet sort of man hore lieber zu preferred to listen als selber zu sprechen rather than speak dann wieder then again er sei hellwach that he was wide awake einfach sehr nett simply awfully nice er habe gut geschlafen was a sound sleeper sei irgendwo krepiert had kicked the bucket somewhere nach kurzer Zeit after a short while nicht hier not here die einen fragten sich some asked themselves ob er nicht lieber gegangen ware whether he would not rather have auf die ungewisse reise gone in die gefangenschaft on the uncertain journey die anderen sagten ihm nach into captivity er habe irgendwo others said about him die regelrechte schlagerei begonnen that somewhere he had started (aber wie sonst sol1 sie anfangen that regular brawl - oder spinnen wir - (but how else could it start die gesellschaft -or are we up the - von der wir so vie1 reden) that society Abdruck mit freundlicher Genehmigung man hat es schwer mit ihm gehabt of which we talk so much) des Verlages B. Schott's Sohne, Mainz. mit dem fur eine nacht sensiblen one had one's troubles with him English translation by Stefan de Haan, whose sensitivity lasted a night reprinted with kind permission by through B. Schott's Sahne, Mainz. Essal sur les cochons und so begabt war er fur spate tes essais sont fragen un amalgame difficilement (das alles sehr liebenswurdig) d'accornmodements auch so kann man geruchte tilgen d'arrangernents courtois es folgt daraus et de reves jetzt steht er leer trbs varies jetzt schlaft er nicht mots percutants auf keinen fall dont les dates desorientent parfois in einen andern tritt ist er gekommen der nicht mehr zogert und nicht abwagt cc affirmation comme affirmation de da fallt es ab von ihm soi n pour toi tous les arbres sont calcines nabschledsformelncc les bateaux sont des canonnibres es ist nicht strafbar mais une montagne c'est n6cessitB keine abschiedsformel zu haben d'dviter les pierres nues diese feststellung ist jedoch relativ par moments sie gilt nur im hinblick toutes les portes sont rnortes auf andere rnassregelungen essayons erledigt vie1 zu leicht und zart d'en faire un radeau um das schlechte gewissen si chacun s'etend contre I'autre von grund auf zu heilen en ordre bien pens6 ein auffallender gegensatz alors peut-etre pourra-t-on doch die toten sind tugendlos parcourir une &ape beim abschied und gleichgultig cependant fur das elend der ubermalungen la peleur de la defense nur zu gewissen extravaganzen persiste werden sie wieder heworgeholt les Bvbnernents s'embrument des images de ton pass6 surgissent petits signes de fatigue ravages quotidiens besser ist es c'est-&-dire beaut6 du gehst weg se repetant sans cesse unsichtbar sind die messer une survivance verlorengegangen in den toten [ils me font la chasse je dois avancer aber lange wahrt das schweigen le vent est-il dans cette porte?] und schon muss foltern sein und der beamte grundlich un radeau brise und es harter zu sagen 6chou6 ist nicht moglich et tout langage nous manque sachkenntnis cc longue dlgresslon sur un appeau seltner geworden

pour canards )) wird durch verzweiflung ersetzt jadis on disait de lui verwegene wollen que c'Btait un homme paisible zuruck in's schweigen aimant Bcouter avantgarde bis zum alleinsein plutdt que parler die alte kalte et encore kurz und gut qu'il Btait tr6s BveillB du bleibst verfugbar sirnplernent tr6s gentil du hast allem genuge getan avait dorrni profondBment nur weiter kannst du nicht etait all6 crever quelque part schienen wir nicht unsre briiche peu de temps aprbs heilen wir sie nicht zu fruh - pas ici unser bericht vom ersten tag les uns se demandaient hat nicht mit den zufallsketten s'il n'etait pas plutdt parti gerechnet pour un voyage incertain im ubrigen: der krieg geht weiter en captivite bereichert durch unsre neu les autres disaient & son sujet erworbnen qu'il avait quelque part verheerungen commence la bagarre dans les r6gles und es ist durchaus moglich (rnais comment pourrait-elle dass sich auch andere zufallsstruk- commencer autrement turen - ou bien divaguons-nous - mit ahnlichen rnitteln ausbeuten la soci6tB lassen dont nous parlons tant) il a cause bien du souci freilich immer nur lui sensible I'espace d'une nuit dem Kopfstand des bewusstseins entsprechend who was so clever with late et il etait si doue pour les questions (vorausgesetzt questions tardives die wirkung bleibt sich gleich) (all that very amiably) (tout cela trks aimablement) rufen was sol1 ich rufen heute? thus too rumours can be undone ainsi peut-on aussi aneantir les ruft nichts, from this it follows rumeurs nichts vor abschluss des aufenthalts that he is empty now il s'ensuit steine aus worten now not asleep qu'il est vide maintenant die man entfesseln wollte on no account qu'il ne dort plus maintenant milder anlauf und vorlBufiges endecc he has changed step enaucuncas no longer hesitating il est venu d'un autre pas no longer weighing up qui n'hesite plus der verstorbene naive and so it falls'away from him qui ne soupkse plus ist zuganglich fur besucher cela se d6tache de lui mit einer legende umgeben die s-bahn fahrt weiter in unsre bilder hinein ''farewell phrases" u formules d'adleu H it is not punishable ce n'est pas condamnable to have no farewell phrases de ne pas avoir de formules d' this statement is however relative cette constatation est pourtant it is only relevant in relation relative gelassene uberheblichkeit to other disciplinary measures elle n'est valable qu'en consid6ration lebhafte versprechungen d'autres mesures vexatoires monotonie disposed of much too easily and berliner romantik gently reg16 beaucoup trop legkrement et wer hat sie eingerichtet to cure the bad conscience faiblement thoroughly down to its roots pour gubrir la mauvaise conscience es stellt sich heraus a striking contrast jusqu'a ses racines das ganze war nur eine pause but the dead are without virtue un contraste frappant zwischen zwei zugen eines spiels at the parting pourtant les mots ne sont pas dem du nicht entkommen bist and indifferent vertueux iibrig bleibt to the misery of glossing over tors des adieux ein unbekannter vorrat von energie only for certain extravaganzas et indiffbrents was aber die liebe betrifft are they brought up again A la misbre des retouches so bleibt sie ils ne sont rappeles innerhalb einer zeitspanne que pour certaines extravagances die jeweils vorher bekanntgegeben wird cc constatation n ein trauriges gerausch und das zusammenleben better would it be il serait preferable nichts als die hohlform der taten if you went away que tu partes die wir hinterlassen haben invisible are the knives invisibles sont les couteaux einwandfreie geschlechtsbestim- got lost perdus mung in the dead dans les morts wird garantiert but long lasts the silence mais le silence se prolonge zwischen unserer einsamkeit and to torture must be lovely longtemps und unsern traumen and the civil servant be et ce doit &tre agreable de ist ein endgultiger streit ausge- thorough torturer? brochen and to say it more harshly pour le fonctionnaire minutieux is impossible et le dire plus durement beide sind nach wie vor est impossible nutzliche anhaltspunkte expert knowledge werden aber durch die hoffnung rarer now la competence vertuscht is replaced by despair devenue plus rare the fearless want to return est remplacee par le desespoir jetzt muss der plan erortert werden to silence les audacieux veulent genau und behutsam avant-garde right down to solitude revenir au silence endlich klargestellt die verpflichtung the age-old coldness avant-garde jusqu'a la solitude vernunftige losungen la froideur ancienne konnen auch verletzen in short you remain disposable bref tu restes disponible unsicher geworden bist du you have done your duty in every tu as fait ton devoir en tous points an den guten erfahrungen respect seulement tu ne peux pas aller plus und die hoffnung ist only you can't go on loin auf weite strecken hin ne reduisons pas nos fractures nur ein aufschub let us not splint our fractures let us not heal them prematurely- ne les guerissons pas prdmaturement wer kann fallschirmspringen our first-day report notre rapport du premier jour abspringen did not allow for chains of accidents n'a pas prbvu les chaines du hasard abspringen anyhow: the war goes on au reste: la guerre continue schluss mit den fahrenden zugen enriched by our newly acquired enrichie par nos devastations aufhalten devastations recemment acquises aufhalten et il est parfaitement possible and it is indeed possible DA STAND ICH AUF que d'autres structures accidentelles that other accidental structures und sagte soient exploit6es par des moyens can also be exploited by similar ich ergebe mich means semblables das ist alles condition que I'on ait of course always only a doch dann schoss ich corresponding to the head stand of la conscience A I'envers wie es befohlen ist consciousne~s et que I'effet reste le mdme (assuming the effect is the same) shout what should I shout today? appeler que dois-je appeler shout nothing, aujourd'hui? nothing before the end of the stay n'appel rien stones from words rien avant la fin du sejour one wanted to unleash pierres issues des paroles qu'elle voulait lib6rer

"tired starting up and end for the n Blan fatigue et fin provisolre n time being" the deceased na'ive one le naif deced6 can be approached by visitors peut Btre approche par des visiteurs surrounded by a legend entour6 d'une legende the s-bahn goes on la s-bahn n continue into our images a p6netrer dans nos images [S-Babn: Berlin city railway, owned [S-Bahn: Une sorte de .metro qui by the East, but running in East appartient I'Est et qui roule non and West Berlin] seulement dans Berlin de I'Est, mais relaxed arrogance aussi dans Berlin de I'Ouest] vivid promises arrogance impassible monotony vives promesses berlin romantic monotonie who has arranged it romantisme berlinois qui I'a installe? it is becoming apparent the whole thing was just an interval il apparaTt between two moves of a game que le tout n'6tait qu'une pause from which you did not escape entre deux coups d'6checs there remains auxquels tu n'as pas Bchappe an unknown store of energy ce qui reste c'est une reserve inconnue d'bnergie but as for love it remains mais en ce qui concerne I' within a space of time il reste which in every case is announced dans un laps de temps beforehand qui chaque fois est annonce a sad noise d'avance and the living together un bruit triste nothing but the hollow mould of et la vie en commun actions rien que le moule creux des actes which we left behind que nous avons laisses derriere nous faultless sex determination lad6terminationirr6prochabledusexe is guaranteed est garantie between our solitude entre notre solitude and our dreams et nos rdves a final quarrel has broken out 6clate une querelle definitive both have been and are tous deux sont aujourd'hui comme useful points of reference hier but are hushed up des points d'appui utiles by hope mais sont masques par I'espoir now the plan must be discussed maintenant il faut discuter le plan accurately and carefully exactement et avec prudence at last the obligation must be made enfin le devoir doit gtre d6fini clear clairement reasonable solutions les solutions raisonnables can also hurt peuvent aussi blesser uncertain have you become tu es devenu incertain of satisfactory experiences Bcausedesbonnesexp6riences and hope is et I'espoir n'est for long stages pour de longs parcours merely a postponement qu'un r6pit who can parachute celui qui peut sauter en parachute jump off qu'il saute jump off qu'il saute finished with moving trains c'en est fini des trains en marche stop them arrdtez-les stop them arrgtez-les THEN l STOOD UP ALORS JE ME SUlS LEVE and said et j'ai dit l surrender je me rends that's all c'est tout but then I fired pourtant ensuite j'ai tire according to the command selon les ordres