Wortlaute I.

Join the ZOOM meeting after the concert here.

 

“The approaches of the four composers are characterized by different levels of determinacy in sound and notation. The common ground is a concentration on the sonic qualities of the language material.”

Nikolaus Gerszewski

 

Nava Hemyari: Sussane (solo soprano)

Sussane is a piece for solo soprano from a series called Names among other pieces like, Richard for solo guitar, Jens for piano trio, Konstanz for organ and projections, Margaret for tape and Mario for a small ensemble. The pieces is about a rather crazy woman getting ready for a party. She seems to be thinking different elements in her environment know that sheʼs not ready and call on to her. She says in the end that she will in fact never be ready.

 

Sussane, Sussane, isnʼt ready Even the birds know And theyʼre like Shi…..S…Sussane…Sussane
Sussane, Sussane isnʼt ready Even the wind knows And heʼs like Hu…Shu…Shu…Shuzhan
Sussane isnʼt ready Even the car knows And heʼs like Aaa…Aaa..Su…Sussane
Sussane isnʼt ready
Even the birds know …shi… Even the wind knows… hu… Even the car… Birds, wind, car, bird wind Knows…nose?
Nose? nose!
Nooozzz!
Sussane will never Never and ever Never ever never ever be ready

 

 

 

Nikolaus Gerszewski: More Songs on Nothing (for voice & piano) 2018 (fragments)

The piece belongs to the genre of mobiles; these are pieces consisting of kinetic modules, which have to be put together by the performer, according to specific playing rules. Here there are always 10, uncoordinated notations, for piano and voice, which can be combined ad libitum. Each of the 10 pieces is noted in two lines, the 2nd of which is the rake-form of the 1st. The reference tone is chosen individually, and from there the intervals within the individual parts are fixed. The text-material is chosen freely, preferably from a language not spoken by the performer; whereby individual words or syllables can be left out for the sake of singability, regardless of language context. The piece explores the relationship of constants and variables within music; one may just as well say: the relationship of composition and interpretation; whereby the term interpretation indicates both, the musical performance, and the individual listening experience. 

 

Christoph Herndler: I SING YOUR NAME – ZOLTÁN JENEY (for voice) 2020

Christoph Herndler has developed his own medium, which he calls ‘Notationsgrafik’. In contrast to a graphic score, Notationsgrafik is always applied in combination to an interpretational instruction. The graphic design reveals the pure form; the shaping of the piece in actual sounds falls into the area of responsibility of the interpretation. One and the same graphic design can be combined with different interpretation-instructions, and each instruction can lead to different sounding results.

The Notationsgrafik ‘I sing your Name’ can be applied to any name (any text-object), whereby the sound material is generated from the combination possibilities of the letter sounds of the chosen name. For the Transparent Sound Festival, we have asked Christoph Herndler to create a version with the name Zoltan Jeney; in hommage to the great Hungarian composer who passed away recently.

 

Zoltán Jeney: Twelve Songs (for female voice, violin & piano) 1983 (Fragments)

1. may i feel said he

8. Hold

9. me up at does

 

The complete cycle sets poems by E.E. Cummings, William Blake, Sándor Weöres, Dezsö Tandori and Friedrich Hölderlin to music; each poem is sung in its original language. In each individual piece, Jeney has applied a different compositional technique; whereby the text always constitutes the central formative element for the music. In the musical moment, the figurations of sound and language merge to a unity.

 

e. e. cummings: may i feel said he

may i feel said he
(i’ll squeal said she
just once said he)
it’s fun said she

(may i touch said he
how much said she
a lot said he)
why not said she

(let’s go said he
not too far said she
what’s too far said he
where you are said she)

may i stay said he
(which way said she
like this said he
if you kiss said she

may i move said he
is it love said she)
if you’re willing said he
(but you’re killing said she

but it’s life said he
but your wife said she
now said he)
ow said she

(tiptop said he
don’t stop said she
oh no said he)
go slow said she

(cccome?said he
ummm said she)
you’re divine!said he
(you are Mine said she)

 

Weöres Sándor: Hold

Hold.

Holt bolt.

Volt kort hord.

Zord folt.

Hold.

e. e. cummings: me up at does

 

*** 

 

Christoph Herndler studied organ and electroacoustics at the university of music in Vienna, and composition with Roman Haubenstock Ramati. He also studied abroad at Stanford University, California; in the Department of Visual Art in San Diego; and in the Art Department in Claremont, Los Angeles. In 1997, he founded Ensemble EIS, an interdisciplinary project-group, involving numerous reputable musicians. His work priorities are notational graphics and intermedial scores, which can also be realized through extra-musical media, notational objects, musical installations, video works, and art in public spaces.

https://www.herndler.net/

 

Jeney Zoltán (1943 – 2019) studied composition with Ference Farkas, at Liszt Ferenc Music Academy Budapest and Accademia Nazionale di Santa Cecilia in Rome, in the 1960s. His first compositions were influenced by Bartok and the 2nd viennese school. In the late 1960s he became interested in the theories of Pierre Boulez and Karlheinz Stockhausen, as well as oriental Philosophy. In the 1970s he composed in a minimalistic style; his works are often described as extremely sparse and static. Since 1986 he has been a professor at Liszt Ferenc Academy of Music Budapest, where he has been the director of the composition department since 1995, and the head of the Doctorate school since 2002. 

Zoltán Jeney at the BMC Music Information Center

 

Nikolaus Gerszewski is academically trained as a visual artist, and self-taught as a composer of experimental music. Since the 1980s he has been involved in non-representational art in theory and practice. He was first introduced to Cornelius Cardew’s graphic score Treatise in 2005; ever since he has worked to develop his own musical notation systems, in the form of graphics, texts, alternative symbol systems and semi-conventional sheet music. Since 2006 he has directed Forum Neue Musik at Christianskirche Hamburg, and was one of the originators of Blurred Edges, a festival of current music. Since 2013 he has taught experimental sound-production at University of Fine Arts (MKE) in Budapest, and at the Science University of Pecs (PTE). In 2017 he founded ensemble mobile, with György Bartok. 

 

 

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