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Ferneyhough - E.transcedentals 1-4
Ferneyhough - E.transcedentals 1-4
Etiiden (Auszug)
1.
Komet
3.
ich lote die sturzende Tiefe in den gefesselten Sprung zur Dunkelhaft vergliihten basaltgefiederte Schwingen kaltgeschlagen ufert die Ebbe
(A.M.)
Elysium
5.
irn Aufwind leuchten die Fesseln lichtgestrandet treiben die Fliigel Fadenkreuze fanden GewiEheit jenseits der Blendung Duftschwere noch in seligen Gefilden
Nacht, wo der Diamantberg glf nzt und Rabe und Nachtigall zur Schaukel machen den werdenden Mond. Diese langen Rege nf aden enden nicht in deiner Hand. Wo das Kreuz ist der Sanduhr, wurzelt der Blitz Die Sorge: als Wind bespringt sie den Rand erblickter See, verdingt sich, als Segel dern Grunde. Woran gebrichts? Kind sagt dirs nicht noch Vogel Zeit zielsiichtig sonst, spricht plijtzlich dir von Raurn. Mit schonen Knien kommt Vernunft vorbei
(E.M.)
7 -.
(A.M.)
Kalypso
7.
Sirenenschliff Steinschlag verziickt die rachenden Zikaden eintiinig fiebergetrieben Aufruhr im Brennglas der Fliigel Windrisse iiber den Diinen
Pythia
8.
Persephone
9.
entfliigelt treiben meine Ruder steil ruht der Abgrund bleicher Spiegel mit fahler Iris sank die Flut im Widerschein Hochzeit der wildernden Kristalle das Irrlicht blaut mondsteinenstriickt ein Gletscherbrand in atemloser Halle der Taube Schrei am Flammenriff der Stalaktiten in lodernder GewiBheit eisgeborgen versteinert das Gefieder WeiBdorn in bliitenloser Trauer die Netzhaut ri Mundraub frohlockt an schattenleerer Mauer
Delphi
schrill meiB eln die Peitschenhiebe Stimmbruch in glaserne Schwingen sprunghaft erlischt das Begehren verijdet bleichen die Segel Medusen treiben an Land
Griinspan auf lichten Anemonen Wundbrand des Schwerelosen wirft Anker iiber Nacht
(AM) 'See Performance Notes (Voice) >This word does not appear in the published version of the poem; the cornposcr'c cettinx i 01 earlier version
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Glissando. T h e small note in brackets indicates t h e pitch to be reached at the end of the notated duration. Do not re-attack
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Each syllable is followed by a dotted line unless it is the last syllable of a word, in which case it is followed by a solid line. Dotted lines (even over rests) represent word continuity: the words are to be 'thought through' Transition from o n e sound to another Clearly rolled Italian 'r', akin in effect to fluttertonguing Glottal stop; the following sound begun by a n explosive release of air in the larynx
Natural harmonics are notated at sounding pitch, except where more detailed indications are necessary
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'Half-harmonic' fingering: pressure of finger on string should be halfway between harmonic and normal fingering. Toneproduction will be unstable and diffuse
Gettato. T h e rapidity of the rebounding action is indicated graphically, but the exact number of rebounds need not be observed precisely Finger percussion. Strike string sharply with fingertip in the position indicated Exaggerated vibrato, almost a (narrow) wavy glissando, rapid and irregular Grace-notes: see remarks for Flute and Oboe
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In Song 8 an extra system (one line) has been added beneath the stave in some places, to indicate explosive consonant sounds. These sounds should normally be very short, and cut off abruptly with glottal action as if under high pressure. Black noteheads indicate slightly-voiced sounds; white a----noteheads indicate unvoiced consonants T h e letters A and B represent two structurally distinct texts and types of texture which alternate throughout t h e movement. T h e voice should aim to move from o n e to the other with as little sense o f transition as possible, giving the impression of a 'schizophrenic' division of function. In sections marked A, the dynamic p p p p indicates that the voice should be almost inaudible, though careful observance of the articulation should ensure that the flow of tension is always maintained. This applies even when the harpsichord is playing at a dynamic level which may render the voice completely inaudible. T h e lack of inter'iction between t h e two performers is intended
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Mordent. T h e sniall number indicates the interval between the main note and the upper note. A small '9' represents a major ninth, and a small '7', a major seventh. T h e same principle applies to inverted mordents
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Grace-notes: see remarks for Flute and Oboe Dynamic markings indicate not only amplitude but also appropriate articulation; thus occasionally the dynamics change even though no keyboard modification has been marked. T h e 4' register should not be used unless specifically indicated
T h e voice a n d harpsichord may be amplified slightly to enhance their effect. T h e amplification must be carefully regulated, however, to avoid the emergence of any characteristic sonorities associated with amplification
ETUDES TRANSCENDANTALES
1
Brian Ferneyhough
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@ Copyright 1987 (this edition) by Hinrichsen Edition, Peters Edition Ltd., London
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