1'HE TEX'I'S: POEMS BY IiKNS'I' MEIS'I'EK A N D AI,KUN MOLL

Etiiden (Auszug) Komet Kartusche Elysium

1. Nacht, wo der 3. ich lote 4. in Gold gefalSt 5. irn Aufwind

Diamantberg glf nzt die sturzende Tiefe die Lapisnacht leuchten
und Rabe und Nachtigall in den gefesselten Sprung am Kratermund die Fesseln
zur Schaukel machen der Skarabien
den werdenden Mond. zur Dunkelhaft lichtgestrandet
vergliihten fossile Glut treiben
-.
7 Diese langen basaltgefiederte Schwingen ritzt ihre Schwerkraft die Fliigel
Rege nf aden in die Sonnenzeichen
enden nicht kaltgeschlagen Fadenkreuze
in deiner Hand. ufert [zielsuchtige] fanden
die Ebbe GewiEheit
Wo das Kreuz ist die Feuerprobe
der Sanduhr, (A.M.) im Wendekreis jenseits
wurzelt der Blitz des Nichts der Blendung

Die Sorge: als Wind mein Schlifenbrand Duftschwere noch

bespringt sie will euch in seligen Gefilden
den Rand die Sohle wetzen
erblickter See,
verdingt sich, Inbrunst verseigeln
als Segel am Flugelblei
dern Grunde. der Silbe

Woran gebrichts? Mohnstaub

Kind sagt dirs nicht hinfallig
noch Vogel ausgespien

Zeit zielsiichtig sonst, verwurzelt

spricht plijtzlich dir eure Blitze
von Raurn.

Mit schonen Knien

kommt (A.M.)
Vernunft vorbei

(E.M.)

@ 1977 by Hermann Luchterhand Verlag G m b H & Co KG, Darrnstadt

and Neuwied (Meister: Ausgewahlte Gedicbte 1932.1976)
'This word does not appear in the published version of the poem; the composer's setting is of a n
@ 1987 by Edition Klaus Isele, Eggingen (Moll: Mauersegler) earlier verslon
 Der Grund kann nicht reden Kalypso Pythia Persephone

6. Der schreibt kein Tagebuch, 7. Sirenenschliff 8. 1'

du reimst diedunkle Saat vergebens 9. entfliigelt
Grund, der aus Totem und Toten treiben meine Ruder
steht, Steinschlag zur Neige liebte mich die Fackel steil
der die Saulen aus Wasser tragt verziickt die Todesrunen warf das Licht ruht der Abgrund
und die immer die rachenden Zikaden ausbluten will das Unsichtbare bleicher Spiegel
geschlagene Flotte der Worte . . . eintiinig mit fahler Iris
fiebergetrieben raffgierig vergilbte der Marmor sank die Flut
Er, behauft m i t v e r r o t t und Dunkel, Aufruhr tragt noch die Worte zur Schau
kehllos Ohnsilbiger unter im Brennglas der Fliigel stimmlos im Widerschein
rudernden Flossen, fahrenden bis Lava dir die Sichel bleicht Hochzeit
Kielen! Windrisse iiber den Diinen der wildernden Kristalle
Delphi das Irrlicht blaut
StoB ich hinab? schrill mondsteinenstriickt
Ich griffe im Finstern wohl meiB eln die Peitschenhiebe ein Gletscherbrand
wie faulen Zunder Stimmbruch in atemloser Halle
phonizischen Kindes Gewand, in glaserne Schwingen
gelostes Lotblei, sprunghaft Griinspan der Taube Schrei
irrendes Echo, das erlischt auf lichten Anemonen am Flammenriff
Wrack einer Laute . . . das Begehren der Stalaktiten
verijdet Wundbrand des Schwerelosen in lodernder GewiBheit
Tauche ich? bleichen die Segel eisgeborgen
Ich suchte mit Lampen, ich finde wirft Anker versteinert
ein Logbuch, welches jedoch Medusen treiben an Land iiber Nacht das Gefieder
von des Totseins Bewandtnis WeiBdorn
nicht spricht, sondern allein In.rel der Kykluden in bliitenloser Trauer
von des Unterganges Beginn:
WIR SINKEN. WIR (A.M.) (A.M.) die Netzhaut ri
WERDEN G R U N D . Mundraub frohlockt
an schattenleerer Mauer

(AM)
'See Performance Notes (Voice)
>This word does not appear in the published version of the poem; the cornposcr'c cettinx i 01 CIII
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
i Natural harmonics are notated at sounding pitch, except
where more detailed indications are necessary
'Half-harmonic' fingering: pressure of finger on string should
w
be halfway between harmonic and normal fingering. Tone-
production 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
7 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
Harpsichord
-
+,
(9) 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
(7
principle applies to inverted mordents
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
Voice
au-,-v-.-., Each syllable is followed by a dotted line unless it is the last
f J
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
" rr " Clearly rolled Italian 'r', akin in effect to fluttertonguing
Glottal stop; the following sound begun by a n explosive
3 release of air in the larynx
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
I
z t 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
Y Breathy sound (pitch scarcely audible)
Qw.ri purlando; some admixture of breath sound
f In Song 9, all consonants and vowels should be separated.
T h e first vocal section presents only consonants, and every
effort must be made to avoid colouring these with vowels.
Each consonant should abut the next with n o transition,
giving a percussive effect which will sometimes merge with
the hard, dry sound of the claves
Brian Ferneyh oagh
 ETUDES TRANSCENDANTALES 1 Brian Ferneyhough

boe

NachfL wo- der,

Edition Peters No. 7310

@ Copyright 1987 (this edition) by Hinrichsen Edition, Peters Edition Ltd., London
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