ferneyhough - etudes transcendantales 1 a 4

8/8/2019 Ferneyhough - Etudes Transcendantales 1 a 4

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1'HE TEX'I'S: POEMS B Y IiKN S'I' MEIS'I'EK A N D AI,KUN MOLL

Etiiden (Auszug) Elysiumomet Kartusche

5 . irn Aufwindleuchtendie Fesseln1. Nacht, wo derDiamantberg glf nztund Rabe und Nachtigallzur Schaukel machen

den werdenden Mond.

3. ich lotedie sturzende Tiefein den gefesselten Sprung4. in Gold gefalStdie Lapisnachtam Kratermundder Skarabien

lichtgestrandettreibendie Fliigelzur Dunkelhaftvergliihtenbasaltgefiederte Schwingen fossile Glutritzt ihre Schwerkraftin die Sonnenzeichen

7-. Diese langenRege nf adenenden nichtin deiner Hand. kaltgeschlagenufertdie EbbeFadenkreuzefandenGewiEheit[zielsuchtige]

Wo das Kreuz istder Sanduhr,wurzelt der Blitzdie Feuerprobeim Wendekreisdes Nichts

jenseitsder Blendung(A .M . )

Duftschwere nochin seligen GefildenDie Sorge: als Windbespringt sieden Randerblickter See,verdingt sich,als Segeldern Grunde.

mein Schlifenbrandwill euchdie Sohle wetzenInbrunst verseigelnam Flugelbleider Silbe

Woran gebrichts?Kind sagt dirs nichtnoch VogelMohnstaubhinfalligausgespien

Zeit zielsiichtig sonst,spricht plijtzlich dirvon Raurn.verwurzelteure Blitze

Mit schonen KnienkommtVernunft vorbei (A .M.)

(E .M.)

@ 1977 by Hermann Luchterhand Verlag GmbH & Co KG, Darrnstadtand Neuwied (Meister: Ausgewahlte Gedicbte 1932.1976)'This word does not appear in the published version of the poem; the composer's setting is of anearlier verslon1987 by Editi on Klaus Isele, Eggi ngen (Mol l: Mauersegler)


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Der Grund kann nicht reden

6. Der schreibt kein Tagebuch, 7.Grund , der aus Totem und Totens teh t ,der die Saulen aus Wasser t ragtund d ie immergeschlagene Flotte der Worte . . .Er, behauf t mi tve rro t t und Dunkel ,kehllos Ohnsilbiger unterrudernden Flossen, fahrendenKielen!StoB ich hinab?Ich griffe im Finstern wohlwie faulen Zunderphoniz ischen K indes Gewand ,gelostes Lotblei,i rrendes Echo, dasWrack einer Laute . . .Tauche ich?Ich suchte mit Lampen, ich findeein Logbuch, welches jedochvon des Tot se ins B ewandtn isn icht sp r i ch t , son dern a l l e invon des Unterganges B eginn :W I R S I N K E N . W I RW E R D E N G R U N D .

Kalypso

SirenenschliffSteinschlagverziicktdie rachenden Zikadeneinti inigfiebergetriebenAufruhrim Brennglas der Fli igelWindrisse i iber den DiinenschrillmeiB eln die PeitschenhiebeSt immbruchin g laserne Schwingens p r u n g h a f terl ischtdas Begehrenverijdetbleichen die SegelMedusen treiben an LandIn.rel der Kykluden

(A.M.)

Pythia Persephone

8. 1'u re ims t d iedunkle Saat vergebenszur Neige l iebte mich die Fackeldie Todesrunen warf das Lichtausbluten wil l das Unsichtbareraffgierig vergilbte der Marmortragt noch die Worte zur Schaus t immlosbis Lava dir die Sichel bleichtDelphi

Gri inspanauf l i ch ten Anemon enWundbrand des Schwerelosenwi rf t Ankeri iber Nacht

( A . M . )

9. entfliigeltt re iben meine Ruderstei lruh t der Abgrundbleicher Spiegelmit fahler Irissank die Flutim WiderscheinHochzei tder wildernden Kristal ledas Irrl icht blautmondsteinenstri icktein Gletscherbrandin a temloser Hal l eder Taube Schreiam Flammenri f fder Stalakti tenin lodernder GewiBheiteisgeborgenversteinertdas GefiederWeiBdornin bl i i tenloser Trauerd ie Netzhau t r iMundraub f roh lock tan schat t en leerer Mauer

( A M )'See Performance Notes (Voice)>This word does not appear in the published version of the poem; the cornposcr'c cettinx i 01 C I I Iearlier version


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Violot~ccllo Voice.. Glissando. The smal l note in bracke ts indica tes the p i tch tobe reached a t the end of the n ota ted dura t ion. Do n ot r e -a ttack

i N a t u r a l h a r m o n i c s a r e n o t a t e d a t s o u n d i n g p i t c h , e x c e p twhere more de ta i led indica t ions a re necessa ry'Ha lf -ha rmonic ' f inger ing : pressure of f inger on s t r in g shouldbe ha lfway be tween ha rmon ic and normal f inger ing. Ton e-w produc t ion wi l l be unstable and di f fuseGet ta to . T he rapidi ty of t he rebo unding ac t ion is indicatedgraphica l ly , but th e exac t num ber of rebounds need no t beobserved preciselyF inger pe rcuss ion. S t r ike s t r ing sha rply wi th f inger t ip in the7 posi t ion indicatedExaggera ted vibra to , a lmost a (na r row ) wavy gl issando, rapidand i r regula rGrace-notes : see remarks for F lute an d Oboe

Harpsichord(9) Mordent . The snia l l number indica tes the in te rva l be tween- t h e m a i n n o t e a n d t h e u p p e r n o t e . A smal l '9' represents a+, m a j o r n i n t h , a n d a s m a l l ' 7 ' , a m a j o r s e v e n t h . T h e s a m e(7 pr inc iple appl ie s to inver ted mordents

Grace-notes : see remarks for F lu te and OboeDynamic markings indica te not only ampli tude but a lsoappropr ia te a r t icula t ion; thus occas iona l ly the dynamicschang e even though no keyboard modif ica t ion has beenm a r k e d . T h e 4' register should not be used unless specificallyindicated

au-,-v-.-., J ach syllable is followed by a dotted line unless it is the lastf syl lable of a word, in which case i t i s fo l lowed by a solid line.Dot t ed l ines (even over res ts ) r epresent word cont inui ty : thew o r d s a r e t o b e ' t h o u g h t t h r o u g h '

- - - - - - -* T r a n s i t io n f r o m o n e s o u n d t o a n o t h e r"rr" Clearly ro l led I ta l ian ' r ' , akin in e f fec t to f lu t te r tong uing

Glot ta l s top; the fo l lowing sou nd begun by an explos ive3 re lease of a i r in the la ryn xIn Song 8 an extra sys tem (o ne l ine ) has been added benea ththe s tave in some places , to indica te explos ive consonantsounds . These sounds should normal ly be ve ry shor t , and cutof f abrupt ly wi th g lot ta l ac t ion as if und er h igh pressure .Black notehead s indicate slightly-voiced sounds; wh ite

Iz t a-----oteheads indica te unvoiced conso nants

The le t te r s A and B represent two s t ruc tura l ly d is t inc t texts- and types of texture which a l te rna te throu ghou t the

m o v e m e n t . T h e v o i ce s h o u l d a i m t o m o v e f r o m o n e t o t h eothe r wi th as l i t t le sense o f t r ans i t ion as poss ible , g iv ing theimpression of a 'schizophrenic ' division of function. Insec t ions marked A , the dynamic p p p p indica tes tha t thevoice should be a lmo st inaudible , though ca re ful obse rvanceof the a r t icula t ion should ensure tha t the f low of tens ion isa l w a ys m a i n t a i n e d . T h i s a p p l i e s e v e n w h e n t h e h a r p s i c h o r dis p laying a t a dynamic leve l which may render the voicecompletel y inaudible. The lack of inter ' iction b etwe en th e twoper formers is in tended

Y Brea thy sound (pi tch sca rcely audible )f Qw.ri purlando; some admixture of brea th soundIn Song 9 , a l l consonants and vowels should be separa ted .The f i r s t voca l sec t ion presents only consonants , and everyef for t must be made to avoid colour ing these wi th vowels .Each consonant should abut the nex t wi th no t rans i t ion,giving a pe rcuss ive e f fec t which wi l l somet imes merge wi ththe ha rd , dry sound of the c laves

The voice and ha rps ichord may be ampli f ied s l ight ly to enhance the i r e f fec t . Theampli f ica t ion mus t be ca re ful ly regula ted , however , to avoid t he emergence of anycharacteristic sonorities associated with amplif icationBrian Ferneyhoagh


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E T U D E S T R A N S C E N D A N T A L ES1 Brian Ferneyhough

NachfL w der,

Edition Peters No. 7310@ Copyr ight 1987 (this edition) by Hinrichs en Edition, Pete rs Edition Ltd., London


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Wo 1 d u L huz~ is t - der- Sand--~uhr,

sub.agitato14 r 4

I der I B l ih .1


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Die Sor---dge;~ 7SI P I dr n Hfltdr bra----


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17/26 1R + ) (A) un poco meno mosso


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Cel lo/M


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meno mosso


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Hpsd

non rail.-.-.-.-.-.-,


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rCello - JJJ I1

# CSop. t J. / Y I

Flute

pres to enigmatic0

Soprano

I Tabbas tanz a

marc.marc. PP?P-P?P- 'i n p i ZW?P-e- E?? i n p ==-o [ p y ~ f

..I l ombraso I 0) /marc.in ' !3I aPpena ; t '; vrbraro rn p9 simile + -- i I8:f- :3 I H=L ---'-~1 I I VY 7 T dr rA-1 / ..>marcin- 0


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SOP

ferneyhough - etudes transcendantales 1 a 4

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