30. August 2024
Liebeslieder für Uli
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Helmut Lachenmann (*1935) – Dritte Stimme zu J.S. Bachs
zweistimmiger Invention d-moll BWV 775 (1986)
for two violins and double bass
Tobias Schwencke (*1974) – You never know (2024) world premiere
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John Cage (1912-1992) – Concert for Piano and Orchestra (1957/58)
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Dariya Maminova (*1988) – Serenade (2024) world premiere
for voice, viola, vibraphone and piano
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Milica Djordjevic (*1984) – Pomen III (2024) world premiere
for bass clarinet and violin
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Eivind Buene (*1973) – Liebeslied (2024) world premiere
for five players and piano without pianist
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Gordon Kampe (*1976) – ein Lied und ein Gigue (2024) world premiere
for violin, horn, trombone and tuba
Harry Partch (1901-1974) – Time of fun together (1965/66)
for ensemble
Program texts
Tobias Schwencke (*1974) – You never know (2024)
At the age of 15, I became a junior piano student, so despite the age difference of almost 16, Uli and I were in the same piano class, he in his final semester. During the semester break, Uli was given the task of teaching me. While working on a fugue by Bach, he suggested adding text to some of the motifs in order to sing them and thus intensify the expression. This was a very common approach, but unknown to me at the time. For a four-note side motif, he suggested: “you never know” That was so unexpectedly impressive for me and at the same time so fitting that I often remember this moment…
Tobias Schwencke
Dariya Maminova (*1988) – Serenade (2024)
Fühlst du, wie der Tag verglutet,
Nun sein Gold zerrinnt —
Und der Abend Kühlung flutet? —
Gute Nacht, meine Kind!
Hörst die Nachtigall du schlagen
Aus dem Zweiggewind?
Hörst mein Saitenspiel du klagen? —
Gute Nacht, mein Kind!
Düfte hauchen hin und wieder —
Gute Nacht, mein Kind!
Afanassi Afanassjewitsch Fet
SERENADE
Feel how the day is fading,
Now its gold is melting away –
And the evening cooling floods? –
Good night, my child!
Do you hear the nightingale strike
From the twiggy wind?
Do you hear my strings wailing? –
Good night, my child!
Angelic eyes look down,
Beams of love;
Scents breathe now and then –
Good night, my child!
Milica Djordjevic (*1984) – Pomen III (2024)
The word Pomen can be translated as both a mention and a remembrance, but it also stands for a very old Serbian tradition around death, where various rituals were performed and traditional songs were sung for the deceased in a very special – extremely expressive and powerful, yet not pathetic way. Some mourn their loved ones, some celebrate them, some do both, some bring food and drink, some sing…
The play is probably just one of many visits.
Milica Djordjević
Eivind Buene (*1973) – Liebeslied (2024)
Working together as musician and composer in the process of realizing a work is a very personal experience. Even if you don’t know each other very well when you start working, the pursuit of shaping sound and time, together, brings you close on a human level. It is a task of trying to find common language and expression for internal states and fantasies, and sometimes the communication feels as something very real. This was the case for me, working with Uli. We worked together in the context of the full ensemble, with his wonderful array of analogue instruments, and we worked together at Hannah and Uli’s house in the countryside, creating a duet that I am very fond of. Maybe because the task – writing for minimoog synthesizer and violin – seemed impossible at first. It was only through working closely together we could arrive at a living piece of music. My Liebeslied is, true to its title, a simple melody. The Lied surely belongs to the voice, but in this piece the task to sing about love is given to the instruments. The word ‘love’ also asserts itself through rhythms derived from the Morse alphabet, spelt out in different languages, from the Scandinavian, German and Latin to Slavic, Arabic and Hebrew. The piece is a small token of affection for Uli, for the kindness and gentleness I experienced while working with him.
Eivind Buene
Gordon Kampe (*1976) – ein Lied und ein Gigue (2024)
I sit on the train and like to listen to music that I have no idea about, that I’ve somehow paddled past. The other day, for example: Rameau. Castor and Pollux. It drones and drones and drones. Then it hits me, I don’t know from where: “Tristes apprêts pâles flambeaux”. A fifth, a fourth – how can something be so beautiful and so sad at the same time? These two intervals had to be included in the little song and then a tiny dance – and since we’re in France, it has to be a gigue.
Gordon Kampe