{"id":13595,"date":"2024-08-30T13:43:29","date_gmt":"2024-08-30T11:43:29","guid":{"rendered":"https:\/\/www.musikfabrik.eu\/blog\/liebeslieder-fuer-uli\/"},"modified":"2024-08-30T19:00:45","modified_gmt":"2024-08-30T17:00:45","slug":"liebeslieder-fuer-uli","status":"publish","type":"post","link":"https:\/\/www.musikfabrik.eu\/en\/blog\/liebeslieder-fuer-uli\/","title":{"rendered":"Liebeslieder f\u00fcr Uli"},"content":{"rendered":"
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You are currently viewing a placeholder content from YouTube<\/strong>. To access the actual content, click the button below. Please note that doing so will share data with third-party providers.<\/p>\n

More Information<\/a> <\/div>\n

Unblock content<\/a> Accept required service and unblock content<\/a> <\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n <\/div>\r\n
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Helmut Lachenmann (*1935) <\/b>\u2013 Dritte Stimme zu J.S. Bachs
\nzweistimmiger Invention d-moll BWV 775<\/i> (1986)
\nfor two violins and double bass<\/p>\n

Tobias Schwencke (*1974) <\/b>\u2013 You never know <\/i>(2024) world premiere
\nfor bass flute, two violins and philicorda<\/p>\n

John Cage (1912-1992) <\/b>\u2013 Concert for Piano and Orchestra<\/i> (1957\/58)
\nfor ensemble<\/p>\n

Dariya Maminova (*1988) <\/b>\u2013 Serenade <\/i>(2024) world premiere
\nfor voice, viola, vibraphone and piano<\/p>\n

…John Cage…<\/b><\/p>\n

Milica Djordjevic (*1984) <\/b>\u2013 Pomen III <\/i>(2024) world premiere
\nfor bass clarinet and violin<\/p>\n

…John Cage…<\/b><\/p>\n

Eivind Buene (*1973) <\/b>\u2013 Liebeslied <\/i>(2024) world premiere
\nfor five players and piano without pianist<\/p>\n

…John Cage<\/b><\/p>\n

Gordon Kampe (*1976)<\/b> \u2013 ein Lied und ein Gigue <\/i>(2024) world premiere
\nfor violin, horn, trombone and tuba<\/p>\n

Harry Partch (1901-1974) <\/b>\u2013 Time of fun together <\/i>(1965\/66)
\nfor ensemble<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n<\/div>\r\n

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Program texts<\/h1> <\/div>\n <\/div>\n <\/div>\n<\/div>\n
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Tobias Schwencke (*1974) \u2013 You never know (2024)<\/span><\/h4>\n <\/div>\n <\/div>\n
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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: \u201cyou never know\u201d That was so unexpectedly impressive for me and at the same time so fitting that I often remember this moment…
\nTobias Schwencke<\/em><\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n<\/div>\r\n<\/div><\/div><\/div>

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Dariya Maminova (*1988) \u2013 Serenade (2024)<\/span><\/h4>\n <\/div>\n <\/div>\n
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SERENADE<\/span>
F\u00fchlst du, wie der Tag verglutet,<\/span>
Nun sein Gold zerrinnt \u2014<\/span>
Und der Abend K\u00fchlung flutet? \u2014<\/span>
Gute Nacht, meine Kind!<\/span><\/div>\n

H\u00f6rst die Nachtigall du schlagen<\/span>
Aus dem Zweiggewind?<\/span>
H\u00f6rst mein Saitenspiel du klagen? \u2014<\/span>
Gute Nacht, mein Kind!<\/span><\/div>\n
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Engelsaugen blicken nieder,<\/div>\n<\/div>\n
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Strahlen liebelind;<\/span>
D\u00fcfte hauchen hin und wieder \u2014<\/span>
Gute Nacht, mein Kind!<\/span><\/div>\n

Afanassi Afanassjewitsch Fet<\/span><\/em><\/div>\n<\/div>\n
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SERENADE<\/em>
\nFeel how the day is fading,<\/em>
\nNow its gold is melting away –<\/em>
\nAnd the evening cooling floods? –<\/em>
\nGood night, my child!<\/em><\/p>\n

Do you hear the nightingale strike<\/em>
\nFrom the twiggy wind?<\/em>
\nDo you hear my strings wailing? –<\/em>
\nGood night, my child!<\/em><\/p>\n

Angelic eyes look down,<\/em>
\nBeams of love;<\/em>
\nScents breathe now and then –<\/em>
\nGood night, my child!<\/em><\/p>\n<\/div>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n<\/div>\r\n<\/div><\/div><\/div>

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Milica Djordjevic (*1984) \u2013 Pomen III (2024)<\/span><\/h4>\n <\/div>\n <\/div>\n
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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…
\nThe play is probably just one of many visits.
\nMilica Djordjevi\u0107<\/em><\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n<\/div>\r\n<\/div><\/div><\/div>

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Eivind Buene (*1973) \u2013 Liebeslied (2024)<\/span><\/h4>\n <\/div>\n <\/div>\n
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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 \u2013 writing for minimoog synthesizer and violin \u2013 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 \u2018love\u2019 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.<\/p>\n

Eivind Buene<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n<\/div>\r\n<\/div><\/div><\/div>

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Gordon Kampe (*1976) \u2013 ein Lied und ein Gigue (2024)<\/span><\/h4>\n <\/div>\n <\/div>\n
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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: \u201cTristes appr\u00eats p\u00e2les flambeaux\u201d. 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.<\/p>\n

Gordon Kampe<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n<\/div>\r\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"

Concert commemorating the second anniversary of Ulrich L\u00f6ffler’s passing<\/p>\n","protected":false},"author":6,"featured_media":13600,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[3],"tags":[],"class_list":["post-13595","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-video"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/posts\/13595","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/comments?post=13595"}],"version-history":[{"count":2,"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/posts\/13595\/revisions"}],"predecessor-version":[{"id":13602,"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/posts\/13595\/revisions\/13602"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/media\/13600"}],"wp:attachment":[{"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/media?parent=13595"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/categories?post=13595"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/tags?post=13595"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}