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

Etiiden (Auszug) Elysium Komet Kartusche

5 . irn Aufwind leuchten die Fesseln

1. Nacht, wo der Diamantberg glf nzt und Rabe und Nachtigall zur Schaukel machen den werdenden Mond.

3. ich lote die sturzende Tiefe in den gefesselten Sprung

4. in Gold gefalSt die Lapisnacht am Kratermund der Skarabien

lichtgestrandet treiben die Fliigel

zur Dunkelhaft vergliihten basaltgefiederte Schwingen

fossile Glut ritzt ihre Schwerkraft in die Sonnenzeichen

7 -. Diese langen

Rege nf aden enden nicht in deiner Hand.

kaltgeschlagen ufert die Ebbe

Fadenkreuze fanden GewiEheit

[zielsuchtige]

Wo das Kreuz ist der Sanduhr, wurzelt der Blitz

die Feuerprobe im Wendekreis des Nichts

jenseits der Blendung

(A.M.)

Duftschwere noch in seligen Gefilden

Die Sorge: als Wind bespringt sie den Rand erblickter See, verdingt sich, als Segel dern Grunde.

mein Schlifenbrand will euch die Sohle wetzen

Inbrunst verseigeln am Flugelblei der Silbe

Woran gebrichts? Kind sagt dirs nicht noch Vogel

Mohnstaub hinfallig ausgespien

Zeit zielsiichtig sonst, spricht plijtzlich dir von Raurn.

verwurzelt eure Blitze

Mit schonen Knien kommt Vernunft vorbei

(A.M.)

(E.M.)

@ 1977 by Hermann Luchterhand Verlag GmbH & 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 earlier verslon @ 1987 by Edition Klaus Isele, Eggingen (Moll: Mauersegler)

Der Grund kann nicht reden

6. Der schreibt kein Tagebuch, 7. Grund, der aus Totem und Toten

steht, der die Saulen aus Wasser tragt und die immer geschlagene Flotte der Worte . . .

Er, behauft mi tver ro t t und Dunkel, kehllos Ohnsilbiger unter rudernden Flossen, fahrenden

Kielen!

StoB ich hinab? Ich griffe im Finstern wohl wie faulen Zunder phonizischen Kindes Gewand, gelostes Lotblei, irrendes Echo, das Wrack einer Laute . . .

Tauche ich? Ich suchte mit Lampen, ich finde ein Logbuch, welches jedoch von des Totseins Bewandtnis nicht spricht, sondern allein von des Unterganges Beginn: WIR SINKEN. WIR WERDEN GRUND.

Kalypso

Sirenenschliff

Steinschlag verziickt die rachenden Zikaden eintiinig fiebergetrieben Aufruhr im Brennglas der Fliigel

Windrisse iiber den Diinen

schrill meiB eln die Peitschenhiebe Stimmbruch in glaserne Schwingen sprunghaft erlischt das Begehren verijdet bleichen die Segel

Medusen treiben an Land

In.rel der Kykluden

(A.M.)

Pythia Persephone

8. 1' du reimst diedunkle Saat vergebens zur Neige liebte mich die Fackel die Todesrunen warf das Licht ausbluten will das Unsichtbare

raffgierig vergilbte der Marmor tragt noch die Worte zur Schau stimmlos

bis Lava dir die Sichel bleicht

Delphi

Griinspan auf lichten Anemonen

Wundbrand des Schwerelosen

wirft Anker iiber Nacht

(A.M.)

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

( 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 I earlier version

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Violot~ccllo Voice

.. Glissando. T h e small note in brackets indicates the 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 be halfway between harmonic and normal fingering. Tone-

w 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

Finger percussion. Strike string sharply with fingertip in the 7 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

au-,-v-.-., J Each syllable is followed by a dotted line unless it is the last f 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 one 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 the

movement. T h e voice should aim to move from one 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. The lack of inter'iction between the two performers is intended

Y Breathy sound (pitch scarcely audible) f Qw.ri purlando; some admixture of breath sound

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

T h e voice and 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

Brian Ferneyh oagh

boe

ETUDES TRANSCENDANTALES 1 Brian Ferneyhough

NachfL wo- der,

Edition Peters No. 7310 @ Copyright 1987 (this edition) by Hinrichsen Edition, Peters Edition Ltd., London

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

sub. agitato 14 r 4

I

I der I Blih.1

Die Sor---dge;~ 7 SIP I drn Hfltdr bra----

1 R

Cello

+ ) (A) un poco meno mosso

/M

meno mosso

H psd

r

Cello

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

- JJJ I1

# C Sop. t J. / Y I

Flute

presto enigmatic0

Soprano

I T abbastanza

marc. marc. PP.t?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 ' ! 3- I aPpena ; t ' ; vrbraro rn p9 simile + -- i I 8:f- :

3 I H='-L- ---'-~ 1 I I V Y 7 T dr r 0 n A -1 / . . n>

marc in- 0

FI.

SOP

Alto Flute

Cor Anglais

Cello

Soprano

11 die n Fes se i

A. FI.

C.A.

Cello

Sop.

+

Hpsd

Tempo 1 >= 63

6 +

secro A A

cresc -.

der nus tern- und der

1 I foul---- --ew Zunder

1331 Picc.

Ob.

H psd

Sop.

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---------.. ,j'---- dpf - blei - - - - ---------[he --------- n(n )- die

Sop.

p-?=-?P mftp-=- TZqT $,Llrp-=5?f-p f vf v* P-"f S f . - ~ - f f l - f v - = m f -

I

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4 2 5 2 inquieto 1

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18

casionally obscured.

HoM main note long enough t o I (*)a tablish i h pitch then slide I II I evenly over remainder of value. I

en f fliigel t tret ben meine Ruder

stei l ruht der Abgrund blelcher Spiegel

mit fahler Ir is sank d ie Flut

im Widerschein Hochzeit der wildernden Kris tul le

das Irr l icht blaut mondstelnentrwkt

e in Gle fscherbrand in atemloser Halle

der Taube Schrei am Flammenrl f f de r S ta lak t i t en

in lodernder Gewissheit I e isgeb w qen vers t e i e r t das G e f ~ e d e r

Weissdorn in bl i i tenloser Trauer

d ie N e t z h a u t r i s s Mundrau b f roh lock t

an scha t t en lee re r Mauer

Eishohle I

I UI.. 61 89

/ n bliss. pas. ~ o r d .

ICoda-Quodl ib~t l for C l y f u s G o f f ~ a l d

1 . Superscriptio Solo Piccolo S t ~ ~ d y Score P-7289. Performing Score P-728Oa

2. Carceri d'lnvenzione I Chamber Orchestra (16 players) Study Score P-7291. Performing materi'll 011 hire

3 . Intermedio al la ciaccona Solo Violin Performing Score P-7346

4 . Carceri d'lnvenzione 111 Solo Flute and Chamber Orchestra (20 players) Study Score P-7292a. Performing material on hire

T H E CARCERI D'INVENZIONE CYCLE

BRIAN FERNEYHOUGH

5 . Etudes T~atzscendatztules/Zntermedio Z Z Flute, Oboc, Sl~prarlo, H,~rpsichord, Violoncello Study Score P-7310. Performing marcrial on hire

0 . Carceri d'lnvenzione ZII Fittee11 Wind 111srr~1ments and Percussion ( 3 players) Stuciy Score P-729.1. Performing material on hire

7. Mnemosytze U;iss I;lure and pre-recorded Tape t'erformi~~g Score P-7.147. Tape on hire

l'hc. . ~ l t e r n , ~ t ~ v e i c ~ - i ~ o ~ i s ot t l r~s \vork, Cilrterz d'lrzvenzioize I16 (1985) tor solo tlute ~ n d C'irrcri d'lirlcii:toi7c 11; ( 1087) for flute and pre-recorded rdpe. do not form part of the cycle

Etudes Transcendantales 1 a 4Etudes Transcendantales 5 a 9