1'HE TEX'I'S: Etiiden (Auszug) 1.
7 -.
POEMS BY IiKNS'I' MEIS'I'EK A N D AI,KUN MOLL
Komet
Nacht, wo der Diamantberg glf nzt und Rabe und Nachtigall zur Schaukel machen den werdenden Mond.
3.
4.
ich lote die sturzende Tiefe in den gefesselten Sprung zur Dunkelhaft vergliihten basaltgefiederte Schwingen
Diese langen Rege nf aden enden nicht in deiner Hand.
5.
in Gold gefalSt die Lapisnacht am Kratermund der Skarabien
(A.M.)
[zielsuchtige]
Fadenkreuze fanden GewiEheit
die Feuerprobe im Wendekreis des Nichts
jenseits der Blendung
Die Sorge: als Wind bespringt sie den Rand erblickter See, verdingt sich, als Segel dern Grunde.
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
Duftschwere noch in seligen Gefilden
mein Schlifenbrand will euch die Sohle wetzen
Mit schonen Knien kommt Vernunft vorbei
irn Aufwind leuchten die Fesseln lichtgestrandet treiben die Fliigel
fossile Glut ritzt ihre Schwerkraft in die Sonnenzeichen
kaltgeschlagen ufert die Ebbe
Wo das Kreuz ist der Sanduhr, wurzelt der Blitz
Elysium
Kartusche
(A.M.)
(E.M.)
@ 1977 by Hermann Luchterhand Verlag G m b H
& Co KG, Darrnstadt and Neuwied (Meister: Ausgewahlte Gedicbte 1932.1976)
@ 1987 by Edition Klaus Isele, Eggingen (Moll: Mauersegler)
'This word does not appear in the published version of the poem; the composer's setting is of a n earlier verslon
Der Grund kann nicht reden 6.
Der schreibt kein Tagebuch, Grund, der aus Totem und Toten steht, der die Saulen aus Wasser tragt und die immer geschlagene Flotte der Worte . . . Er, behauft m i t v e r r o t t und Dunkel, kehllos Ohnsilbiger unter rudernden Flossen, fahrenden Kielen!
Pythia
Kalypso 7.
8.
Sirenenschliff
Persephone
1' du reimst diedunkle Saat vergebens zur Neige liebte mich die Fackel die Todesrunen warf das Licht ausbluten will das Unsichtbare
Steinschlag verziickt die rachenden Zikaden eintiinig fiebergetrieben Aufruhr im Brennglas der Fliigel
raffgierig vergilbte der Marmor tragt noch die Worte zur Schau stimmlos bis Lava dir die Sichel bleicht
Windrisse iiber den Diinen
Delphi 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 G R U N D .
schrill meiB eln die Peitschenhiebe Stimmbruch in glaserne Schwingen sprunghaft erlischt das Begehren verijdet bleichen die Segel
Griinspan auf lichten Anemonen Wundbrand des Schwerelosen wirft Anker iiber Nacht
Medusen treiben an Land
In.rel der Kykluden (A.M.)
(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
(AM) 'See Performance Notes (Voice) >This word does not appear in the published version of the poem; the cornposcr'c cettinx i 01 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
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Natural harmonics are notated at sounding pitch, except where more detailed indications are necessary
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'Half-harmonic' fingering: pressure of finger on string should be halfway between harmonic and normal fingering. Toneproduction will be unstable and diffuse
Exaggerated vibrato, almost a (narrow) wavy glissando, rapid and irregular
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Harpsichord
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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 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
Transition from o n e sound to another Clearly rolled Italian 'r', akin in effect to fluttertonguing Glottal stop; the following sound begun by a n explosive release of air in the larynx
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
-
Grace-notes: see remarks for Flute and Oboe
-
Each syllable is followed by a dotted line unless it is the last 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'
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 a----noteheads indicate unvoiced consonants
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 position indicated
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Breathy sound (pitch scarcely audible)
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 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
Brian Ferneyh oagh
ETUDES TRANSCENDANTALES 1
Brian Ferneyhough
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Edition Peters No. 7310
@ Copyright 1987 (this edition) by Hinrichsen Edition, Peters Edition Ltd., London
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