ISCM

C0 note (16,35 Hz) — vibrating on liquid surface

D0 note (18.35 Hz) — vibrating on liquid surface

C0 note (16,35 Hz) — vibrating on liquid surface

F0 note (21.83 Hz) — vibrating on liquid surface

G0 note (24.50 Hz) — vibrating on liquid surface

A0 note (27.50 Hz) — vibrating on liquid surface

Cârneci, Carmen: Die Niemandsrose - Drei Celan-Lieder 

 

 

Basic information

  • Title: 
    Die Niemandsrose - Drei Celan-Lieder
  • Composer: 
  • Duration (in minutes): 
    11
  • Year of composition: 
    2012
  • First performance (year): 
    2012
  • First performance (venue): 
    ’International Week for New Music’ (Bucharest)
  • First performance (performers): 
    devotioModerna Ensemble
  • Conductor: 
    Optional
 

Notes

  • Program notes: 

    Carmen Maria Cârneci - "Die Niemandsrose - Drei Celan-Lieder"
    for Bass(Baritone) and three instruments (FURORE-Verlag, Kassel)

    - Bei Tag (Flute, Clarinet, Violoncello) - PSALM. Die Niemandsrose (Bass Flute, Clarinet, Violoncello) - Das Wort vom zur-Tiefe-Gehn (Flute, Bass Clarinet, Violoncello).

    "Die Niemandsrose - Drei Celan-Lieder" were composed in 2011/ 2012 to be first performed in the concert„Ah, Celan…” that the devotioModerna Ensemble played while the ’International Week for New Music’ (Bucharest), an international festival which was to evolve that year 2012 under the sign of Surrealism...
    ThreeCelan-Lieder have been written for bass(-baritone), still considering a few updates they may also be addressed to a low female voice, as the poetic texts themselves do not indicate a specific male lyric subject. In selecting these three poems I followed strong ideas from Celan’s poetry, such as positive and negative alienation, relationship between man and God, particular nuances in his love poems dew to the obsessive morbidity exhaling from the dark depth of the psyche.
    Counterpointing the texts, I intended to keep with stringency on a clear line of expression, in order to attend a certain dramatic to which contribute the thought-out differences in sonorous density and timbres. I gave to the singing manner a particular mark through the sinuous lines (as especially in Bei Tag), the alternation of legato and stuttered syllables as well as through the ‘emotional reading of the texts’: underlining of keywords (e.g. Schwing; Staub), repeating, and interrupting the ‘normal’ groups of words. Conceived as a ‘lamentation-in-waves’, PSALMbrings a special way of vibrato and staccato-melisma, while Das Wort vom zur-Tiefe-gehn augmentates classical patterns of chromatic ornamentation. As basic part of the dramaturgy, the three instruments are closly connected to the vocal line, imitating it in certain polyphonic treatments, also opposing to it with ‘buffers’ and ‘out-side comments’. This cycle may also be reduced if suitable to only two pieces, or arranged in another way, this flexibility being assured also by the fact that each of the three pieces starts with the same shutter-note F.

 

Instruments

Total number of musicians: 
4
Musicians1st player2nd player
Flute
1
C
C bass
Clarinet
1
B-flat
Bass
Musicians
Bariton(s)
1
Musicians1st player2nd player
Cello
1

 

 

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