Günther Rabl - Werke 16
€6.00 - €12.00
Günther Rabl - Werke 16
€6.00 - €12.00
ccr 416
FAST TÖDLICHE VÖGEL DER SEELE (ALMOST DEADLY BIRDS OF THE SOUL)
2015
a concertante reading
1 DER CORNET
2 DUINESER ELEGIEN
total 60:00
Text: Rainer Maria Rilke
Narrators: Peter Cerny, Alexandra Sommerfeld
Computer music: Günther Rabl
4-channel, frontal, 60 min.
Sound material from: Chieko Mori (koto), Gilbert Handler (voice)
Composed and produced at Günther Rabl’s own studio, Heumühle, Rappottenstein 2015
Composition promoted by the Arts and Culture Division of the Federal Chancellery
1. Part (25 min.)
Die Weise von Liebe und Tod des Cornets Christoph Rilke (The Love and Death of Cornet Christopher Rilke)
Narrator: Peter Cerny
2. Part (35 min.)
Selection from the Duino Elegies
Narrator: Alexandra Sommerfeld
About the music
The idea for this originates from Peter Cerny, who proposed the “Cornet” as a new project after our first successful collaboration in “Missing Link” (performance in August 2014 at the old outdoor pool in Zwettl). There had been a plan for quite some time already with Alexandra Sommerfeld as well of merging text and music. It consequently prompted the two to combine their approximately half-hour pieces into a full evening program.
The fact that it is not a matter of a “musical rendering” in the traditional sense was clear from the beginning: language and music as distinct levels—we call it a “concertante reading.”
Concerning the origin of the “Elegies,” Rilke describes how he heard the first verses in the wind while walking. The musical part takes up this motif and transforms the sound of the language back into the sound of the wind. Further sounds and sound processes are added (a Japanese zither, crystal bowls, vocalizations, as well as transformations of the spoken text itself), which immerse the individual stanzas into the most diverse atmospheres.
The “Cornet” is completely different: The highly dramatic poem about the Cornet Christopher Rilke, who, during a campaign against the Turkish army, finds a glorified death after a night of love, requires a dramatic musical priming, on the one hand, but also a counteracting, a highlighting of subjective fatefulness beyond all the heroic romanticism.
G.R.