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Todesfuge
Классика/Песня • 2010 • Автор текста: Paul Celan
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For baritone and cello (priced for 2 copies)
Название пользователя: Todesfuge — for baritone and cello (priced for 2 copies)
Инструменты |
Виолончель, Баритон |
Состав исполнителей |
Дуэт |
Тип нот |
Партитура для двух исполнителей |
Переводчик |
John Felstiner |
Издатель |
Enchanted Knickers Music |
Язык |
Английский |
Уровень сложности |
Выше среднего |
Время звучания |
6'5 |
Todesfuge (Death Fugue) was commissioned by Austrian baritone Wolfgang Holzmair. The poem was written in Romanian in 1944 by Paul Celan, but published in German in 1948. The work is one of Celan’s most famous and was one of the first to address the horrors of the Holocaust by using strikingly grim images to create an atmosphere of extreme and haunting power.
The poem’s unusual structure borrows from the concept of a musical fugue, with phrases that repeat and recombine. I mirror this musically, with miniature leitmotivs that repeat and recombine — a challenge, in that the repetition of musical content requires different considerations than the repetition of words.
I composed two settings: one in the original German and one using the English translation by John Felstiner. Slight musical changes accommodate for differences in grammar and the songs can be sung separately or together.
You can listen to the premiere recording here: https://www.youtube.com/watch?v=Lv7mDRm465o
For mezzo-soprano and cello (priced for 2 copies)
Название пользователя: Todesfuge — for mezzo-soprano and cello (priced for 2 copies)
Инструменты |
Виолончель, Меццо-сопрано |
Состав исполнителей |
Дуэт |
Тип нот |
Партитура для двух исполнителей |
Переводчик |
John Felstiner |
Издатель |
Enchanted Knickers Music |
Язык |
Английский |
Время звучания |
6'5 |
Todesfuge (Death Fugue) was commissioned by Austrian baritone Wolfgang Holzmair. The poem was written in Romanian in 1944 by Paul Celan, but published in German in 1948. The work is one of Celan’s most famous and was one of the first to address the horrors of the Holocaust by using strikingly grim images to create an atmosphere of extreme and haunting power.
The poem’s unusual structure borrows from the concept of a musical fugue, with phrases that repeat and recombine. I mirror this musically, with miniature leitmotivs that repeat and recombine — a challenge, in that the repetition of musical content requires different considerations than the repetition of words.
I composed two settings: one in the original German and one using the English translation by John Felstiner. Slight musical changes accommodate for differences in grammar and the songs can be sung separately or together.
Link to the premiere recording:
https://www.youtube.com/watch?v=Lv7mDRm465o
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