17 euro for both French and German versions of the piece (= contribution towards production costs.) Acquire the score in PDF format !
The password you will receive after payment will unlock the 2 scores.
2 minutes process and immediate download and unlock of the Score through Paypal system, all major Credit Cards accepted.
PROGRAM NOTE
This music theatre piece is based on the composer’s free adaptation of “La donna Odokia” a play by the Romanian playwright, Cecilia BURTICA.
“La donna Odokia” is part of a theatrical suite of a Pastorale, sister piece of “Tout a commence avec Stéph”.
Auszug aus dem Interview für das Magazin der Tonhalle Gesellschaft Zürich.
Siehe Text
F: (Jens-Peter Schütte) Worum geht es in Ihrer neuen Komposition?
A:(Alin Gherman) Um den Todeskampf einer in unserer heutigen Gesellschaft verlorenen Frau. Sie versucht, mehrere Personen verkörpernd, sich einigermassen zu halten, unterstützt von den ebenfalls verlorenen oder bewusstlosen Musikern. - Mich interessierte besonders, einen Weg zu suchen, wie ins Theater die Musik und zugleich auch die Musiker selbst integriert werden können. Miteinander spielen ist schon eine Form der Liebe, des Beistands.
Extrait de l'interview pour le Magazine de la Tonhalle Gesellschaft Zürich voir le texte
Q: (Jens-Peter Schütte) De quoi est-il question dans votre nouvelle pièce ?
R:(Alin Gherman) Il s’agit de l’agonie d’une femme perdue dans notre société contemporaine. Incarnant plusieurs personnages, elle essaye de s’accrocher tant bien que mal avec l’aide des musiciens qui sont aussi perdus ou inconscients. C’était intéressant d’étudier la manière d’intégrer au théâtre la musique mais aussi les musiciens. Jouer ensemble c'est déjà une forme d'amour, d'entraide.
Donna Odokia ein poetischer, ein artifizieller Text. von Konrad BAUER, 23 Januar 2008 Siehe Text
Das Schönste wäre, wenn einer ihn entgegennehmen könnte wie ein Geschenk, dessen Sinn sich wie selbstverständlich erschließt. Aber nicht jeder wird, nachdem er ihn gehört hat, davon überzeugt sein, dass er ihn verstanden habe (was immer 'verstehen' hier bedeuten mag). Vielleicht gerät der eine oder andere darüber ins Grübeln. Eine locker geknüpfte Folge von Assoziationen mag ihm dann durch den Kopf gehen, vielleicht so (oder auch ganz anders):
Odokia dieser Name evoziert in seiner rumänischen Heimat die geheimnisvolle Welt der Sagen. Hier steht er über einem minimalistischen Libretto, in dem philosophische, mythische und lebensweltliche Motive miteinander verknäuelt sind:
Das Sein erwidert die ihm zugedachte Liebe nicht. Im Bemühen um Selbsterkenntnis führt es das fragende Subjekt auf labyrinthischem Weg. Zu diesem endlosen Marsch klopft es, jetzt das Nichts, den Takt.
Das Paradies unter Bäumen, Apfelbäumen womöglich, hat sich tief im Innern des Ichs in Schmutz und Fäulnis verwandelt.
Im Leben ist das Ich von sich selbst und von den Anderen stets mehr oder weniger wie durch einen Vorhang getrennt.
v
Diese Situation nahe der Verzweiflung hält für Odokia 'Odokia' ist aber jeder von uns eine überraschende, weil uralte Lösung bereit.
Donna Odokia – un texte poétique , ARTificiel. par Konrad BAUER, 23 janvier 2008 voir le texte
L’idéal serait que quelqu’un puisse le recevoir comme un cadeau dont le sens se révèle sans effort. Mais ce ne sera pas le cas pour tous. Peut-être que les uns ou les autres – au lieu de rester persuadés de l’avoir compris – vont se faire certaines idées, voir: suivre des associations de la manière suivante (ou de tout une autre):
Odokia – le nom évoque en Roumanie le monde merveilleux et secret des mythes. Dans l’oeuvre c’est le titre d’un livret minimaliste dans lequel s’entrelacent des motifs philosophiques, mythiques et de la vie quotidienne:
L’Être ne répond pas à l’amour qui lui est dédié. Il renvoie le sujet qui se questionne sur son Soi dans un labyrinthe. Il ne fait que donner le rhythme – tout aussi bien en tant que Néant – à cette marche interminable.
Le Paradis sous les arbres – sous les pommiers? – s’est transformé en saleté et pourriture dans le fond du Moi.
Dans la vie, le Moi est séparé du Soi et des Autres comme par un rideau.
Cette situation près du désespoir laisse entrevoir à Odokia – c’est-à-dire à nous tous – une solution surprenante, un moyen de délivrement trés ancient.
Presentation de la pièce de théâtre "La Donna Odokia" (version originale) par Cecilia BURTICA (auteur) voir le texte
Cécilia Burtica
Poète, dramaturge, critique littéraire, traducteur, Cécilia Burtica est née en 1980 en Roumanie et vit en Belgique. Doctorante en philologie romane, elle écrit en langue roumaine et en langue française étant l'auteur de neuf livres jusqu’à présent.
Note de l’auteur
La pièce Donna Odokia (lue en 2006 à Flagey et dans le cadre du festival Voix de femmes à Bruxelles) a été écrite inconsciemment contre les one women show décadents d’aujourd’hui, qui font croire aux gens que cela est du théâtre.
En cherchant un genre pur comme Diderot, j’ai essaie de faire vivre dans la Donna Odokia plusieurs personnages, elle étant les autres et les autres se retrouvent dans ce personnage féminin. Donna Odokia pourrait être très bien une personne d’un certain âge, un peu amnésique, qui se trouve dans des difficultés et qui ne trouve pas sa place dans la société contemporaine, motif pour lequel elle s’en moque. Elle se questionne sur sa vie et la vie en général sans trouver trop de réponses, car plus on se questionne plus la question continue à se poser avec insistance.
C’est une variante féminine de ce que les hommes ont toujours eu jusqu’à ce siècle: le pouvoir intellectuel; tandis que la femme devait se contenter de prendre soin des être et des choses qui l’entouraient.
La Donna Odokia est une sorte de personnage réfractaire aux habitudes et convenances dans lesquelles elle doit vivre. Pour essayer de comprendre les lois de l’univers, l’identification avec les autres se présente comme une étape d’initiation nécessaire à la poursuite de ses quêtes et ses questionsv
La Donna Odokia est une femme qui réfléchit, observe, conclue, pleure, s’émerveille comme un enfant, angoisse, désespère, rêve et aime. C’est une femme totale qui s’accepte dans tous ses défauts et qualités qu’elle se trouve au long de sa recherche intellectuelle et sa quête spirituelle.
ANALYSIS >>
... une
interprétation partielle, par Alin Gherman
« un Huit-clos ouvert au Public »
Donna Odokia
Donna Odokia est une femme féminine, sensuelle parfois, mais aussi chaotique. Elle est gênée de se montrer. Lorsqu’elle parle, elle semble « perdue » dans ses réflexions, hésitante aussi. Néanmoins, elle a du caractère et peut montrer une solidité apparente (voir lorsqu’elle répond au pianiste). Par ses confessions elle cherche à obtenir une légitimité du public. Elle est très critique de la société, elle provoque aussi. Elle nous pose la question : Ou va-t-on ? D’où vient-on ? (voir l’Œuf) Elle même n’a jamais eu de vraie maison.
Donna Odokia se confronte également aux grands courants sexuels de notre société contemporaine. (voir rapport avec Heckl. et Vla. : Je ne n’aime pas ce qui ne peut pas être fécondé ! […] Ils se concentrent pour faire un Œuf ! )
Au fond, elle sait que nous sommes perdus aussi. Elle se réfugie auprès de la Nature, des ancêtres. (voir l’Afrique, les animaux, les pommes (=fatalité ?), l’arrière grand-père)
Elle n’aide pas les autres ! Elle les critique durement et froidement (musiciens et public). Les musiciens essayent de la soutenir.
Le pianiste
Le pianiste est perdu dans ses pensées également, il le dit lui-même d’ailleurs. Les autres musiciens se rallient à lui. Ensemble ils essayent de pousser Donna Odokia pour qu’elle s’exprime, qu’elle exprime aussi leurs cauchemars d’une certaine manière. Il survit comme il peut et nous rappelle qu’il est là. (coups de pédales à la fin // battements du cœur) Il semble aussi partager les traumatismes de Donna Odokia, seulement il est moins capable d’en parler. Il compte les secondes avant la fin du monde. (voir claquement des doigts)
Le Violiste et le Hautboïste
Ils essayent vraiment d’aider Donna Odokia et le pianiste. (Le violiste ouvre le rideau pour laisser le pianiste s’exprimer.) Ils sont solidaires de leur drame. Cependant, ils sont critiques aussi, et d’une manière ludique. (voir jouet) Ils sont doux, discrets (sauf quand on les montre délibérément) et sont animés par « l’organique ». Ils l’assument. Ils ont des inclinaisons naturelles (et sexuelles) « différentes » par rapport à Donna Odokia. (pomme vs banane)
Ils transcendent leurs problèmes existentiels par un rituel organo-musical (Le hautboïste épluche des bananes tandis que le violiste joue).
COMMENTS
-
VERSIONS
opus 69
current version: v.1 - June 2008
2 versions are available : in German and in French, both with instructions in English
MISCELLANEOUS
„Commissioned by the Tonhalle Society Zürich and the Swiss Cultural foundation Pro Helvetia“
„Im Auftrag der Tonhalle-Gesellschaft Zürich und der Schweizer Kulturstiftung Pro Helvetia“
RECORDINGS
- 2008 Febraury 6th-7th, LIVE PERFORMANCE by Vera BAUER (actress) and Martin FRUTIGER (Heckelphone and English Horn), Michel ROUILLY (Viola) and Michael KLEISER (piano), in Kleiner Saal of Tonhalle, Zürich, Switzerland. The musicians are members of the Tonhalle Orchester. With the technical support of the Tonhalle artistic bureau. Audio recorded by the Tonhalle Society. Video recording Fiftyfifty film Zürich, Roni Uhlmann. Produced by Alin Gherman.
ABOUT PERFORMANCES
First performance - 2008 Febraury 7th, by Vera BAUER (actress) and Martin FRUTIGER (Heckelphone and English Horn), Michel ROUILLY (Viola) and Michael KLEISER (piano), in Kleiner Saal of Tonhalle, Zürich, Switzerland. The musicians are members of the Tonhalle Orchester. With the technical support of the Tonhalle artistic bureau.
ABOUT VIDEO EXCERPT
See First performance.
15 euro (= contribution towards production costs.) Acquire the score in PDF format !
All musicians read from Score. No separate parts.
2 minutes process and immediate download and unlock of the Score through Paypal system, all major Credit Cards accepted.
PROGRAM NOTE
Music theatre poem which explores the social relations between individuals and incarnated abstract 'souls'. The purpose is to give to musicians an unconscious approach of incantation, an opportunity to develop and stimulate abstract relations and communications beyond the visible. They go towards each other as an ideal however they never touch each other but they will meet musically only.
What happens if the speech, the music is deviated and is not going directly to the target ?
Three masks are interposed between 4 performers and the audience. The masks have their own evolution and become "autonomous" from the musicians desires. They become also performers and embody dramatic roles.
COMMENTS
Concerning Light programming > Click on the following
link
to download a pack that contains the data program used on the Première of the piece in 2008. For “Strand 520 (v.2.8.5)” equipment.
VERSIONS
opus 72
current version: v.1
MISCELLANEOUS
An excerpt of the poem collection “Poemele luminii”, 1919 (Poems of Light) by the Romanian author Lucian BLAGA (1895 Lancram - 1961 Cluj-Napoca) has been used in the piece.
Part of the large work "(a) Social life", Théâtre musical Diploma at the Hochschule der Künste Bern.
RECORDINGS
-
ABOUT PERFORMANCES
Premiere -2008 June 5th, performed by Hélène MOUROT (Eng. Horn), Keiko MURAKAMI (Flute), Eloïse LABAUME (Harp) and Anja FÛSTI (percussion). Light Control by Yuji NOGUCHI. Light programing by Eclipse Bienne/Biel. Masks by Vita RIEDO. Production supervisor: Angela BÜRGER. Part of the Premiere of "(a) Social life", music theatre final diploma work, Maison du peuple, Biel/Bienne, Switzerland
ABOUT VIDEO EXCERPT
See Premiere.
20 euro (= contribution towards production costs.) Acquire the score in PDF format !
All musicians read from Score. No separate parts.
2 minutes process and immediate download and unlock of the Score through Paypal system, all major Credit Cards accepted.
PROGRAM NOTE
„You, and me, and him“ is an agony face loneliness, social isolation and lack of another with a satirical extension to the stories of love in the rose-water.
The „triangle“ relations frame is explored through characters interchangeability.
Libretto by Alin GHERMAN.
COMMENTS
(in 2 parts: main & epilog, 2008)
VERSIONS
opus 73 a + b
current version: v1
MISCELLANEOUS
Part of the large work "(a) Social life", Théâtre musical Diploma at the Hochschule der Künste Bern.
RECORDINGS
-
ABOUT PERFORMANCES
2008 June 5th, as part of the Premiere of "(a) Social life", music theatre final diploma work, Maison du peuple, Biel/Bienne, Switzerland
ABOUT VIDEO EXCERPT
2008 June 5th, as part of the Premiere of "(a) Social life", music theatre final diploma work, Maison du peuple, Biel/Bienne, Switzerland
-
11 euro (= contribution towards production costs.) Acquire the score and separate parts in PDF format ! BONUS: you get the two versions of Shhh! ; the base version Shhh! and Shhh! haha... Pay one score and download & unlock two scores.
2 minutes process and immediate download and unlock of the Score through Paypal system, all major Credit Cards accepted.
PROGRAM NOTE
"Shhh !" is the musical expression of a certain pressure ... that is impossible to keep locked or covered anymore.
Poems by Alin Gherman.
COMMENTS
Introductory notes and instructions in French and English. Score in French.
VERSIONS
opus 59
current version: v.2.1 - 2005
MISCELLANEOUS
Dédié à michel Lysight et à santiago Abadia Parada, elias Bachoura, florence Bellière, cindy Basso-Valentina, françois Houtart.
!!
There are special pronounciations wich have been recorded as example
purpose for the musicians. Access is restricted.
Please
introduce the "POEMCODE" wich is written on the first page
of your score or part, then press OK.
RECORDINGS
- 2005 by CRMB contemporary group conducted by Michel LYSIGHT. Musicians: Santiago ABADIA PARADA, Elias BACHOURA, Florence BELLIERE, CINDY BASSO-VALENTINA, François HOUTART and Alin GHERMAN, at the Grande Salle du Conservatoire Royal de Bruxelles. Produced by Alin Gherman.
ABOUT PERFORMANCES
First performance - 2005 March 25th, by CRMB contemporary group conducted by Michel LYSIGHT. Musicians: Santiago ABADIA PARADA, Elias BACHOURA, Florence BELLIERE, CINDY BASSO-VALENTINA, François HOUTART and Alin GHERMAN, at the Grande Salle du Conservatoire Royal de Bruxelles.
2005 - May 13th, by CRMB contemporary group conducted by Michel LYSIGHT. Musicians: Santiago ABADIA PARADA, Elias BACHOURA, Florence BELLIERE, CINDY BASSO-VALENTINA, François HOUTART and Alin GHERMAN, at the "Maison Schott" (Brussels). Concert: "Shhh ! POe-m vendredi 13" spectacle alliage express.
ABOUT AUDIO EXCERPT
(mp3 file - 1'46" of 4' - the beggining, CRMB contemporary group conducted by Michel LYSIGHT)
11 euro (= contribution towards production costs.) Acquire the score and separate parts in PDF format ! BONUS: you get the two versions of Shhh! ; the base version Shhh! and Shhh! haha... Pay one score and download & unlock two scores.
2 minutes process and immediate download and unlock of the Score through Paypal system, all major Credit Cards accepted.
PROGRAM NOTE
"Shhh !" is the musical expression of a certain pressure ... that is impossible to keep locked or covered anymore.
COMMENTS
Introductory notes and instructions in French and English. Score in ENGLISH.
VERSIONS
opus 59C
current version: v.1 - 2005/2014,
MISCELLANEOUS
Dedicated to ana Ablamonova, marija Griké, julija Karaliūnaitė, rita Maciliunaite & lukrecija Petkute of the Operomanija workshop (Lithuania).
RECORDINGS
-
ABOUT PERFORMANCES
First performance - 2014, August 1st, by the Operomanija workshop group consisting of marija Griké, julija Karaliūnaitė, rita Maciliunaite & lukrecija Petkute, conducted by Alin GHERMAN at the Gallery Hall of the L. Reza Cultural Centre of Juodkrante -L. Rėzos kultūros centro Parodų salė (Lithuania).
ABOUT AUDIO EXCERPT
-
11 euro (= contribution towards production costs.) Acquire the score in PDF format !
No separate parts. All musicians read from score.
2 minutes process and immediate download and unlock of the Score through Paypal system, all major Credit Cards accepted.
WARNING ! Please contact Alin GHERMAN if you intend to perform this piece. A new version of the score is currently in preparation. Release soon ...
PROGRAM NOTE
"Mouths & Strings - lale"
is a surprise box with crazy dolls inside. Their expression is achieved
by musical and theatrical meanings. Shake it and open ! Do not worry
about special virtuoso interactions between them ! Performers and
listeners must both "find a way" to the sense of these rush minutes. "Lale" which means "dolls" in Polish language is intended to be the first of a collection of express string quartets.
COMMENTS
Théâtre musical - Instrumental theatre - !
VERSIONS
opus 61
current version: v2.1 IPA - Nov. 2006
A new version is currently in preparation.
MISCELLANEOUS
-
RECORDINGS
- 2011 March 23d, by Airis quartet, Teatr Zależny PK ul.Kanonicza 1 Kraków, Koncert „Alchemia Kwartetu”, Aleksandra Czajor – violin I, Grażyna Zubik – violin II, Natalia Warzecha – viola, Katarzyna Detko – cello. Recorded by RMF Radio.
photo
Airis quartet
ABOUT PERFORMANCES
- Premiere by Airis quartet, 2011 March 23d, Teatr Zależny PK, Kraków, Koncert „Alchemia Kwartetu”. Aleksandra Czajor – violin I, Grażyna Zubik – violin II, Natalia Warzecha – viola, Katarzyna Detko – cello
- Concert tour of the Airis string quartet in Poland (Warsaw, Cracow, Przemysl, ...)
ABOUT AUDIO EXCERPT
- Live recording of the Premiere (see above). (mp3- 320kbits/sec, 3'20", the end)
11 euro (= contribution towards production costs.) Acquire the score in PDF format !
2 minutes process and immediate download and unlock of the Score through Paypal system, all major Credit Cards accepted.
PROGRAM NOTE
This Prilude is intended to capture and glorify the musician’s installation movements before he starts to play. The combination of individual movements should produce a group choreography. The instruments should play only as many notes as are necessary to tune. They may possibly tune a second time. The musicians would like to play music but they are made « prisoners » by the preparation process which is longer than usual and gives then a theatrical effect.
COMMENTS
Take preferably instruments, which may be considered as traditionally noisy to manipulate before starting to play on them. Musicians who are used to play on different instruments of the same family should include at least 2 instruments (+necessary stand(s)). Maximum 2 musicians will do so. (For example : a flute player could play on piccolo and regular flute.)
Try to arrange classical ensembles. (string quartet, trio+piano, etc...) An already existing ensemble is to be preferred to a new one made just for this piece since this particular Prilude needs special communication and interaction processes to be developed.
The Prilude was conceived with two possible ends. Therefore the page #3 exists in two versions labelled (end) and (cue),
VERSIONS
opus 70
current version: v.1 - 10/2009
MISCELLANEOUS
Part of the large work "(a) Social life", Théâtre musical Diploma at the Hochschule der Künste Bern.
RECORDINGS
- 2008 January, by Marta ZBIROWSKA (flutes), Paulina IZEWSKA (violin I), Natalia KOZIARZ (violin I) and Matthew WILLIAMS (viola)
Enge Mansarde, H.K.B. Bern. Produced by Alin Gherman
ABOUT PERFORMANCES
First performance - 2008 April 11ve, by Anselm DALFERTH, Barblina MEIERHANS, Estelle HARBULOT and Aurélien FERRETTE. Part of the "Miniatures de théâtre musical", at Dachstock ENGE, Hochschule der Künste Bern (Switzerland).
-2008 June 5th, as part of the Premiere of "(a) Social life", music theatre final diploma work, Maison du peuple, Biel/Bienne, Switzerland
ABOUT VIDEO EXCERPT
- 2008 January, by Marta ZBIROWSKA (flutes), Paulina IZEWSKA (violin I), Natalia KOZIARZ (violin I) and Matthew WILLIAMS (viola)
Enge Mansarde, H.K.B. Bern. Produced by Alin Gherman.
5 euro (= contribution towards production costs.) Acquire the score and separate parts in PDF format !
2 minutes process and immediate download and unlock of the Score through Paypal system, all major Credit Cards accepted.
PROGRAM NOTE
"Théâtre musical
- (Instrumental theatre) connectivity.
“Intermède instrumental” was conceived to connect two other pieces that are played before and after it, all part of a large performance. Composed originally as part of the Music theatre project “(a) Social life” (2008).
Few elements guided me through the composition of this short “connectivity” ; instability, hesitation, humour and musical/colours outbursts.
COMMENTS
The piece planned to be performed before “Intermède instrumental” is “Prilude” (opus 70) for string quartet or musicians who make mannered entrances. In order to superimpose the two pieces, the 4th player of “Prilude” must play Violoncello.
The piece following “Intermède instrumental” is “Relations lumineuses” (opus 72), a music theatre poem for Lights, Masks, Flute, English Horn, Harp and Percussions (one player).
Actually, any another piece including a harp in the instrumentation may be played afterwards instead of “Relations lumineuses”.
VERSIONS
opus 74
current version: temporary v2.2 /2008
MISCELLANEOUS
-
RECORDINGS
-
ABOUT PERFORMANCES
First performance - 2008 June 5th, as part of the Premiere of "(a) Social life", performed by the students of the Théâtre musical department of the H.K.B., Alin Gherman's music theatre final diploma work, Maison du peuple, Biel/Bienne, Switzerland
ABOUT AUDIO EXCERPT
-
13 euro (= contribution towards production costs.) Acquire the scores of both versions in PDF format !
2 minutes process and immediate download and unlock of the Score through Paypal system, all major Credit Cards accepted.
PROGRAM NOTE
Instrumental theatre for adventurous musicians/actors/artists.
Billet d'humeur ... par Alin Gherman voir le texte
Aux gens qui se déplacent
en transports en commun et se divertissent
individuellement au moyen d'accessoires électroniques
en perdant peut-être la capacité d'être dans l'instant.
Dialoguent-ils encore avec
les autres…
visuellement ?
Sont-ils là !
Est-ce qu'ils ignorent les Autres !
Et le regard ?
Qu'en reste-t-il ?
...pour ceux qui les regardent ?
COMMENTS
-
VERSIONS
opus 64
current versions :
v.3.1/2007 (with bass clarinet)
v.3.3/2007 (with horn)
LIGHT V.1/2007
LIGHT "Schlachthaustheater version" v.1/2007 June
MISCELLANEOUS
-
RECORDINGS
-
ABOUT PERFORMANCES
First performance - Mai 2007, Partially performed at the Schlachthaustheater of Bern by Barblina MEIERHANS, Keiko MURAKAMI and Samuel STOLL
ABOUT AUDIO EXCERPT
-
6 euro (= contribution towards production costs.) Acquire the score in PDF format !
2 minutes process and immediate download and unlock of the Score through Paypal system, all major Credit Cards accepted.
PROGRAM NOTE
"Récitatif" based on the translation of a text by Heiner MÛLLER, "Bildbeschreibung".
COMMENTS
French language is required in order to perform the piece. (All texts are in French.)
VERSIONS
opus 66a
current version : v.1/2007
MISCELLANEOUS
Dedicated to my professor Georges Aperghis
RECORDINGS
-
ABOUT PERFORMANCES
First performance - April 27th, 2007 by the ensemble of the Théâtre musical departement of Hochschule der Künste Bern (Switzerland), GKS, Bern. Performers : Yuji NOGUCHI, Vincent DAOUD, Guillaume LANTONNET, Aurélien FERRETTE, Samuel STOLL and Vanessa SANFILIPPO.
ABOUT AUDIO EXCERPT
See First performance : LIVE concert (an excerpt of 51" of 2'05", mp3, 320 Kbps)
15 euro (= contribution towards production costs.) Acquire the score in PDF format !
2 minutes process and immediate download and unlock of the Score through Paypal system, all major Credit Cards accepted.
PROGRAM NOTE
"Récitatif" made of 14 scenes to be prepared collectively. Based on a free adaptation of the translation of a text by Heiner MÛLLER, "Bildbeschreibung".
COMMENTS
This special piece is open to performers of All kind of Arts ! (not limited to musicians only)
French language is required in order to perform the piece. (All texts are in French.)
VERSIONS
opus 66b
current version : v.1 December2007
MISCELLANEOUS
-
RECORDINGS
Video recorded by 2 differents groups of the Ensemble of the "Théâtre musical" department of the Hochschule der Künste Bern. Produced by Alin Gherman. Aussere Enge, Bern (Switzerland) 2007.
This recording was part of an experimental research about the interpretation of an unique minimal score. Afterwards, the final score was released.
ABOUT PERFORMANCES
-
ABOUT AUDIO EXCERPT
-
2 wind instruments
- Histoire 3 (2007) duration: undetermined in progress ...
show details -
about acquiring the Score
processing ...
The Final Score is not released yet.
PROGRAM NOTE
This "Récitatif" is about an ambiguous dialogue made of words and sounds. An abstract phone conversation turns to be a music dialogue which may be read on different levels.
COMMENTS
This piece is not achieved yet, but stays in the experimental phase.
VERSIONS
opus 66c
current version : temporary v.1/2007
MISCELLANEOUS
-
RECORDINGS
Video recorded by Samuel STOLL (F horn) and Vincent DAOUD (Saxophone) at the Musikhochschule of Zürich, July 13th, 2007
This recording was part of an experimental research about the interpretation of an unique minimal score.
ABOUT PERFORMANCES
First performance - July 13th, 2007 at the Musikhochschule of Zürich by Samuel STOLL (F horn) and Vincent DAOUD (Saxophone).
ABOUT AUDIO EXCERPT
-
5 euro (= contribution towards production costs.) Acquire the score in PDF format !
2 minutes process and immediate download and unlock of the Score through Paypal system, all major Credit Cards accepted.
INSTRUMENTATION
This music was conceived in such way to be easily adapted for portable melodic instrument(s) and/or voice(s) ad libitum. Transpose if necessary.
Suggested combination :
performer 1. Melodic instrument (+possibly little percussion instrument(s))
performer 2. Voice (to sing)
PROGRAM NOTE
The movement ideas and the 'speech' delivery are the main components of this piece. How to link flexible movements to mechanical ones? Playing the instrument or singing could be still perceived as the continuation of the speech. The 'music' itself should be perceived more as a speech about concrete facts after a while. The performers should find a way to break the 'evasive' feelings the small melodies may produce on the audience. The connections between speaking and playing/singing are therefore very sensitive.
COMMENTS
French language is required in order to perform the piece. (Instructions in English, Text to recite in French.)
VERSIONS
opus 71
current version : v.1 October 2008
MISCELLANEOUS
-
RECORDINGS
Video recorded (documentary) by Hélène MOUROT and Estelle HARBULOT at the Dachstock of Aussere Enge, Hochschule der Künste Bern (Switzerland). Produced by Alin Gherman. April 2008
ABOUT PERFORMANCES
First performance - April 2008 by the Hélène MOUROT and Estelle HARBULOT at the Dachstock of Aussere Enge, Hochschule der Künste Bern (Switzerland).
ABOUT AUDIO EXCERPT
-
7 euro (= contribution towards production costs.) Acquire the score of both (original) and (long, 3 pieces) versions in PDF format !
The unique Password you will receive could unlock 2 scores. Two scores for the price of one !
2 minutes process and immediate download and unlock of the Scores through Paypal system, all major Credit Cards accepted.
PROGRAM NOTE
"Serious joke" ! ... to include in a serious concert programme. Why not after "Klavierstück" or ANY other piece ?
COMMENTS
First experiments realized with the participation of Justyna JARZAB (piano) and Natalia KOZIARZ (piano) in Krakow (Poland).
Further developments realized at the Hochschule der Künste Bern
(Switzerland) with the participation of Anja FÛSTI (page turner),
Natalia KOZIARZ (piano) and Daniel BRYLEWSKI (piano).
VERSIONS
opus 67a
current version: v.1
MISCELLANEOUS
Théâtre musical. Music theatre.
There is an alternative piece based on "Addendum:exitum": - the long version, with 3 pieces, opus 67b. Duration: 6'-7'
RECORDINGS
- 2008 February, LIVE PREMIERE by Natalia KOZIARZ & Daniel
BRYLEWSKI (piano), Anja FÜSTI (page turner), Grosse Konzert Saal,
H.K.B. Bern (Switzerland).
Audio & Video recorded, published on youtube.com / Produced by Alin Gherman.
ABOUT PERFORMANCES
Premiere- 2008 February, by Natalia KOZIARZ
& Daniel BRYLEWSKI (piano), Anja FÜSTI (page turner), Grosse
Konzert Saal, H.K.B. Bern (Switzerland).
Audio & Video recorded, published on youtube.com / Produced by Alin
Gherman.
ABOUT VIDEO EXCERPT
See Premiere.
7 euro (= contribution towards production costs.) Acquire the score of both (original) and (long, 3 pieces) versions in PDF format !
The unique Password you will receive could unlock 2 scores. Two scores for the price of one !
2 minutes process and immediate download and unlock of the Scores through Paypal system, all major Credit Cards accepted.
PROGRAM NOTE
"Serious joke" ! ... to include in a serious concert programme. Why not after "Klavierstück" or ANY other piece ?
This
group of three pieces was conceived as a preparatory path to
semi-improvisation. They may be played separately as well and without
the help of a page-turner.
"lamentation" ("L'épine", excerpt of "folclor") serves as an introductory atmosphere to make the performers and audience more sensitive and appreciate the contemplation of minimal notes usage.
“other spaces” invites the pianists to recompose the atmosphere of the given notes. They may prepare the missing parameters in advance and annotate the score.
“exitum” is taking a “3d parameter” of the performance appearance into consideration … see above the description of "Addendum:exitum"
COMMENTS
First experiments realized with the participation of Justyna JARZAB (piano) and Natalia KOZIARZ (piano) in Krakow (Poland).
Further developments realized at the Hochschule der Künste Bern
(Switzerland) with the participation of Anja FÛSTI (page turner),
Natalia KOZIARZ (piano) and Daniel BRYLEWSKI (piano).
This version is longer and includes an excerpt of the piece "Folclor" for piano solo.
VERSIONS
opus 67b
current version: temporary v.1
MISCELLANEOUS
Théâtre musical. Music theatre.
This is an alternative piece based on the original version of "Addendum:exitum".
RECORDINGS
-
ABOUT PERFORMANCES
-
ABOUT AUDIO / VIDEO EXCERPT
-
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