Raumgewinn - Musik für eine Elbaue

(2006) 50' / for wind orchestra, choir and solo voice with two texts by Rainer Maria Rilke.

Premiere by wind orchestra Harmonie Sulzbach/Neckar, the choir consonare, Hamburg and Anne-May Krüger, mezzo soprano on August 6th 2006 at the Sommerliche Musiktage Hitzacker, Makus Fein, director. A commission from the Sommerliche Musiktage Hitzacker.

v
iew score on issuu

Instrumentation

wind orchestra
  • 3 picc.0.8.0.- sax ssat - 9.4.6.5. - 2 tenorhorn, 2 euph. - 3 percussion
choir SATB
solo voice (mezzo soprano)
  • with clay pot and water

program text
"Raumgewinn space-profit??- Musik für eine Elbaue??I don’t know what that is, sorry!" is an attempt to compose a fifty minute long piece of music for ‘experienced amateurs’ ??, as far as possible without compromises. The fact that the music takes place in the open air with a mobile audience makes the task more compelling, but not easier. It is a balancing act between (playing?) challenging sound games and (notating?) easily realizable playing methods. For the members of the brass band "Harmonie" from Sulzbach there are certainly a few initially baffling playing techniques that have to be patiently learnt. Similarly, the choir "Consonanzen" from Hamburg, must, alongside singing, whistle and speak in rhythm. The two chosen poems by Rainer Maria Rilke on one hand reflect a particular way of perceiving nature, while on the other hand leaving space to develop one’s own personal idea of sound in this sense. The central theme of the (poem’s?) subject matter, the undulation of water, relates to/inspired the central role that repetition and circular, recurrent motifs play in the piece. The form, which is constructed on the ‘golden mean’ intensifies after 30 minutes into a vocal solo, the setting of the first Rilke poem, in which the singer, sitting on a podium, provides her own musical accompaniment with a tontopf???. Beforehand, the brass band and the choir, divided into nine groups and distributed around the space, play ‘soli’, coordinated using stop clocks. Directly before the vocal solo the men of the choir, with the help of megaphones, recite the first half of another Rilke poem, marking a turning point in the piece. The second part of this poem is heard after the piece’s turning point from the female voices in the choir, during which, through sustained notes played by all of the participants, the piece fades away to nothing.

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