English
Realization
Information about the premiere of the concert version at the Theater im Pumpenhaus (Münster) on October 2nd, 1999 Informationen zur Uraufführung der konzertanten Fassung durch das WireWorks Orchestra im Theater im Pumpenhaus (Münster) am 2. Oktober 1999
Realization
Information about the premiere of the concert version at the Theater im Pumpenhaus (Münster) on October 2nd, 1999 Informationen zur Uraufführung der konzertanten Fassung durch das WireWorks Orchestra im Theater im Pumpenhaus (Münster) am 2. Oktober 1999
Prolog
Jetzt würde sie es schaffen The computer also performed the frequency analysis on three short stretches of noise (underlying the phone call) which were turned into parts with radio-play character: the Prolog, the Intermezzo and the Epilog. The algorithm–designed to
Prolog
Jetzt würde sie es schaffen The computer also performed the frequency analysis on three short stretches of noise (underlying the phone call) which were turned into parts with radio-play character: the Prolog, the Intermezzo and the Epilog. The algorithm–designed to
Libretto
PROLOG A. Jetzt würde sie es schaffen: Hier oben stehen beobachtet von allen da unten, die sie nicht für fähig gehalten hatten; nicht dazu, diese lächerliche DDR, in der keiner verstand, weder in der Schule noch im Trainingszentrum, daß einzig
Libretto
PROLOG A. Jetzt würde sie es schaffen: Hier oben stehen beobachtet von allen da unten, die sie nicht für fähig gehalten hatten; nicht dazu, diese lächerliche DDR, in der keiner verstand, weder in der Schule noch im Trainingszentrum, daß einzig
1. Akt – 1. Szene
Ich kannte sie, Herr Kollege The first scene of the first act features a fictitious dialog between the two professors that were shut by the philosophy student, one of them is deadly wounded – the other one will survive. The
1. Akt – 1. Szene
Ich kannte sie, Herr Kollege The first scene of the first act features a fictitious dialog between the two professors that were shut by the philosophy student, one of them is deadly wounded – the other one will survive. The
1. Akt – 2. Szene
Wir hatten immer ein gutes Verhältnis zu ihr The second scene of the first act gives an account of the protagonist’s behaviour from the perspective of her neighbors. The beginning statement „we always had a good realtionship with her“ sung
1. Akt – 2. Szene
Wir hatten immer ein gutes Verhältnis zu ihr The second scene of the first act gives an account of the protagonist’s behaviour from the perspective of her neighbors. The beginning statement „we always had a good realtionship with her“ sung
1. Akt – 4. Szene
Die Waffe soll eine aus dem Mittelalter sein The fourth scene (a solo with occasional entrances of the other voices) consists of three crescendos. The first crescendo is a Renaissance pastiche with a sudden twist into the contemporary idiom; the
1. Akt – 4. Szene
Die Waffe soll eine aus dem Mittelalter sein The fourth scene (a solo with occasional entrances of the other voices) consists of three crescendos. The first crescendo is a Renaissance pastiche with a sudden twist into the contemporary idiom; the
Intermezzo
Jetzt ist der Scheitelpunkt endlich erreicht Intermezzo is scored for keyboard, wired (or synthetic) choir, narrator and electronics (the choir consisting of 8 singers can be replaced by sampled voices). ‘Wired’ refers to the interaction between the computer and the
Intermezzo
Jetzt ist der Scheitelpunkt endlich erreicht Intermezzo is scored for keyboard, wired (or synthetic) choir, narrator and electronics (the choir consisting of 8 singers can be replaced by sampled voices). ‘Wired’ refers to the interaction between the computer and the
2. Akt – 1. Szene
Die Zuschauer wollten eine Erklärung While the first act deals more with the events leading up to the crime, the second act introduces a new element: the element of contemplation and self-reference. Brasch describes the unsympathetic reaction of fictitious spectators
2. Akt – 1. Szene
Die Zuschauer wollten eine Erklärung While the first act deals more with the events leading up to the crime, the second act introduces a new element: the element of contemplation and self-reference. Brasch describes the unsympathetic reaction of fictitious spectators
2. Akt – 2. Szene
Sie habe mich schon früher gekannt The aim of this scene was to conjure up images of a nostalgic Jewish stedtl life with music alluding to Klezmer and east-European folklore, which as the scene unfolds, is contrasted by an obsessive
2. Akt – 2. Szene
Sie habe mich schon früher gekannt The aim of this scene was to conjure up images of a nostalgic Jewish stedtl life with music alluding to Klezmer and east-European folklore, which as the scene unfolds, is contrasted by an obsessive
2. Akt – 3. Szene
Eine andere Sprache sprechen Performed on the word „Ausweg“ (way out) spectral analysis revealed 4 seperate regions (Au-s-we-g). Thus, the scene was composed in four parts, roughly following an A-B-A‘-B‘ form. Again, the text is more abstract and contemplative, reflecting
2. Akt – 3. Szene
Eine andere Sprache sprechen Performed on the word „Ausweg“ (way out) spectral analysis revealed 4 seperate regions (Au-s-we-g). Thus, the scene was composed in four parts, roughly following an A-B-A‘-B‘ form. Again, the text is more abstract and contemplative, reflecting
2. Akt – 4. Szene
Die Grenze überschreiten Composed in three sections, a rhythmic one, a tape part, and a „summary“ of the previous 7 scenes, this scene mimics the arrangement of 1st act, Intermezzo and 2nd act in its succession of acoustic, electronic and
2. Akt – 4. Szene
Die Grenze überschreiten Composed in three sections, a rhythmic one, a tape part, and a „summary“ of the previous 7 scenes, this scene mimics the arrangement of 1st act, Intermezzo and 2nd act in its succession of acoustic, electronic and
Epilog
Ich stürze ab The Epilog represents the mirror image to the Prolog: The order of the spectral and sampled sounds, the libretto and the improvised answering-machine texts are reversed. Once again water sounds are preeminent and follow their own drama
Epilog
Ich stürze ab The Epilog represents the mirror image to the Prolog: The order of the spectral and sampled sounds, the libretto and the improvised answering-machine texts are reversed. Once again water sounds are preeminent and follow their own drama