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Ich hab' von deiner weißen Hand die Tränen fortgetrunken
ISMN : 979-0-2325-4470-0
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The title and its meaning of this work have certain peculiarities. In contrast to the usual procedure, music was written before thinking about an idea or meaning of this music. But for me, this does not invalidate the relationship and connection to the title, but simply creates a new way of combining a non-conceptual medium (the sound) with another conceptual medium (the title or speech that belongs to that sound). The Lied almost always creates a causal connection between an already written poem and the music played afterwards. This is the case with Heine's poem, to which Schubert wrote his music. But in my case I first wrote the music out of an "abstract thought or absolute music" and then the "program" was added. In a sense, the inspiration was reversed. I wrote the music and listened by chance and read the Lied "Am meer" by Schubert, which I already knew. For unconscious reasons, I immediately found the connection to the orchestra music and decided to rely on this work in a second step, and to give him this title. Both the Lied and the orchestral piece are a lament, and her gestures, tears, and the movement of the sea are depicted in a clear romantic image created by Heine. The orchestra also imitates textures very similar to those of the piano in block constructions and large chords, as there are hidden melodies (especially in the wind) reminiscent of the sung voice of the Lied. In this way I have composed a meta-Lied with the orchestra, that is, the vocal structure and the piano accompaniment have been transferred to another medium.
The orchestra in turn takes the musical tradition sounds (to which Schubert belongs) such as scales, cluster chords, melodies, etc. together with sounds typical of contemporary music, thus creating an indistinguishable and new way of thinking about the relationships between the relative categories of "old and new music ", like the" new and old music ".
Horn (French Horn) (2)
Pages - 28