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tellement froid que. Walter Feldmann. Flute sheet music.

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so koud dat. Walter Feldmann. Fluit bladmusiek.

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tellement froid que. georgiques I. Composed by Walter Feldmann. For bass flute, electronics, scene. This edition. Paperbound. Feldmann. tellement froid que-. georgiques I. Full score. Language. all languages. Composed 1995-96. 66 pages. Duration 20 minutes. Published by Carus Verlag. CA.1631000. With Language. all languages. 1989. Stay in Aix-en-Provence, France, doing a language course. Reading, discussing and analyzing Les Georgiques. this pursuit is going to be the foundation of the multiple intellectual and literary levels of my composing. THE WOODEN PLATFORM IS COVERED WITH FINE WHITE SAND. OR SALT. , THE TWO SHELVES WITH BLACK CLOTH. At the time I work on my first serious piece, still a far cry from the under-standing of writing music I have today. " tellement froid que ". georgiques I. for bass flute, electronics and scene. 1995-96. , sections 1-7. " comme si le froid ". georgiques II. for baritone saxophone, timpani and piano. 1998. , sections 18-24. " n'etait le froid ". georgiques III. for orchestra. 2000-2002. , sections not yet decided. THE INTERPRETER WILL BE DRESSED IN BLACK AND WHITE, MAINLY WHITE IF BLUISH LIGHT IS AT HAND. The enormously rich vocabulary and the accuracy of expression-in temporal, spatial and material terms-is particularly impressive. To comprehend all of it, a "reading" on three different levels is called for. a first reading of one passage, then the acquisition of unknown vocabulary. thirdly a repeated-knowing-reading, which points out the utopia of precise expression. The text is treated in a rather problematic. cold. "le froid". manner. it's not the semantic content that is primarily dominant, but rather the outward appearance, the "mise en page" and the syntactic structure. THE INTERPRETER ENTERS THE STAGE WITH ALL THE FLUTES. HE WILL PLAY DURING THE CONCERT AND DEPOSITS THEM-EXCEPT FOR THE BASS FLUTE-ON SHELF B. IF. HE ONLY PLAYS THIS PIECE,. HE SHOULD PUT THE PROGRAMME OF THE CONCERT THERE. IN ANY CASE THE INSTRUCTIONS IN BAR 195 MUST BE FOLLOWED. In concrete terms the 10 centimetres of a line in the "minuit" edition correspond to 10 seconds of musical structure. which is three times as slow as the average reading speed. Only seven years later is the term. expression "casse ferique" changed into "casse ferrique", and thus its secret is revealed, which almost becomes-due to its unreadability-the key to the planned musical cycle. The text is measured from section to section. big format. each section is marked with a continuous, "cold" chord by the bass flute, played on tape recorder. , from full stop to full stop. new entry of keynote material. , from comma to comma. tripling of continuous resonances. etc. DURING THE PERFORMANCE UP TO BAR 195, THE INTERPRETER WILL TRY-IN A KIND OF THEATRICAL ADAPTATION-TO EXPRESS HIS. HER OWN FEELING OF IRREPRESSIBLY GROWING FRUSTRATION. FROM BAR 195 ONWARDS. HE WILL DEFINITELY HAVE PUT UP WITH THE BASS FLUTE. Brackets in the text bring about a reduction of sound. the differentiating micro tones are no longer used. , the syntactical progression to subordinate clauses of the remotest degree has its immediate effect on dynamics. degree of volume. Then. the perception of a logical and yet erratic syntax, vastly progressive layers of subordinate clauses and brackets. lowering tone of voice. , a polyphony of "memoire", which leads to a maelstrom of attention, a tonally centric. concentrated. main material. and progressive. subordinate and brackets-material. reading, listening and proceeding. The different levels are constantly in touch-transferring the sensuous moment of scenes of bodily encounter. Tryptique. that are evoked again and again-in perpetual excitement of text and imagination, memory and remembering sensitivity. THE BODY MOVEMENTS AND FIXATION. "FIGE". , BOTH CLEARLY PERCEPTIBLE, WILL EVOKE AND SUPPORT THE SAME EMOTIONS. The basic moods of the text will be reflected in the relationship. which is very important here. of the interpreter to the music. he is somehow at the mercy of given. and not always transparent. structures on the one hand and the complexity of musical sensations on the other, which has to be defeated inspite of exhaustion. It's not only here that semantic agreement. besides the "materialistic" structure. of music and text can be felt. On top of that there's the existential helplessness in view of the mercilessly flowing polyphony of levels and events - as a mirror of this there are the remembered scenes of the Flemish cold in the second chapter. Les Georgiques. The interpreters are confronted with unusual directions which correspond to the adjectives in the respective passages of the text. "anachronique", "engourdi", "glace et acre", "monotone et desert" etc. The possibilities of interpretation are amplified, the ability to perceive and personal reaction is opened. The impression of this inexorability is multiplied in the extremest way by the fact that the particular layers can be found in Simon's complete works. It's a continuous work of art in which each novel turns into a chapter of a complex, cyclic whole. its title denoting only one main strand, as it were. A personal comment is made also as regards the clearly defined stage. the mise en scene points out the extra-musical elements and the correlation between text, human being and music. THE INTERPRETER IS ASKED TO MOVE FREELY WITHIN A DEFINED SPOT WITHOUT LOOKING "ARTIFICIAL". SOUNDS CAUSED BY THE FEET MOVING ON THE SAND ARE WELCOME DURING THE WHOLE PIECE. And here the idea of a cycle is born, an attempt to transfer these nuances of memorized structures, this clarity and coldness, to transform the text into musical material. Walter Feldmann.

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so koud dat. georgiques ek. Saamgestel deur Walter Feldmann. Vir bass fluit, elektronika, toneel. Hierdie uitgawe. Paper bound. Feldmann. so koud. georgiques ek. Volle telling. Taal. alle tale. Saamgestel 1995-1996. 66 bladsye. Duur 20 minute. Gepubliseer deur Carus Verlag. CA.1631000. Met taal. alle tale. 1989. Bly in Aix-en-Provence, Frankryk, besig met 'n kursus. Lees, bespreek en te ontleed Les Georgiques. hierdie strewe is van plan om die fondament van die veelvoudige intellektuele en literêre vlakke van my komponeer te wees. Die hout platform is bedek met fyn wit sand. Sout of. Die twee rakke met swart doek. Teen die tyd wat ek werk op my eerste ernstige stuk, nog 'n ver van die begrip van skryfwerk musiek wat ek vandag. "So koud". georgiques ek. vir bass fluit, elektroniese en toneel. 1995-1996. , Artikels 1-7. "Asof die koue". georgiques II. vir bariton saxofoon, timpani en klavier. 1998. , Artikels 18-24. "N'etait le froid". georgiques III. vir orkes. 2000-2002. , Artikels nog nie besluit. Die tolk geklee in swart en wit, hoofsaaklik blanke INDIEN blou lig is op hande. Die geweldig ryk woordeskat en die akkuraatheid van uitdrukking-in tyd, ruimtelike en materiële terme-is veral indrukwekkend. Dit alles te verstaan, is 'n "lees" op drie verskillende vlakke gevra vir. 'n eerste lees van 'n gedeelte, dan is die verkryging van 'n onbekende woordeskat. derdens 'n herhaalde-weet-lesing, wat dui op die utopie van die presiese uitdrukking. Die teks is in 'n ietwat problematies behandel. koue. "Koue". wyse. dit is nie die semantiese inhoud wat hoofsaaklik dominante, maar eerder die uiterlike, die "mise en page" en die sintaktiese struktuur. Die tolk op die toneel MET AL DIE fluite. Hy kan speel tydens die konsert en deposito's HULLE-behalwe vir die basfluit-op die rak B. INDIEN. Hy het net SPEEL hierdie stuk,. Hy behoort daar te vestig om die Program van die konsert. In elk geval die instruksies in BAR 195 MOET WORD. In konkrete terme die 10 sentimeter van 'n lyn in die "minuit" uitgawe ooreenstem met 10 sekondes van die musikale struktuur. wat drie keer so stadig soos die gemiddelde leesspoed. Slegs sewe jaar later is die term. uitdrukking "Casse ferique" verander in "Casse ferrique", en dus sy geheime geopenbaar, wat byna raak-as gevolg van sy unreadability-die sleutel tot die beplande musikale siklus. Die teks is gemeet van artikel na artikel. groot formaat. elke afdeling gemerk is met 'n deurlopende, "koud" koord deur die bass fluit, gespeel op bandopnemer. , Van punt tot punt. nuwe inskrywing van hoofspreker materiaal. , Van komma komma. verdrievoudigen van deurlopende resonansies. ens. Tydens die uitvoering tot by maat 195, SAL die tolk try-in 'n soort THEATRICAL AANPASSING-uit te spreek SY. Haar eie gevoel van onkeerbaar groeiende frustrasie. VANAF BAR 195 VERDER. HY sal beslis 'sit met die basfluit. Tussen hakies in die teks bring 'n vermindering van klank. die onderskeid mikro toon nie meer gebruik nie. Die sintaktiese vordering te bysinne van die mees afgeleë graad het sy onmiddellike effek op dinamika. mate van volume. Toe. die persepsie van 'n logiese en nog wisselvallig sintaksis, aansienlik progressiewe lae van bysinne en hakies. verlaging toon van die stem. , 'N polifonie van "MEMOIRE", wat lei tot 'n maalstroom van die aandag, 'n tonally sentriese. gekonsentreer. belangrikste materiaal. en progressiewe. ondergeskikte en hakies-materiaal. lees, luister en proses. Die verskillende vlakke is voortdurend in kontak-oordrag van die sensuele oomblik van tonele van liggaamlike ontmoeting. Tryptique. wat weer opgeroep word en weer-in ewige opwinding van die teks en die verbeelding, geheue en sensitiwiteit te onthou. Liggaamsbewegings en fiksering. "Vries". , BEIDE DUIDELIK waarneembaar, SAL roep en ondersteuning van die dieselfde emosies as. Die basiese buie van die teks sal in die verhouding weerspieël word. wat is hier baie belangrik. van die tolk na die musiek. Hy is een of ander manier aan die genade van 'n gegewe. en nie altyd deursigtig. strukture op die een kant en die kompleksiteit van musikale sensasies aan die ander, wat 'ten spyte van uitputting te verslaan. Dit is nie net hier dat semantiese ooreenkoms. Behalwe die "materialistiese" struktuur. musiek en teks kan gevoel word. Op die top van dat daar die eksistensiële hulpeloosheid in die lig van die genadeloos vloeiende polifonie van vlakke en gebeure - as 'n spieël van hierdie is daar die onthou skerms van die Vlaamse koue in die tweede hoofstuk. Die Georgics. Die tolke gekonfronteer word met ongewone voorskrifte wat ooreenstem met die Woorde in die onderskeie gedeeltes van die teks. "Anachronistische", "Numb", "ys akker", "eentonige woestyn" ens. Die moontlikhede van interpretasie word versterk, is die vermoë om te sien en persoonlike reaksie geopen. Die indruk van hierdie onverbiddelijk vermenigvuldig in die extremest manier deur die feit dat die betrokke lae kan gevind word in Simon se volledige werke. Dit is 'n deurlopende werk van kuns waarin elke nuwe draai in 'n hoofstuk van 'n komplekse, sikliese hele. die titel wat na slegs een hoof strand, as dit was. 'N persoonlike opmerking gemaak ook met betrekking tot die duidelik gedefinieerde stadium. die mise en toneel wys op die buite-musikale elemente en die korrelasie tussen die teks, mens en musiek. Die tolk gevra word om vrylik te beweeg binne 'n bepaalde SPOT sonder om te kyk "kunsmatige". SOUNDS VEROORSAAK DEUR die voete beweeg op die sand welkom om tydens die hele stuk. En hier is die idee van 'n siklus is gebore, 'n poging om hierdie nuanses van gememoriseerde strukture te dra, die orde en die koue, aan die teks in musikale materiaal omskep. Walter Feldmann.