konzert_01: lied|song

Programm

Alan Hovhaness (1911-2000.)
Three Songs (1960) für Tenor und Klavier

1. Describe me!

2. Green Stones

3. Fans of Blue

Franco Margola (1908-1992)
Dritte Sonate für Klavier (1957)

1. Allegro

2. Adagio

3. Movimento finale

Ola Gjeilo (*1978)
Madison für Cello und Klavier (2013)

Michael Schultheis (*1985)
Souvenir - Miniaturen für amplifizierte Spieluhr mit Lochstreifen (2023, UA)

1. Paris
   Romantic, like the streets going from Moulin Rouge up the Montmartre in the evening

2. Fazana
   Dreamy, like the dusty road in the middle of nowhere and the beautiful intimacy of the little harbour

3. Sydney
   Energetic, like an overwhelming place somewhere far away

4. Monschau
   Tender, like the beautiful, small old town on a misty December day

5. Pisa
   Mechanical, with a feeling of slowly tipping over…

6. Aarhus
   Mysterious and colorful, like the impressive museum of modern art in the center of the town

7. Maastricht
   Like the tower chimes of the city hall

8. Hamburg
   Murmuring, like water running through the canals, with a feeling of grandieur

9. Tiers am Rosengarten
   Slow and peaceful, the feeling of looking up the vast mountains glowing purple at dawn

10. Bergen
    Infinite, like the winding pathway up the Fløyen mountain until you reach the platform with the spectacular view over the city

11. Cuxhaven
    Calm, the feeling of stillness walking down the beach promenade early in the morning

Johann Sebastian Bach (1685-1750)
Menuett I und II aus Cello Suite Nr. 1, G-Dur (BWV 1007)

Sascha Mücke (*1994)
Frost Poems für Tenor und Klavier (2022, UA)

1. Dust of Snow

2. Desert Places I

3. Desert Places II

Gabor Lisznyay-Szabó (1913-1981)

Ösz [Herbst] für Cello und Klavier (1958)

Michael Schultheis (*1985)
Wie der Apfel, der aus dem Zweig sprießt
für Cello und Klavier (2016-2022, UA der Cellofassung)

1. Tryggare kan ingen vara (aus Schweden)

2. Du gamla, du fria (aus Schweden)

3. Madárka madárka (aus Ungarn)

4. Innsbruck, ich muss dich lassen

5. Wächterlied (aus Norwegen)

6. Erdő, erdő (aus Ungarn)

7. Folkesongen (aus Norwegen)

8. Bayu, Bayushki-Bayu (aus Russland)

9. L'homme armé (aus Frankreich)

Benjamin Britten (1913-1976)
Folks Songs (Auswahl)

• The Salley Gardens (Irish Tune)

• The trees they grow so high (Somerset Folk Song)

Ralph Vaughan Williams (1872-1958)

Songs of Travel

• Let Beauty awake

• The infinite shining heavens

• Whister must I wander? (Fassung für hinzukomponierte Cellostimme: Michael Schultheis)

Thorid Brandt-Weigand, Violoncello
Sascha Mücke, Tenor
Michael Schultheis, Klavier

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In Wunderkammern stellten Fürsten der Renaissance- und Barockzeit seltene und ungewöhnliche Objekte aus aller Welt aus. Wertvolle Kleinode, Kristalle, Tierpräparate, frühe Automaten, optische Illusionen - das Nebeneinander unzusammenhängender Dinge fasziniert: Wunderkammern verweisen auf das Wunderliche des Betrachteten und auf die Verwunderung des Betrachters. Von dieser Idee inspiriert ist das Konzertformat "wunderkammer": Zeitgenössische und ältere Kammermusik in ungewöhnlichen und vielschichtigen Zusammenstellungen. Uraufführungen von lokalen Komponisten, neue Musik, die Vergangenes interpretiert neben alter Musik, die in die Zukunft weist.

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Biografien:

Die Cellistin Thorid Brandt-Weigand begann als Jungstudentin ihre musikalische Ausbildung an der Musikhochschule Köln Abteilung Wuppertal. 2003 folgte nach ihrem Diplom ein künstlerisches Aufbaustudium bei Jürgen Wolf in Düsseldorf. Dem schloss sich ein zweijähriges Engagement beim Loh-Orchester Sondershausen/Nordhausen an. Anschließend folgten diverse Produktionen am Theater Hagen in kammermusikalischer sowie sinfonischer Besetzung. Seitdem konzertiert sie in verschiedenen Ensembles und Orchestern im In- und Ausland u.a. in Israel, Frankreich, der Türkei und der Schweiz. Ihre musikalischen Akzente setzt sie zwischen einem Barockensemble bis hin zu einer Musical Produktion.

Sascha Mücke wurde 1994 in Hagen geboren. Ab 2004 nahm er Klavierunterricht und begann zur gleichen Zeit, eigene Musik zu komponieren. Beim Wettbewerb „Jugend komponiert“ gewann er zwischen 2011 und 2013 mehrere Preise. Seit 2006 ist er als Sänger in verschiedenen Vokalensembles und Chören aktiv und tritt auch solistisch auf. Seine Kompositionen kamen bereits in einigen Konzerten im Ruhrgebiet und darüber hinaus zur Uraufführung, zuletzt 2021 sein Chorstück „I am the Rose of Sharon“ in Bochum. Mücke komponiert stilistisch vielfältige Musik, vor allem für Vokalbesetzungen, Klavier und Orgel. Seit 2019 wohnt er in Dortmund, wo er als Wissenschaftler an der TU im Fachbereich Informatik promiviert.

Michael Schultheis ist Komponist, Organist und Pianist. In seiner Musik verschmelzen Minimalismus und Komplexität, Experiment und Nostalgie, Konstruktion und Emotion zu einer farbenreichen und zugleich zurückgenommenen Klangsprache. Sein besonderes Interesse gilt dem Instrument Orgel, dessen Möglichkeiten er in zahlreichen Improvisationen und Kompositionen experimentell erkundet. Für die Aufführung seiner Werke arbeitete er unter anderem mit dem Ensemble „Sinfonie NRW“, dem Hagener Kammerorchester, dem Bach-Chor Hagen, dem Tuba-Ensemble der TU-Dortmund und zahlreichen Solistinnen und Solisten (u.a. Melvyn Poore, Alexander Schwalb, Ruth Theresa Fiedler) zusammen. Mehrere seiner Werke haben Kompositionspreise gewonnen. Seine Werke sind im ARE-Verlag (Dominik Susteck) veröffentlicht. Michael Schultheis wurde 1985 geboren und legte sein Staatsexamen in Chemie und Musik an der TU Dortmund ab. Er arbeitet als Oberstudienrat und Musikkoordinator am katholischen Hildegardis-Gymnasium in Hagen, wo er mit Schülerinnen und Schülern Projekte zum Komponieren und zu Neuer Musik gestaltet und die Initiative “impulsklang” ins Leben gerufen hat. Weitere Tätigkeiten als Referent für kirchliche Komposition runden sein Schaffen ab.

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Liedtexte

Alan Hovhaness: Three Songs.
Gedichte von Jean Harper.

Describe me!

Describe me!
Wild and errant am I,
Flying tendrils of fire
Into joint and flange,
knuckle and hinge.

Soft as oil I move
In soundless rhythm to music of wind

And wail of full moon cats,
arriving at sources of feeling and sound,
Thoughts lost over oftening years.

Describe me!
Wild and errant am I,
Full of the tides of tempests from ground to sky!

Green Stones 

Strings of green stones around a neck of jade
Are seen as small eyes looking from green to green
Lift them gently that look so cool
And they shall burn small fires in the hand.

Fans of blue

Fans of blue whirl the air
in a crescent of silence.
Alone the yellow butterlfy
Reaches the tip of a flower
To rest ist paper wings.

The sun is warm and wet
And somewhere the sound of whirring bees
Rasps the quiet afternoon.
The faces behind the fans
Look out in blue lines and blue mist,
bleakly cooling in a small blue wind.

Sascha Mücke (*1994)
Frost Poems für Tenor und Klavier.

Gedichte von Robert Frost

Dust of Snow

The way a crow
Shook down on me
The dust of snow
From a hemlock tree 

Has given my heart
A change of mood
And saved some part
Of a day I had rued.

Desert Places

Snow falling and night falling fast, oh, fast
In a field I looked into going past,
And the ground almost covered smooth in snow,
But a few weeds and stubble showing last.
The woods around it have it - it is theirs.
All animals are smothered in their lairs.
I am too absent-spirited to count;
The loneliness includes me unawares.
And lonely as it is, that loneliness
Will be more lonely ere it will be less -
A blanker whiteness of benighted snow
With no expression, nothing to express.
They cannot scare me with their empty spaces
Between stars - on stars where no human race is.
I have it in me so much nearer home
To scare myself with my own desert places.

Benjamin Britten (1913-1976)
Folks Songs (Auswahl)

Down by the Salley Gardens (Wiliam Butler Yeats)

 Down by the salley gardens my love and I did meet;
She passed the salley gardens with little snow-white feet.
She bid me take love easy, as the leaves grow on the tree;
But I, being young and foolish, with her would not agree.
In a field by the river my love and I did stand,
And on my leaning shoulder she laid her snow-white hand.
She bid me take life easy, as the grass grows on the weirs;
But I was young and foolish, and now am full of tears.

The trees they grow so high (Britisches Volkslied unklaren Ursprungs)

The trees they grow so high and the leaves they do grow green,
And many a cold winter's night my love and I have seen.
Of a cold winter's night, my love, you and I alone have been,
Whilst my bonny boy is young, he's a-growing.
Growing, growing,
Whilst my bonny boy is young, he's a-growing.

O father, dearest father, you've done to me great wrong,
You've tied me to a boy when you know he is too young.
O daughter, dearest daughter, if you wait a little while,
A lady you shall be while he's growing.
Growing, growing,
A lady you shall be while he's growing.

I'll send your love to college all for a year or two
And then in the meantime he will do for you;
I'll buy him white ribbons, tie them round his bonny waist
To let the ladies know that he's married.
Married, married,
To let the ladies know that he's married.

I went up to the college and I looked over the wall,
Saw four and twenty gentlemen playing at bat and ball.
I called to my true love, but they would not let him come,
All because he was a young boy and growing.
Growing, growing,
All because he was a young boy and growing.

At the age of sixteen, he was a married man
And at the age of seventeen he was a father to a son,
And at the age of eighteen the grass grew over him,
Cruel death soon put an end to his growing.
Growing, growing,
Cruel death soon put an end to his growing.

And now my love is dead and in his grave doth lie,
The green grass grows o'er him so very, very high.
I'll sit and I'll mourn his fate until the day I die,
And I'll watch o'er his child while he's growing.
Growing, growing,
And I'll watch o'er his child while he's growing.

Ralph Vaughan Williams (1872-1958)

Songs of Travel

Let Beauty awake (Robert Louis Stevenson)

Let Beauty awake in the morn from beautiful dreams,
Beauty awake from rest!
Let Beauty awake
For Beauty’s sake
In the hour when the birds awake in the brake
And the stars are bright in the west!

Let Beauty awake in the eve from the slumber of day,
Awake in the crimson eve!
In the day’s dusk end
When the shades ascend,
Let her wake to the kiss of a tender friend,
To render again and receive!

The infinite shining heavens (Robert Louis Stevenson)

 The infinite shining heavens
Rose, and I saw in the night
Uncountable angel stars
Showering sorrow and light.

I saw them distant as heaven,
Dumb and shining and dead,
And the idle stars of the night
Were dearer to me than bread.

Night after night in my sorrow
The stars looked over the sea,
Till lo! I looked in the dusk
And a star had come down to me.

Whister must I wander?  (Robert Louis Stevenson) 

Home no more home to me, whither must I wander?
Hunger my driver, I go where I must.
Cold blows the winter wind over hill and heather:
Thick drives the rain and my roof is in the dust.
Loved of wise men was the shade of my roof-tree,
The true word of welcome was spoken in the door—
Dear days of old with the faces in the firelight,
Kind folks of old, you come again no more. 

Home was home then, my dear, full of kindly faces,
Home was home then, my dear, happy for the child.
Fire and the windows bright glittered on the moorland;
Song, tuneful song, built a palace in the wild.
Now when day dawns on the brow of the moorland,
Lone stands the house, and the chimney-stone is cold.
Lone let it stand, now the friends are all departed,
The kind hearts, the true hearts, that loved the place of old.

Spring shall come, come again, calling up the moorfowl,
Spring shall bring the sun and rain, bring the bees and flowers;
Red shall the heather bloom over hill and valley,
Soft flow the stream through the even-flowing hours.
Fair the day shine as it shone on my childhood—
Fair shine the day on the house with open door;
Birds come and cry there and twitter in the chimney—
But I go for ever and come again no more.