Baritone and Piano.
Piano; Voice
SKU:
HL.49016720
For
Baritone and Piano.
Composed by Benjamin
Schweitzer. This edition:
Saddle stitching. Sheet
music. Classical.
Composed 2003. 12 pages.
Duration 11'. Schott
Music #ED9989. Published
by Schott Music
(HL.49016720).
ISBN
9790001144209. UPC:
884088991258.
9.0x12.0x0.056 inches.
German.
Football
(resp. soccer) has been
fascinating for many
contemporary composers -
maybe because of the
unpredictable dramaturgy
within a match, the
complexity of different
combinations, contrasts
or complements between
different strategies, the
soloist-like position of
extraordinary players -
in short, there are
numerous connections to
musical ideas.Zeitlupen
(Slow-motion replays)
reflects football on
different layers. The
cycle consists of three
interlocking parts: four
poems from Gottfried
Blumenstein's 11 Haikus
vom Fussballfeld form the
musical core, to which
three pantomime-actions
with piano accompaniment,
showing characteristic
situations, are added.
(This idea is based on a
kind of a
slow-motion-soccer, using
a balloon instead of a
football, that I used to
play with my brother in
our room, when the
weather not allowed to go
outside for a match on
the playground nearby.
The similarity towards
far-eastern meditational
techniques of these
pantomimes also forms a
connection to the haiku
form of the poems.) The
piece is completed by two
recitations recalling
famous teams and the best
and (maybe) worst from
german football history:
the world champions from
1954 and the team of the
unbearable put-up game
against Austria during
the world championship of
1982. This part also
refers to a well-known
poem by Peter Handke, Die
Aufstellung des 1. FC
Nurnberg vom 27. 1.
1968.Behind that, playing
with numbers has been
important for the
structure. The form of
the haiku (5-7-5
syllables), a symmetric
all-interval-series and
many other elements are
taken from the number of
12 (eleven players and
their coach). Gesture and
sound-colours of the
piano part are economical
but precise; towards the
ending percussive sounds
dominate it. Directly
illustrative moments -
like the rhythm of cheers
call in Nr. IV - are
rather exceptional. The
altogether form follows
the labyrinthical
structure of Pierre
Boulez' Le marteau sans
maitre, written around
the famous year of
1954...Benjamin
Schweitzer.
