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Nikolaus Brass: heliotrop (2022)
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Nikolaus Brass (*1949)
heliotrop, sequences for bass clarinet and vocal sextet (2022)
Gareth Davis, bass clarinet
Neue Vocalsolisten Stuttgart
World Première, 14 October 2022, Donaueschinger Musiktage '22
Wintersonne,
schwerster Stein
so schwerer Stein.
Asche der Nacht –
Ein einziger Tag
Dass wir uns halten
einen einzigen Tag.
Der Mohnsamen
geht überall auf.
(Text: Nikolas Brass)
The composition heliotrop – Sequenzen für Bassklarinette und Vokalsextett was created between January and March 2022. Heliotropy is one of the fundamental principles of movement of nature, the turn to the light. Like everything natural, subject to disturbance and obstruction. Like all living things, subject to annihilation. But as a natural principle of growth and shaping as long prevailing as the sun of our galaxy. So it is actually trustworthy, if not as a law, at least as an analogy.
The reference in the title to the sequence – here in its liturgical meaning – indicates the aspect of praise, perhaps a similar basic principle of art, as heliotropy is a basic principle of nature. A sequence is a richly crafted, wordless melody following the Hallelujah as Jubilus, that is, as a lyrical, hymnal song. This frame of reference is “naturally” no longer available to us without questioning in the 21st century, but in my understanding it can certainly be used as a basis for an artistic statement.
The text entered this frame of reference only during the composition; in its level of meaning it was first understood by me as a reflex to February 24, 2022. I could also say that the text penetrated the music, which was initially conceived without text, as an additional voice with its own right. Sometimes it seems like a sung out linguistic image, but often it is used only as a means of "orchestration", is thus understood more as an underlining or color addition than as an independent layer; sometimes again it hides only unheard, as a hint for the performers to an inner image.
Spectrally colored harmonics play a role for me in the aesthetic context of nature and artifact "naturally"– in the truest sense of the word. That means, I prepare an ambivalent appearance for the "natural tonality", since especially the "distorted" intervals, formed from the higher odd natural tones (seventh, eleventh or thirteenth natural tone), are rather familiar to us as artifacts than as images of nature.
Donaueschinger Musiktage '22 #domt22
Official Composer Website
This video has a purpose of promotion, not for profit.
If you have any complaints about copyright issues, please write me a direct message at dhdmlwls02(at)gmail(dot)com before submitting a report to YouTube. Then I will delete the video as soon as possible.
heliotrop, sequences for bass clarinet and vocal sextet (2022)
Gareth Davis, bass clarinet
Neue Vocalsolisten Stuttgart
World Première, 14 October 2022, Donaueschinger Musiktage '22
Wintersonne,
schwerster Stein
so schwerer Stein.
Asche der Nacht –
Ein einziger Tag
Dass wir uns halten
einen einzigen Tag.
Der Mohnsamen
geht überall auf.
(Text: Nikolas Brass)
The composition heliotrop – Sequenzen für Bassklarinette und Vokalsextett was created between January and March 2022. Heliotropy is one of the fundamental principles of movement of nature, the turn to the light. Like everything natural, subject to disturbance and obstruction. Like all living things, subject to annihilation. But as a natural principle of growth and shaping as long prevailing as the sun of our galaxy. So it is actually trustworthy, if not as a law, at least as an analogy.
The reference in the title to the sequence – here in its liturgical meaning – indicates the aspect of praise, perhaps a similar basic principle of art, as heliotropy is a basic principle of nature. A sequence is a richly crafted, wordless melody following the Hallelujah as Jubilus, that is, as a lyrical, hymnal song. This frame of reference is “naturally” no longer available to us without questioning in the 21st century, but in my understanding it can certainly be used as a basis for an artistic statement.
The text entered this frame of reference only during the composition; in its level of meaning it was first understood by me as a reflex to February 24, 2022. I could also say that the text penetrated the music, which was initially conceived without text, as an additional voice with its own right. Sometimes it seems like a sung out linguistic image, but often it is used only as a means of "orchestration", is thus understood more as an underlining or color addition than as an independent layer; sometimes again it hides only unheard, as a hint for the performers to an inner image.
Spectrally colored harmonics play a role for me in the aesthetic context of nature and artifact "naturally"– in the truest sense of the word. That means, I prepare an ambivalent appearance for the "natural tonality", since especially the "distorted" intervals, formed from the higher odd natural tones (seventh, eleventh or thirteenth natural tone), are rather familiar to us as artifacts than as images of nature.
Donaueschinger Musiktage '22 #domt22
Official Composer Website
This video has a purpose of promotion, not for profit.
If you have any complaints about copyright issues, please write me a direct message at dhdmlwls02(at)gmail(dot)com before submitting a report to YouTube. Then I will delete the video as soon as possible.
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