e texts of the French author Anne-Marie Albiach have long been the point of departure for my works. Following the viola concerto « monstrueuse vécut dans le cadre » la mémoire, which is based on her « H II» linéaires, the three texts entitled « une géométrie » have generated a new cycle. As in the other two works of the cycle, « figurations de mémoire » is predicated on two different readings of the text: on the one hand a (private) reading by Anne-Marie Albiach in which time is measured [demarcated] out; while on the other hand the graphic text is measured millimeter by millimeter. The latter serves as the basis – the “genetic code” – for the temporal, horizontal structure of the quintet, whereas the reading of the author appears in rhythmic surfaces which interrupt the horizontal plane. In « figurations de mémoire » two clearly recognizable elements are repeated: the tone b (which plays a central roll in most of my works) and a chord of fifths built around the tone b – a piece of memory (“mémoire”) from viola concerto. In contrast, the extended chords of the reading consist of five tones which in their frequencies are equidistant from each other (like an “overtone chord). For the generation of tone materials the chords of both levels are compressed and stretched within the ranges (frames) of tones from which the horizontal positions of the text fragments are derived: lower, borderline tones on the left margin, and higher borderline tones on the right margin. Thus the disposition on the page, essential for Anne-Marie Albiach (and first introduced in poetry by Mallarmé in “Un coup de dés jamais n’abolire le hasard”), is rendered in sound. Naturally each element of the text serves to mold structure and dynamic, to include typography: fragments within quotation marks, in italics, etc., yield different sonorous images [sonorities] and movements. Each word from the typographical reading is orchestrated [instrumentated] differently, which is important for the whole cycle (however, the chords of the spoken reading are always played by five instruments; here only speech and pauses in speech [[interruptions of speech]are distinguished from each other). Thus a tight network of instrumental combinations is created in which, word for word, the text is made audible. The most important element in the process: the vertical, synchronized playing together of the individual instruments (“Synchorniestudie”), ranging from solo to quintet.
- Walter Feldmann Personal details