1973 Vocal pieces

Voices

A collection of songs

For two vocalists (mezzo soprano and tenor) and instrumental groups

Year of composition 1973
Duration 90 minutes

I Los poetas cubanos ya no suenan (Heberto Padilla)    per Andrea Iovane
II Prison Song (Ho Chi Minh)    for Peter Maxwell Davies
III Keiner oder alle (Bertolt Brecht)    for Edward Bond
IV The Electric Cop (Victor Hernandez Cruz)      für Herbert Marcuse
V The Distant Drum (Calvin C. Hernton)     per Stefano Merlini
VI 42 Schulkinder (Erich Fried)    for Michael Vyner
VII Caino (Gino de Sanctis)    per Netta Vespigniani
VIII Il Pasi (Mario Tobino)    per Fausto Moroni
IX Heimkehr (Heinrich Heine)   para Miguel Barnet
X Grecia 1970 (Giuseppe Ungaretti)    per Lele Romanelli
XI Legende von der Entstehung des Buches Taoteking auf dem Weg des Laotse
in die Emigration (Bertolt Brecht)    per Franco Serpa
XII Gedanken eines Revuemädchens während des Entkleidungsaktes (Bertolt Brecht)    für Peter Adam
XIII Das wirkliche Messer (Hans Magnus Enzensberger)    para Heberto Padilla
XIV Recht und billig (Erich Fried)    für Paul Dessau
XV Patria (Miguel Barnet)    para Rogelio Rodriguez
XVI Screams (Interlude) (Walton Smith)    per Titina Maselli
XVII The Worker (Richard W. Thomas)    per Renzo Vespigniani
XVIII Para aconsejar a una dama (Heberto Padilla)    for Harrison Birtwistle
XIX Roses and Revolutions (Dudley Randall)    for Arthur Mitchell
XX Vermutung über Hessen (F.C. Delius)    für Hans Magnus Enzensberger
XXI Schluß (Michalis Katsaros)    für Rainer Esche
XXII Das Blumenfest (Hans Magnus Enzensberger)    for Yoichi Ohira

World premiere

World premiere 4. January 1974

London · Queen Elizabeth Hall

London Sinfonietta
Mezzo-soprano Rose Taylor
Tenor Paul Sperry

Conductor Hans Werner Henze

Comments

The choice of the poems and the order in which they are arranged reflect my own personal political perspective and emotional involvement, and it is this perspective and these feelings which give the collection its cohesion, rather than any narrative or musical structure. In some cases, I wanted to use highly developed post-seria l structures and invest them with meaning; that is to say: to use abstract elements and force them to be vehicles for concrete expression. More direct formal materials include jazz, aleatoric writing and elements of music-theatre. In other cases I tried to extend the Weill-Eisler-Dessau tradition in my own style. The listener will also, I hope, detect echoes and influences of various folk styles, as well as the tradition of the classical Lied.

 

The work was originally scored for 15 players. The number may be augmented, however, according to possibilities and necessities of the available forces. The players, who at various times have to hum, talk and sing, form an a cappella chorus in No. 17.

 

Hans Werner Henze

Instrumentation

 

Mezzosoprano
Tenore
1 Ottavino 
1 Flauto 
2 Flauti dolci   
1 Flauto contralto 
1 Flauto bengalese  
1 Flauto di inka
1 Flauto a culisse(o Clarinetto in la)
2 Flauti di bambù
1 Oboe
1 Corno inglese
1 Clarinetto 
1 Clarinetto piccolo
1 Clarinetto basso
1 Corno di bassetto
1 Fagotto
1 Controfagotto  (ad lib.)
1 Corno
1 Tromba
1 Trombone
1 Tuba
Timpani
PercussionePiatti sospesi
Hi-hat
Tamtam
Gong
Tamburino
Tamburo piccolo
Bongos
Trinidad steel drum
Grancassa
Timpani
Boo-bams
Log-drums (o Marimba nel 5° Lied)
Maracas
Guiro
Matraca
Caccavella
Cassettine di legno
Catena
Marimbula (chromatica)
Vibrafono
Metallofono basso
Bacchette di vetro sospese
Shell chimes
varie Lastre dal tuono
Campanelli
Dobaçi
Cencerri
Campane tubolari
Organo hammond
Mandolino
Chitarra
Chitarra elettrica
Banjo tenore
Celesta
Pianoforte
Fisarmonica
Armonica a bocca
Ocarina
Bicchieri di vetro
Arpa di vetro
Scacciapensieri
Fischietto di piombo
Fischietto di rugby
4 Apparecchi a transistor
1 Violino
1 Viola
1 Violoncello
1 Contrabbasso