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Von Hinter Dem Schmerz (1996) |
Von Hinter Dem Schmerz was completed in the summer of 1996; it is dedicated to Christopher Fox. It has a double existence: as a solo composition, and also (in fragmented form) as part of the instrumental/vocal/electronic work Opening of the Mouth. Its overall structure is defined timbrally: the three lengthening sections involve firstly the harsh and unstable sound of the open low F string (produced by tuning the celloÆs lowest string down by a fifth), secondly a complex discourse which is so to speak ôtrapped inside the instrumentö by the use of a heavy practice mute, and thirdly a scattering of disconnected sounds, suspended in silence, mostly produced by more or less unconventional playing techniques.
A late poem by Paul Celan (whose work forms the textual basis of Opening of the Mouth) begins thus: CELLO-EINSATZ von hinter dem Schmerz: As the poem continues, Celan seems to describe, in extremely elliptical language, the experience of being in an aeroplane taking off; and most if not all references to being airborne in CelanÆs work carry with them the connotation of being among the vapourised remains of the Jews incinerated in the Nazi death-camps. By mentioning this, I do not mean to imply that the music is intended to function in an illustrative way, any more than does CelanÆs work. All of the music of Opening of the Mouth is concerned to some degree with questioning the possibility of expression, of symbolism, especially faced with the unspeakable - the same poem concludes: alles ist weniger, als es ist, alles ist mehr. Von Hinter Dem Schmerz was conceived and written for Friedrich Gauwerky, as a consequence of working with him on performances of both solo and ensemble music over a period of several years; those experiences have made a central contribution to the identity of the music, and in particular the somewhat ôextremeö situation in which it places the performer, whose concentration must be on the most intense level whether negotiating the most rapid and intricate physical/timbral actions, or framing an extended silence with almost intangible gestures.
© Richard Barrett 1998