Виктор Екимовский - Die ewige Wiederkunft - текст песни, слова, перевод, видео

Composition 31. “Die Ewige Wiederkunft-Eternal Return” for Bas-Clarnet (1980)

These are 3 pages for the bass clarinet. What is here? Again, all my thoughts: how and what music you need to write and whether it is necessary to write it at all. Again some personal and philosophical problems. And this, by the way, is reflected in the first German title “Die Ewige Wiederkunft”, which I took from Nietzsche. This play was composed in rather difficult years for me, I must say.

I had not written such works before-there is no certain pace everywhere, that is, there is somewhere, but more often he is completely free by the performer himself. And there is still no accurately indicated soundness-only one line is given, which means “before” the 1st octave, and the rest of the notes are depicted very conditionally, that is, everywhere, in short, Aleatoric. True, in addition to one phrase, which is fixed on ordinary 5 rulers - I have the lowest bass replica and, at the same time, the personification, so to speak, the very idea of ​​“eternal return”. But in fact, of course, this idea shows itself in many aspects.

- In what else?

- Well, at least in the fact that the contractor must repeatedly go and come to the stage, in the presence of reprivia.

There is also some kind of sonata form in the essay: there is an exposition where the side party is clearly distinguished by its structure-this is the episode of Quasi a cello; There is very active work with individual thematic elements - this is for me as a development and, by the way, quite powerful, and there is a reprise, however, with one side party alone.

And what a huge “fuss” was with a texture. This is the very case that once again confirms my theory that only the texture gives rise to a modern work ...

- And at the end, of course, code?

- Yes. By the way, I made an absolutely terrible sound for the first time, which arises thanks to Frullato, different glissando in all overtones. But it is necessary. Here, in particular, Harry Spaarte, who was the only one played the play very cool, he immediately “shed” everything, and performed the development so expressively, so surprisingly powerfully that it is simply amazing.

And, besides, although I provided for a certain aleatoric freedom here, it is still quite limited by me-this is still controlled aleatoric, and greatly controlled, and, in particular, the contractor cannot even play something extra several times or…