gerelateerde werken

Tinkling : or, Killing time in an airport lounge (and being arrested), for piano and ensemble, version for 9 players, 1999/2006 / Yannis Kyriakides

Genre: Kamermuziek
Subgenre: Gemengd ensemble (2-12 spelers)
Bezetting: fl(pic) cl trb perc el.g vl vc cb pf-solo

Stabat Mater : voor alt- en tenor-solo, koor en orkest / Rudolf Mengelberg

Genre: Vocaal
Subgenre: Gemengd koor en orkest
Bezetting: alt ten GK4 2332 2220 timp perc str

The prisoner : opus 51, for soprano, mixed choir and chamber orchestra, 1984 / words by Emily Brontë, Jo van den Booren

Genre: Vocaal
Subgenre: Gemengd koor en orkest
Bezetting: sopr GK4 1111 1210 timp perc pf str

Chorocastra : sopraan, alt, 4-stemmig gemengd koor en orkest / Jan van Dijk; tekst: Anna Bijns

Genre: Vocaal
Subgenre: Gemengd koor en orkest
Bezetting: sopr alt GK4 2rec 2220 2sax 0230 altoh barh timp 4perc 2g 2acc 3el.org 5pf str(vl vc cb)

compositie

Ein Schemen (shortened for Anima Obscura Prologue) : for harp, mixed choir, electronics and orchestra / Yannis Kyriakides

Overige auteurs:
Kyriakides, Yannis (Componist)
Toelichting:
This composition is a reworking of Ein Deutsches Requiem by Johannes Brahms. The seven movements, which flow seemlessly from one another, are each based on the corresponding movement from the original Brahms Requiem. The music focuses on a small number of elements from the original material and stretches it out into a landscape. Time is suspended and the listener can navigate in the space, moving through traces of Brahms. The music of the harp which frames the choir parts, is an encoding of the original texts from the Requiem. It creates a perspective on the static flow of the choir and electronic parts which changes gradually through the piece.
The title of this recomposition is a quote from a line in part III: ' Sie gehen daher wie ein Schemen.' 'Ein Schemen' is an old German word for shadow or apparition, probably derived from the Latin word 'Schema'. I find it an apt word to use in this context because it reflects the nature of this piece. It is both about the connection of the living to the dead, and at the same time, it says something about the relation of this piece to the original work of Brahms. It is composed in its shadow and it is permeated by his notes as ghostly presences.
Yannis Kyriakides