2. Expansive Tendencies: Cycle 1 (1973-1977) After completing a period of training, Nunes received regular composition commissions from the Fundação Calouste Gulbenkian in Lisbon, as well as from various institutions in France. A first LP of his music, published in 1973, marks the beginning of his international impact as a composer. The pieces composed from this point onwards are linked by an autobiographically motivated compositional trait comprising four pitches (e, g, g sharp, a). This cycle comprises eight works up to 1977, as well as Stretti, composed a few years later.
Something new here is composition with ‘rhythmic pairs’, a compositional means based on cyclical overlapping and interference between two different periodicities, and applicable to various parameters of a composition. To this end, there are 23 fixed proportions (with 14 primary pairs and 9 secondary ones), but each piece makes just a small selection from them to shape rhythm, overall form, pitch, interval successions and spatial movement. This cycle begins with Nachtmusik I (1977/78). To demarcate it from the preceding one, the four notes central to Cycle 1 – e, g, g sharp and a – are initially excluded. The basic compositional unit is no longer the single note, but pairs of notes – an idea inspired by ring modulation. Three years later came Nachtmusik II, a work whose material does share some structural elements with Nachtmusik I, but is in no way, as the composer writes, “an orchestral version of Nachtmusik I”. Nachtmusik II is pervaded by a melodic current that originally comes from Einspielung II, and whose formal layout and instrumental allocations are based on proportions which in turn are based on various cycles of regular proportions. Musik der Frühe (1980) is a sort of pendant to Nachtmusik I. But the title also alludes to the term ‘early music’ in the sense of historical music, which is referenced by things like the fanfare-like use of the brass.
The range of compositional means is expanded here through the introduction of the human voice (Voyage du corps, 73 Oeldorf 75 II, Minnesang), the expansion of forces up to orchestral dimensions (Fermata, Ruf), and even two orchestras with two conductors, as well as the use of tape and electronics. Here, The Blending Season is the first work by Nunes to use electronic means (an amplitude modulator). Most of the other works involve tape playback (Fermata, Ruf, Voyage du corps, 73 Oeldorf 75 I and II). The choral works produce relationships between phonetics and music, between textual analysis and composition. In addition, there are emblematic quotations, though these are not immediately perceptible. So the pieces enter into a dialogue with the history of music, for example with works by Franz Schubert (in 73 Oeldorf 75 I and II) and Claudio Monteverdi (in Voyage du corps). In addition there is an embracing of spiritual and religious subjects, as a result of reading the writings of Meister Eckhart, Martin Buber, Jakob Böhme and the Bible.
The birth of Martha is linked to two groups of works that the father dedicated to his daughter: Einspielung I-III (1979-81) and Versus I-III (1982-1995). In the Einspielungen Nunes thoroughly investigates the possibility of deriving melodic forms from the ‘rhythmic pairs’. This is continued in the three Versus pieces by adding a wind instrument to each of the solo strings in the Einspielungen. The juxtaposition of both instruments is based on a contrapuntal concept, and this – at least in Versus I – is tied to the intention of making a ‘meta’-melodic line audible. Versus II and III, on the other hand, display a dialogue-like structure arising from two interwoven voices. Between 1983 and 1986 there also appeared three pieces for flute: Grund (1983), Ludi Concertati (1985) and Aura (1986). Despite elements common to all these pieces, the composer doesn’t regard Ludi Concertati as part of Cycle 2.
With the orchestral piece Ruf a temporary climax is reached, not just within Cycle 1, but in Nunes’ output as a whole. It forms a synthesis of the compositional procedures worked out previously, and at the same time, opens up new levels of expressivity. Particularly typical is the considerable sonic density, with protracted eleven- and twelve-note chords. Moreover, beginning in the third section, there is a complex network of quotations, of himself and others.2 Underlying this fabric, as a compositional programme, is a specific sequence of emotional states. 3. A New Grammar: Cycle 2 – ‘The Creation’ (1978-2007) After the great international success of Ruf, Emmanuel Nunes received a DAAD scholarship giving him the possibility of living in Berlin for a year. In 1979 his daughter Martha was born. Parallel to these biographical changes, Nunes also strikes out on new musical paths. In place of ‘lexical’ elements, there are now ‘grammatical’ ones. The cycle Nunes designates as ‘The Creation’ comprises 22 pieces, and is now regarded as having been closed (1978-2007).
The pieces Chessed I-IV are composed for a variety of different ensembles. In Chessed I, Nunes refers to some ideas from the Kaballah, especially the Zohar, and ideas from the Talmud and the writings of the philosopher Gershom Sholem. ‘Chessed’ (pronounced Hesed) means the “blessing, grace, love and mercy of God”, and is the fourth sefirot of the ten spheres of divine emanation of the Kabbalistic Tree of Life. So without there being a direct transference
I will never forget being driven around Paris one Winter‘s evening by Emmanuel. Watching him getting into the driving-seat was already quite an experience, but the skill and ease with which he manoeuvered us around the busy streets has remained in my thoughts each time I have been faced with the challenge of conducting one of his pieces. I find his music to be some of the most original and crazily beautiful I have encountered, and he himself to be one of the most special, funny and inspiring of composers. Happy Birthday Emmanuel! Emmanuel Nunes and Jonathan Nott
Jonathan Nott
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