Liebestrennung (2025)
for female voice, trumpet, trombone and ensemble Dur. 25′
For Rahel-Marie Dorothea Urton
Commissioned by Århus Sinfonietta and composed for Jenny Thiele, Anders Larsen, Niels-Ole Bo Johansen and Århus Sinfonietta
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Edition·S publications are supported by the Danish Arts Foundation / Edition·S udgivelser er støttet af Statens Kunstfond
Liebestrennung (2025)
for female voice, trumpet, trombone and ensemble
Dur. 25′
I. Du bist der Mond
Die Trennung fand in Bochum statt. Die Trennung fand in Freiburg statt. Die Trennung fand in Aarhus, Dänemark statt.
Die Trennung fand in Kopenhagen statt. Die Trennung fand in Luzern statt.
Die Trennung fand in Köln statt.
Du warst der Mond, der auch tagsüber auf dem Himmel gestanden hat.
II. Schläferchen
Du liegst auf dem Grass, Mama probt, ich passe auf Dich auf. Die Sonne scheint, Du schläfst. Du liegst nicht direkt auf dem Grass, sondern auf einer decke, wie ein Picknick.
III. Im Kinderwagen
Im Kinderwagen mit mir auf dem Weg zum Stadtpark. Du seihst das Volk auf dem Rasen, die Du Dich in 15 Jahren anschließen wirst. Es spielt Fußball und geht slacklining oder sitzt auf dem Grass in Familienformationen. Vielleicht gucken wir vorbeistreunende Hunde an und ich erkläre Dir mein “schlechtes Bein”. Es beschäftigt Dich, daß ich öfters ruhen muß und daß ich einen unregelmäßigen Gangrhythmus habe.
IV. Meisterin
Du hast Neugier und fragst oder stellst fest in dem Du das, was du siehst, benennst: wau-wau. Später schlägst du mich im Schach...
V. Im Tragetuch
Mama, die mich zum Sommermusikfest mitgenommen hat, schickt uns raus für einen Abend- Spatziergang. Du wirst im Tragetuch eingewickelt und sitzt ganz sicher auf meinem Bauch gebunden als wir in der Dämmerung die Landschaft des Knüllköpfchen entlangspatzieren. Du weinst manchmal laut, und ich muss mich gedulden. Ich trage Dein Weinen an den Hügeln vorbei bis du letztendlich einschläfst. Es gibt für uns die kühle Luft, den schwartz gewordenen Sternhimmel, einige Häußer und einmal eine richtige Asphalt-Straße steil bergab.
VI. Dein Zuhause
In eurem Haushalt verändert sich einiges. Du hast auf einmal 3 Geschwister, die nicht “Halbgeschwister” sind, sondern “richtige” Geschwister. So machst Du Dein Leben vollendeter, indem Du sie Ehrst, die in deinen Leben einziehen.
VII. Pflicht
In der selben Zeit möchtest Du manchmal nicht in die Schule. Es ist ein Spiel: wenn ich standhaft bin, fahren wir zur Schule. Also bin ich standhaft, auch wenn Du unter’m Sofa Hockst und wir zu spät kommen.
VIII. Mann!
Ich dachte, deine 2 Schwestern hätten nichts dagegen bei mir betreut zu werden. Es ist Mittwoch und Du bist bei mir. Sie wollten aber nicht gerne bei mir betreut werden, das war offensichtlich, als die beiden, stinksauer, die Wohnung betraten; man hat sie nicht gefragt, sondern nur gesagt. Nach einer halben Stunde habe ich laut geschrien: “DANN SEI DOCH EIN BißCHEN FREUNDLICH UND PUZZLE ENDLICH!”
IX. Lebensgefahr
Dein Leben ist in Gefahr, seit einer Woche. Ich lasse viel vergangenes vorbeidefilieren. Stelle fest, wie ich dich liebe. Du bist bis Montag bei Mama und dann gehst du in die klinik. Sonntag sage ich Dir auf wiedersehen.
X. Spaß
Oft spielen wir UNO. Ich habe einmal sehr gute Karten. 3 Retourkarten und 2
Aussetzer-Karten. Ich bin kindisch und freue mich kindisch, bis du die Kartetausch-Karte schmeist. Ich ärgere mich dumm und dämlich, wirklich, und du lachst dich kaputt.
XI. Lebensgefahr II
Dein Leben ist in Gefahr, seit 10 Tagen. Am Telefon hast du eine Sprachnachricht hinterlassen: ich hab’ dich lieb!
XII. Weiter
Thomas Agerfeldt Olesen
PERFORMANCE INSTRUCTIONS
Eb M.P.
M.P./Cl. in Eb M.P.
in Eb M.P. Explanation of
Ó ‰ Du wirst im Tragetuch ‰ Du wirst im Tragetuch ?
Du wirst im Tragetuch
Du wirst im Tragetuch
‰ Du wirst im Tragetuch ?
Du wirst im Tragetuch ?
FROM
Du wirst im Tragetuch
Music written in a staff frame allows the player to place the pitches freely somewhere close to the pitches they would have been, had they been written in an ordinary staff
Music written in a staff frame allows the player to place the pitches freely somewhere close to the pitches they would have been, had they been written in an ordinary staff
Music written in a staff frame allows the player to place the pitches freely somewhere close to the pitches they would have been, had they been written in an ordinary staff
Music written in a staff frame allows the player to place the pitches freely somewhere close to the pitches they would have been, had they been written in an ordinary staff
Music written in a staff frame allows the player to place the pitches freely somewhere close to the pitches they would have been, had they been written in an ordinary staff.
Music written in a staff frame allows the player to place the pitches freely somewhere close to the pitches they would have been, had they been written in an ordinary staff
Music written in a staff frame allows the player to place the pitches freely somewhere close to the pitches they would have been, had they been written in an ordinary staff
Music written in a staff frame allows the player to place the pitches freely somewhere close to the pitches they would have been, had
Music written in a staff frame allows the player to place the pitches freely somewhere close to the pitches they would have been, had they been written in an ordinary staff
Music written in a staff frame allows the player to place the pitches freely somewhere close to the pitches they would have been, had they been written in an ordinary staff
Piccolo mouthpiece/Clarinet in E mouthpiece. Change pitch by
Piccolo mouthpiece/Clarinet in Eb mouthpiece. Change pitch by inserting a wooden stick like a pencil, flat end first
Piccolo mouthpiece/Clarinet in Eb mouthpiece. Change pitch by inserting a wooden stick like a pencil, flat end first
Piccolo mouthpiece/Clarinet in Eb mouthpiece. Change pitch by inserting a wooden stick like a pencil, flat end first
Piccolo mouthpiece/Clarinet in Eb mouthpiece. Change pitch by inserting a wooden stick like a pencil, flat end first.
Piccolo mouthpiece/Clarinet in Eb mouthpiece. Change pitch by inserting a wooden stick like a pencil, flat end first
Piccolo mouthpiece/Clarinet in Eb mouthpiece. Change pitch by inserting a wooden stick like a pencil, flat end first
Piccolo mouthpiece/Clarinet in E mouthpiece. Change pitch by
Piccolo mouthpiece/Clarinet in Eb mouthpiece. Change pitch by inserting a wooden stick like a pencil, flat end first
Receive an cue from the conductor
Piccolo mouthpiece/Clarinet in Eb mouthpiece. Change pitch by inserting a wooden stick like a pencil, flat end first
Receive an cue from the conductor
Receive an cue from the conductor
Receive an cue from the conductor
Receive an cue from the conductor
Receive an cue from the conductor
Receive an cue from the conductor
Receive an cue from the conductor
Receive an cue from the conductor
Receive an cue from the conductor
Receive a sign from the conductor
Receive a sign from the conductor
Receive a sign from the conductor
Receive a sign from the conductor
Receive a sign from the conductor
Receive a sign from the conductor
Receive a sign from the conductor
Receive a sign from the conductor
Give a sign to Female Voice
Give a sign to Female Voice
Give a sign to Female Voice
Give a sign to Female Voice
Give a sign to Female Voice
Give a sign to Female Voice
Give a sign to Female Voice
Give a sign to Female Voice
Give a sign to Female Voice
Give a sign to Female Voice
Receive a sign from Trombone Solo
Receive a sign from Trombone Solo
Receive a sign from Trombone Solo
Receive a sign from Trombone Solo
Receive a sign from Trombone Solo
Receive a sign from Trombone Solo
Receive a sign from Trombone Solo
Receive a sign from Trombone Solo
Receive a sign from Trombone Solo
Repeat brackets. Continue repeating until end of arrow or until sign from someone.
Repeat brackets. Continue repeating until end of arrow or until sign from someone
Receive a sign from Trombone Solo from someone
Repeat brackets. Continue repeating until end of arrow or until sign from someone
Repeat brackets. Continue repeating until end of arrow or until sign from someone
Repeat brackets. Continue repeating until end of arrow or until sign from someone
Repeat brackets. Continue repeating until end of arrow or until sign from someone
Playing a Texted Section
Playing a texted section
Repeat brackets. Continue repeating until end of arrow or until sign from someone
Playing a texted section
Repeat brackets. Continue repeating until end of arrow or until sign from someone
Playing a texted section
Playing a texted section
Playing a texted section
Playing a texted section
In “XI Lebensgefahr 2”, the trombone must use the pixie + plunger mutes to get close to the different vowels of the words. It should be “talking brass”, like in some jazz music. Dynamics are an essential part of the playing of this section and should be improvised.
Playing a texted section
Playing a texted section In “XI Lebensgefahr 2”, the trombone must use the pixie + plunger mutes to get close to the different vowels of the words. It should be “talking brass”, like in some jazz music. Dynamics are an essential part of the playing of this section and should be improvised.
Playing a texted section In “XI Lebensgefahr 2”, the trombone must use the pixie + plunger mutes to get close to the different vowels of the words. It should be “talking brass”, like in some jazz music. Dynamics are an essential part of the playing of this section and should be improvised.
In “XI Lebensgefahr 2”, the trombone must use the pixie + plunger mutes to get close to the different vowels of the words. It should be “talking brass”, like in some jazz music. Dynamics are an essential part of the playing of this section and should be improvised.
In “XI Lebensgefahr 2”, the trombone must use the pixie + plunger mutes to get close to the different vowels of the words. It should be “talking brass”, like in some jazz music. Dynamics are an essential part of the playing of this section and should be improvised.
In “XI Lebensgefahr 2”, the trombone must use the pixie + plunger mutes to get close to the different vowels of the words. It should be “talking brass”, like in some jazz music. Dynamics are an essential part of the playing of this section and should be improvised.
In “XI Lebensgefahr 2”, the trombone must use the pixie + plunger mutes to get close to the different vowels of the words. It should be “talking brass”, like in some jazz music. Dynamics are an essential part of the playing of this section and should be improvised.
In “XI Lebensgefahr 2”, the trombone must use the pixie + plunger mutes to get close to the different vowels of the words. It should be “talking brass”, like in some jazz music. Dynamics are an essential part of the playing of this section and should be improvised.
In “XI Lebensgefahr 2”, the trombone must use the pixie + plunger mutes to get close to the different vowels of the words. It should be “talking brass”, like in some jazz music. Dynamics are an essential part of the playing of this section and should be improvised.
In “XI Lebensgefahr 2”, the trombone must use the pixie + plunger mutes to get close to the different vowels of the words. It should be “talking brass”, like in some jazz music. Dynamics are an essential part of the playing of this section and should be improvised.
Quartertone sharps
Quartertone sharps
sharps
Quartertone sharps
Quartertone sharps
Quartertone sharps
Quartertone sharps
Quartertone flats
Quartertone flats
flats
Quartertone flats
Quartertone flats
Quartertone flats
Alto Flute (doubling Piccolo Flute, Piccolo Mouth Piece, and Slide Whistle) Clarinet in Bb (doubling Bass Clarinet in Bb, Clarinet in Eb Mouth Piece, and Slide Whistle) Bass Trombone
2 Percussion players
1.
Metal Wind Chimes, Bali Gongs in D, B, Bb, A and F#, Mokusho, Sizzle Cym., Snare Drum, Bass Drum (shared), Slide Whistle
2.
Bass Drum (shared)1 Sizzle Cym. Tambourine Clash Cym. Slide Whistle
Solo Trumpet (written in C – the choice of instrument(s) is up to the musician) Solo Trombone
Female Voice (amplified)
2 Violins Viola Violoncello Doublebass
Sound technician (who reads music and can follow a complex score), operating and controlling the amplification levels of the voice throughout the piece. Amplification must be of the highest possible quality.
1 The bass drum must be a supreme quality orchestral bass drum without any side noises. Tone quality low and warm.
Die Trennung fand in Bochum statt.
Die Trennung fand in Kopenhagen statt.
Die Trennung fand in Aarhus statt.
Thomas Agerfeldt Olesen 2024/25
Die Trennung fand in Köln statt.
"friendly" fp come sopra sempre p
das Du Dich in fünf zehn Jahr en an schließ
senza vibr. "friendly" fp
senza vibr. "friendly" fp
senza vibr. "friendly" fp
senza vibr. "friendly" fp
senza sord.
Amplification: make sure to match the loudness of the trumpet. The trumpet must not overpower the vocalist! F
Flt. & Clt.: q= 78 / The others: q= 52
molto espr., but very limited vibrato, please.
Tacet when repeating.
w Œ Ich dachte, deine 2 Schwe- stern hätten nichts dagegen bei mir betreut zu werden. Es ist Mittwoch und Du bist bei mir. Sie wollten aber nicht gerne bei
This text in this movement should be as freely spoken as if you were alone.
mir betreut werden, das war offensichtlich, als
die beiden, stinksauer, die Wohnung betraten: man hat sie nicht gefragt, sondern nur gesagt. Nach einer halben Stunde habe
Db.: the duration of these pizz.-notes must match the other strings. You might have to damp them in order to obtain this.