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Axel Borup-Jørgensen Winterelegie (1966-68) for 3 voices and ensemble Dur. 11’

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With support from the Augustinus Foundation, Beckett Foundation, King Christian X Foundation and Barrister of the Supreme Court L. Zeuthen’s Memorial Award Støttet af Augustinusfonden, Beckett-Fonden, Kong Christian den Tiendes Fond og Højesteretssagfører L. Zeuthens Mindelegat

Edition·S publications are supported by the Danish Arts Council Music Committee / Edition·S udgivelser er støttet af Kunstrådets Musikudvalg

Axel Borup-Jørgensen Winterelegie (1966-68) for 3 voices and ensemble Dur. 11’

PROGRAMNOTE

PROGRAMME NOTE

“En lille kommentar:

”A brief comment:

Hölderlins levnedsløb (1770-1843) viser i meget grundmønstret for det romantiske geni. - Blandt ungdomsvennerne er sindssygen den almindeligste sortie fra denne verden. Hos Hölderlin bliver den til et uendelig langstrakt interregnum mellem livet og døden, lange år af stille venten og ensomme monologer.

The life of Hölderlin (1770-1843) in many ways exhibits the basic pattern of the Romantic genius. Among the friends of his youth, insanity is the most common mode of departure from this world. With Hölderlin, it becomes an infinitely extended interregnum between life and death, long years of quiet waiting and solitary monologues.

Det slog mig for nylig at Schuberts “Winterreise” godt kunne være beretningen om Hölderlins vej ind i sindssygen, ja, den kunne næsten have været hans rejsedagbog, da han i 1802 nærmest flugtagtigt begiver sig på sin sidste rejse fra Bordeaux over Haute-Auvergne til Stuttgart. Derefter: næsten 40 års vandring mod den endelige befrielse, men en vandring uden geografisk mål, kun strakt ud mellem fire vægge i et tårn i Tübingen.

It struck me recently that Schubert’s Winterreise might well be the story of Hölderlin’s journey into insanity; indeed, it could almost have been his travel journal when, as if in flight, he set off on his last journey in 1802 from Bordeaux over the Haute-Auvergne to Stuttgart. And then - almost 40 years of wandering towards the final release, but a wandering without a geographical goal all within the space of four walls in a tower in Tübingen.

“Winterelegie” er bygget dels over Brueghels dystre vinterbillede “Die Heimkehr der Jäger”, dels over anden strofe af Hölderlins digt “Hälfte des Lebens”:

Winterelegie is based partly on Brueghel’s gloomy winter picture The Return of the Hunters, partly on the second stanza of Hölderlin’s poem Hälfte des Lebens:

Weh mir, wo nehm ich, wenn Es Winter ist, die Blumen, und wo Den Sonnenschein, Und Schatten der Erde? Die Mauern stehn Sprachlos und kalt, im Winde Klirren die Fahnen.

(Som motto for den langstrakte coda står et af de mærkeligt objektive digte fra sindssygens sene år:

(One of the strangely objective poems of the late years of insanity stands as a motto for the extended coda:

“Der Winter”

Das Feld ist kahl, auf ferner Höhe glänzet Der blaue Himmel nur, und wie die Pfade gehen, Erscheinet die Natur, als Einerlei, das Wehen Ist frisch, und die Natur von Helle nur umkränzet.)

Axel Borup-Jørgensen”

[Ovenstående er hentet fra den programnote, som komponisten skrev til uropførelsen af Winterelegie den 8. oktober 1972.]

[The above is taken from the programme note the composer wrote for the first performance of Winterelegie on October 8th 1972.]

NOTES TO THE PERFORMERS

Woodwinds:

Pizz. almost without resonance, the string not quite fixed to the fingerboard.

= Flatterzunge

/IIIII/

Percussion:

rlr:;

= bongos (2 sizes)

Vocal parts: o

= tom torns (2 sizes)

= bocca chiusa

= poco aperto

= molto vibrato

I'V'VV\.#

l....,.. ..,.l

= optically notate d speech (o r whispering)

rhythmically notated speech (or whispering)

Strings:

_ pizz. almost without resonance, the string - not quite fixed to the fingerboard.

1/11/11

= tremolo

= con sordino

'; >

= fingertip

41 =

..R'f l

= tenordrum

= piatto sospeso

rp sptfNIIIPS

= sidedrum

= senza sordino

= nail

knuckle on side of instrument

knuckle on top of instrument

= knuckle on buttom of instrument

tf!Â§

= drumming with fingertips on top

= tam-tam {gong)

_ six empty {wine) bettles ordered - from darker to fighter timbre

= marimba

vibraphone

nail

fingertip

= knuckle

!!!l= hard

---t

soft mallet .......Ă¸e-

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(by pizz.) with two fingers

...::._ --L

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mallet or finger remains on drum-

= skin to dampen resonance (secco)

Piano:

felt-covered metal bars across strings, damping { short 14 cm resonance. Taken away by Ord. long: 27,5 cm

= the

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...._.

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high register

(playing directly on strings)

= X indicates which of the areas within the iron frame is to be used low register

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Also a part of an area can be used:

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descending

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glissando (directly on strings)

= nail

= knuckle

with 4 nails

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_ the keys silently - pressed down

\..------------~-------

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pedal pressed quite down

volume between

and

.PP

= unstressed attack

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diminuendo al niente optically notated rhythm

= bracketed notes show ex-

= tend of the foliowing attack

::::j:::

= players without simultanous attack

.!:::::::2.

= staccatissimo

simultanous attacks are not needed

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