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Movements 1, 3 and 5 are on 4 notes: C, D flat, F sharp and G, and their octave transpositions.\nMovements 2 and 4 use a 12-tone note row.",[],{"_key":499,"_type":500,"alt":501,"audioSize":4,"audioURL":4,"caption":502,"fileURL":4,"image":503,"markDefs":4},"b5870ce26f28","img","Suite for Solo Trombone","Suite for Solo Trombone p1 – movements 1 and 2",{"caption":4,"id":504,"meta":505,"parentID":4,"parentType":510,"url":511},"0128f86c8997dd95bbfedebd8b15d6035b9f708d",{"_type":506,"aspectRatio":507,"height":508,"width":509},"sanity.imageDimensions",0.727428326914848,2337,1700,"works","https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F0128f86c8997dd95bbfedebd8b15d6035b9f708d-1700x2337.jpg",{"_key":513,"_type":9,"audioSize":4,"audioURL":4,"children":514,"fileURL":4,"image":4,"markDefs":523,"style":18},"e8fcc7897e54",[515,519],{"_key":516,"_type":13,"marks":517,"text":518},"5314b7341e872",[],"See also notes on this work in ",{"_key":520,"_type":13,"marks":521,"text":100},"6c71366f5dfc",[522],"da285a817f01",[524],{"_key":522,"_type":321,"reference":525,"slug":527,"type":528},{"_ref":526,"_type":324},"da6242a9-ed29-4bdd-9592-6b18e8b031bc","music-with-just-a-few-notes","themes",[530],{"caption":502,"id":504,"meta":531,"parentID":487,"parentType":510,"url":511},{"_type":506,"aspectRatio":507,"height":508,"width":509},"Five movements. Movements 1, 3 and 5 are on 4 notes: C, D flat, F sharp and G, and their octave transpositions.\nMovements 2 and 4 use a 12-tone note row.\n\nSee also notes on this work in Themes",{"_type":375,"current":534},"suite-for-solo-trombone",{"date":371,"instrumentation":536},"Tenor Trombone ",3,{"_id":539,"chapters":540,"content":541,"images":565,"performances":566,"rawPoem":4,"rawText":571,"slug":572,"title":574,"workInfo":575,"workNumber":578},"aff73f35-f214-4eea-ba32-00ce9fba73ad",[],[542,550,557],{"_key":543,"_type":9,"audioSize":4,"audioURL":4,"children":544,"fileURL":4,"image":4,"markDefs":549,"style":18},"815b63809dd4",[545],{"_key":546,"_type":13,"marks":547,"text":548},"318c52e867d8",[],"Performed at Cambridge Music School January 1963, Conductor Larry Pruden.",[],{"_key":551,"_type":9,"audioSize":4,"audioURL":4,"children":552,"fileURL":4,"image":4,"markDefs":556,"style":18},"0a8e229f7d71",[553],{"_key":554,"_type":13,"marks":555,"text":25},"dd5644775d3c0",[],[],{"_key":558,"_type":9,"audioSize":4,"audioURL":4,"children":559,"fileURL":4,"image":4,"markDefs":564,"style":18},"46ac8f097e6f",[560],{"_key":561,"_type":13,"marks":562,"text":563},"e7aa3816a6c60",[],"Score and parts lost.",[],[],[567],{"_key":568,"_type":366,"date":569,"location":570},"79332d06a5ee","1963-01-01"," Cambridge Music School ","Performed at Cambridge Music School January 1963, Conductor Larry Pruden.\n\n\n\nScore and parts lost.",{"_type":375,"current":573},"othello-overture","Othello Overture",{"date":576,"instrumentation":577},"1962-01-01","double wind, percussion, strings",4,{"_id":580,"chapters":581,"content":582,"images":699,"performances":700,"rawPoem":4,"rawText":705,"slug":706,"title":669,"workInfo":708,"workNumber":713},"5cccacfd-35cf-4645-a3fe-ccdb68dcbadb",[],[583,602,610,618,626,635,651],{"_key":584,"_type":9,"audioSize":4,"audioURL":4,"children":585,"fileURL":4,"image":4,"markDefs":599,"style":18},"64172b776dd5",[586,590,595],{"_key":587,"_type":13,"marks":588,"text":589},"6f88ee47dc83",[],"Written after my stage III music year, in which one of the set works was the ",{"_key":591,"_type":13,"marks":592,"text":594},"e1c32314871b",[593],"ed867739ae33","Berg Violin Concerto",{"_key":596,"_type":13,"marks":597,"text":598},"81e24a8b1e85",[],". My work also uses the 12-tone note row (freely), but the general mood of the piece is quite different. The five movements use arch form (A B C D C B A), and the same material is used in a different order in the odd numbered movements. Similarly for the even numbered movements.",[600],{"_key":593,"_type":316,"href":601},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FViolin_Concerto_(Berg)",{"_key":603,"_type":9,"audioSize":4,"audioURL":4,"children":604,"fileURL":4,"image":4,"markDefs":609,"style":18},"3064fd16b62d",[605],{"_key":606,"_type":13,"marks":607,"text":608},"8e79453297990",[],"First performed at Cambridge Music School Jan. 1964 with Marjorie Dumbleton (now Sutton) as soloist and conductor Larry Pruden.",[],{"_key":611,"_type":413,"audioSize":4,"audioURL":4,"description":612,"file":613,"fileURL":616,"filename":617,"image":4,"markDefs":4},"ae5d8fe59437","Violin Concerto Score (revised 2016)",{"_type":416,"asset":614},{"_ref":615,"_type":324},"file-167643e2ca753e75676803d46a7791f6ed0bccce-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F167643e2ca753e75676803d46a7791f6ed0bccce.pdf","Violin Concerto Score.pdf",{"_key":619,"_type":9,"audioSize":4,"audioURL":4,"children":620,"fileURL":4,"image":4,"markDefs":625,"style":18},"586e4b679ca5",[621],{"_key":622,"_type":13,"marks":623,"text":624},"2839b523bab70",[],"Extract from my reminiscences of Florence, where I stayed in 1966 with Helena Monti, an elderly friend of my mother's:",[],{"_key":627,"_type":9,"audioSize":4,"audioURL":4,"children":628,"fileURL":4,"image":4,"markDefs":633,"style":634},"95300d5c5bdf",[629],{"_key":630,"_type":13,"marks":631,"text":632},"1e4cb21977fd0",[],"She went on to say that she knew Luigi Dallapiccola and if I wished she would accompany me to visit him and I could show him an example of my work. I was in awe! The thought of visiting the great pupil of Arnold Schönberg and one of Italy's most prestigious composers was rather frightening. What would I show him? And what would I ask him? I wasn't prepared for such a meeting so soon.",[],"blockquote",{"_key":636,"_type":9,"audioSize":4,"audioURL":4,"children":637,"fileURL":4,"image":4,"markDefs":650,"style":634},"20a5d55d773b",[638,642,646],{"_key":639,"_type":13,"marks":640,"text":641},"e7a0048a87820",[],"The next morning we set out on foot, Signorina Monti with her tiny hand holding on to my arm. The impression I had had that she knew everybody was confirmed as we walked along, time and time again she was greeted by people on the street or in shops near her home. She said: ",{"_key":643,"_type":13,"marks":644,"text":645},"e7a0048a87821",[73],"Mi vogliano bene",{"_key":647,"_type":13,"marks":648,"text":649},"e7a0048a87822",[]," (They like me). As we passed a flower shop she explained to me that it would be appropriate if I were to buy her a flower for her button hole, which of course I was delighted to do but dreadfully ashamed that the thought of doing so had not occurred to me.",[],{"_key":652,"_type":9,"audioSize":4,"audioURL":4,"children":653,"fileURL":4,"image":4,"markDefs":698,"style":634},"e0ca2e0d5710",[654,658,662,666,670,674,678,682,686,690,694],{"_key":655,"_type":13,"marks":656,"text":657},"9dc1a754ebd00",[],"Finally we arrived at our destination—where it was I don't remember, I assume it was the local conservatory. Dallapiccola was a little man with short grey hair and a friendly look. Throughout the whole time I had been with Signorina Monti I had spoken Italian—she knew that it was more important for me to practice my Italian than for her to improve her English. But I had barely managed to stutter to Dallapiccola ",{"_key":659,"_type":13,"marks":660,"text":661},"7bebb07c27a4",[337],"piacere …",{"_key":663,"_type":13,"marks":664,"text":665},"beedf212474b",[],", when he burst into English and so we stayed in that language. He looked at the score I had brought with me, my ",{"_key":667,"_type":13,"marks":668,"text":669},"6f0c30f51941",[337],"Concerto for Violin and Orchestra",{"_key":671,"_type":13,"marks":672,"text":673},"e9ddb05c5033",[]," which had been played at the Cambridge Music School in New Zealand a year before. He said nothing for a couple of minutes and then he closed the score and turned to me and said: ",{"_key":675,"_type":13,"marks":676,"text":677},"a26e823f20f0",[337],"In Ibsen's famous play, ",{"_key":679,"_type":13,"marks":680,"text":681},"82b81a2485fb",[337,15],"Peer Gynt",{"_key":683,"_type":13,"marks":684,"text":685},"0f6bd0e261d4",[337]," makes a journey to Egypt to ask advice from the Sphinx. Its advice to him was: Know yourself!",{"_key":687,"_type":13,"marks":688,"text":689},"a35c7edff777",[]," and the same advice he was now offering me. I was speechless. Like any young artist I had been doing the only thing possible, studying the most recent models I had. In my case it had been Alban Berg's",{"_key":691,"_type":13,"marks":692,"text":693},"51d093aa44f9",[73]," Violin Concerto",{"_key":695,"_type":13,"marks":696,"text":697},"9dc1a754ebd04",[],", although I doubt whether that was possible to read from my score. I can only assume that Dallapiccola had seen that the score didn't show him anything he hadn't seen before, and he responded with a piece of advice which he had given many times before. Whatever the reason, the advice was by no means bad, and whether or not I have achieved this self knowledge I will probably never know, but I have never forgotten the man who gave it. We parted cordially and he and Helena Monti talked briefly together in Italian, but I was in such a numb state that I couldn't follow what they said.",[],[],[701],{"_key":702,"_type":366,"date":483,"location":703,"performers":704},"3de685f8c1c7","Cambridge, New Zealand","Marjorie Dumbleton (now Sutton) violin, conductor Larry Pruden","Written after my stage III music year, in which one of the set works was the Berg Violin Concerto. My work also uses the 12-tone note row (freely), but the general mood of the piece is quite different. The five movements use arch form (A B C D C B A), and the same material is used in a different order in the odd numbered movements. Similarly for the even numbered movements.\n\nFirst performed at Cambridge Music School Jan. 1964 with Marjorie Dumbleton (now Sutton) as soloist and conductor Larry Pruden.\n\nExtract from my reminiscences of Florence, where I stayed in 1966 with Helena Monti, an elderly friend of my mother's:\n\nShe went on to say that she knew Luigi Dallapiccola and if I wished she would accompany me to visit him and I could show him an example of my work. I was in awe! The thought of visiting the great pupil of Arnold Schönberg and one of Italy's most prestigious composers was rather frightening. What would I show him? And what would I ask him? I wasn't prepared for such a meeting so soon.\n\nThe next morning we set out on foot, Signorina Monti with her tiny hand holding on to my arm. The impression I had had that she knew everybody was confirmed as we walked along, time and time again she was greeted by people on the street or in shops near her home. She said: Mi vogliano bene (They like me). As we passed a flower shop she explained to me that it would be appropriate if I were to buy her a flower for her button hole, which of course I was delighted to do but dreadfully ashamed that the thought of doing so had not occurred to me.\n\nFinally we arrived at our destination—where it was I don't remember, I assume it was the local conservatory. Dallapiccola was a little man with short grey hair and a friendly look. Throughout the whole time I had been with Signorina Monti I had spoken Italian—she knew that it was more important for me to practice my Italian than for her to improve her English. But I had barely managed to stutter to Dallapiccola piacere …, when he burst into English and so we stayed in that language. He looked at the score I had brought with me, my Concerto for Violin and Orchestra which had been played at the Cambridge Music School in New Zealand a year before. He said nothing for a couple of minutes and then he closed the score and turned to me and said: In Ibsen's famous play, Peer Gynt makes a journey to Egypt to ask advice from the Sphinx. Its advice to him was: Know yourself! and the same advice he was now offering me. I was speechless. Like any young artist I had been doing the only thing possible, studying the most recent models I had. In my case it had been Alban Berg's Violin Concerto, although I doubt whether that was possible to read from my score. I can only assume that Dallapiccola had seen that the score didn't show him anything he hadn't seen before, and he responded with a piece of advice which he had given many times before. Whatever the reason, the advice was by no means bad, and whether or not I have achieved this self knowledge I will probably never know, but I have never forgotten the man who gave it. We parted cordially and he and Helena Monti talked briefly together in Italian, but I was in such a numb state that I couldn't follow what they said.",{"_type":375,"current":707},"concerto-for-violin-and-orchestra",{"date":569,"instrumentation":709,"length":710,"revisions":711},"Double wind and strings – solo violin",20,[483,712],"2016-01-01",5,{"_id":715,"chapters":716,"content":717,"images":833,"performances":4,"rawPoem":834,"rawText":835,"slug":836,"title":838,"workInfo":839,"workNumber":841},"ff7cb71c-c0b4-4ae1-9242-c935e16a3b05",[],[718,726,752,814],{"_key":719,"_type":9,"audioSize":4,"audioURL":4,"children":720,"fileURL":4,"image":4,"markDefs":725,"style":18},"bbdbc3614ef9",[721],{"_key":722,"_type":13,"marks":723,"text":724},"b98994a74869",[],"Score lost.",[],{"_key":727,"_type":9,"audioSize":4,"audioURL":4,"children":728,"fileURL":4,"image":4,"markDefs":749,"style":18},"e6e2ab9a466d",[729,733,736,740,745],{"_key":730,"_type":13,"marks":731,"text":732},"d4dfe229dbae",[],"The year following the performance of ",{"_key":734,"_type":13,"marks":735,"text":377},"e62684ff8e0d",[73],{"_key":737,"_type":13,"marks":738,"text":739},"b8cb30261ece",[],", and at ",{"_key":741,"_type":13,"marks":742,"text":744},"ebf418d64290",[743],"79ffd6db6aa1","Nelson Wattie’s",{"_key":746,"_type":13,"marks":747,"text":748},"149e8faf6f7b",[]," suggestion, I made a setting of Dylan Thomas’s famous poem:",[750],{"_key":743,"_type":321,"reference":751,"slug":325,"type":326},{"_ref":323,"_type":324},{"_key":753,"_type":754,"audioSize":4,"audioURL":4,"author":755,"fileURL":4,"image":4,"markDefs":4,"poem":756,"title":805},"4cdea54f5a2b","poem","Dylan Thomas",[757,765,773,781,789,797],{"_key":758,"_type":9,"children":759,"markDefs":764,"style":18},"d70c891abb70",[760],{"_key":761,"_type":13,"marks":762,"text":763},"e0de147ec0eb0",[],"Do not go gentle into that good night,\nOld age should burn and rave at close of day; \nRage, rage against the dying of the light.",[],{"_key":766,"_type":9,"children":767,"markDefs":772,"style":18},"4fdc28670b04",[768],{"_key":769,"_type":13,"marks":770,"text":771},"bd15157d10c20",[],"Though wise men at their end know dark is right, \nBecause their words had forked no lightning they \nDo not go gentle into that good night.",[],{"_key":774,"_type":9,"children":775,"markDefs":780,"style":18},"0efa37ee1a26",[776],{"_key":777,"_type":13,"marks":778,"text":779},"8560e3aec4110",[],"Good men, the last wave by, crying how bright \nTheir frail deeds might have danced in a green bay, \nRage, rage against the dying of the light.",[],{"_key":782,"_type":9,"children":783,"markDefs":788,"style":18},"e2c01749f45e",[784],{"_key":785,"_type":13,"marks":786,"text":787},"72459dbf6dc60",[],"Wild men who caught and sang the sun in flight, \nAnd learn, too late, they grieved it on its way, \nDo not go gentle into that good night.",[],{"_key":790,"_type":9,"children":791,"markDefs":796,"style":18},"7257614d813b",[792],{"_key":793,"_type":13,"marks":794,"text":795},"3c75bec03bcb0",[],"Grave men, near death, who see with blinding sight \nBlind eyes could blaze like meteors and be gay, \nRage, rage against the dying of the light.",[],{"_key":798,"_type":9,"children":799,"markDefs":804,"style":18},"f65609a33102",[800],{"_key":801,"_type":13,"marks":802,"text":803},"67e487ffeb440",[],"And you, my father, there on the sad height, \nCurse, bless, me now with your fierce tears, I pray. \nDo not go gentle into that good night.\nRage, rage against the dying of the light.",[],[806],{"_key":807,"_type":9,"children":808,"markDefs":813,"style":18},"ad4a3ec51895",[809],{"_key":810,"_type":13,"marks":811,"text":812},"709f8f142cc4",[15,73],"Do not go gentle into that good night",[],{"_key":815,"_type":9,"audioSize":4,"audioURL":4,"children":816,"fileURL":4,"image":4,"markDefs":830,"style":18},"590272d1a2e6",[817,821,826],{"_key":818,"_type":13,"marks":819,"text":820},"03beecac561e",[],"It was for baritone and a wind and percussion ensemble and it was in strict 12 tone technique with no support from the instruments for the poor singer. Worse still I was expected to conduct it. All involved were very good, but the work was very difficult and it was not made any easier having such an inexperienced conductor. The conductor ",{"_key":822,"_type":13,"marks":823,"text":825},"76351a43799e",[824],"263e5b7e7a5b","James Robertson",{"_key":827,"_type":13,"marks":828,"text":829},"b4fdb0713417",[]," arrived unexpectedly at the school and was present at the performance. At the end he jumped to his feet and called out with his very British accent: “Could we hear that again?” We were rather stunned but of course we obliged and it seemed to me that the second performance sounded totally different from the first. What James Robertson thought we sadly (or perhaps fortunately) never heard.",[831],{"_key":824,"_type":316,"href":832},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FJames_Robertson_(conductor)",[],"Do not go gentle into that good night,\nOld age should burn and rave at close of day; \nRage, rage against the dying of the light.\n\nThough wise men at their end know dark is right, \nBecause their words had forked no lightning they \nDo not go gentle into that good night.\n\nGood men, the last wave by, crying how bright \nTheir frail deeds might have danced in a green bay, \nRage, rage against the dying of the light.\n\nWild men who caught and sang the sun in flight, \nAnd learn, too late, they grieved it on its way, \nDo not go gentle into that good night.\n\nGrave men, near death, who see with blinding sight \nBlind eyes could blaze like meteors and be gay, \nRage, rage against the dying of the light.\n\nAnd you, my father, there on the sad height, \nCurse, bless, me now with your fierce tears, I pray. \nDo not go gentle into that good night.\nRage, rage against the dying of the light.","Score lost.\n\nThe year following the performance of Reading Gaol, and at Nelson Wattie’s suggestion, I made a setting of Dylan Thomas’s famous poem:\n\nIt was for baritone and a wind and percussion ensemble and it was in strict 12 tone technique with no support from the instruments for the poor singer. Worse still I was expected to conduct it. All involved were very good, but the work was very difficult and it was not made any easier having such an inexperienced conductor. The conductor James Robertson arrived unexpectedly at the school and was present at the performance. At the end he jumped to his feet and called out with his very British accent: “Could we hear that again?” We were rather stunned but of course we obliged and it seemed to me that the second performance sounded totally different from the first. What James Robertson thought we sadly (or perhaps fortunately) never heard.",{"_type":375,"current":837},"do-not-go-gentle-into-that-good-night","Do Not Go Gentle into that Good Night",{"date":371,"instrumentation":840,"text":755},"baritone and ensemble",6,{"_id":843,"chapters":844,"content":845,"images":872,"performances":873,"rawPoem":4,"rawText":877,"slug":878,"title":880,"workInfo":881,"workNumber":885},"ab5f293d-ab8d-4a30-90d5-da87572cc292",[],[846,865],{"_key":847,"_type":9,"audioSize":4,"audioURL":4,"children":848,"fileURL":4,"image":4,"markDefs":862,"style":18},"2f13536fa318",[849,853,858],{"_key":850,"_type":13,"marks":851,"text":852},"3fd616544ad1",[],"First version of this work inspired by ",{"_key":854,"_type":13,"marks":855,"text":857},"0e33d6d8568c",[856],"80356dd50136","T. S. Eliot's poem",{"_key":859,"_type":13,"marks":860,"text":861},"b24a579b0647",[]," was for an instrumental ensemble and won a prize from the Canterbury University Music Society. The work was never performed and is now lost. The present version, for two pianos, was arranged from the earlier one and was performed by Brian Barrett and myself for a union of Graduates house concert.",[863],{"_key":856,"_type":316,"href":864},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FThe_Hollow_Men",{"_key":866,"_type":413,"audioSize":4,"audioURL":4,"description":867,"file":868,"fileURL":871,"image":4,"markDefs":4},"03af2317bbcd","Impressions of the Hollow Men, Score",{"_type":416,"asset":869},{"_ref":870,"_type":324},"file-b7263d8f62b8bb6dc4478e007ec53b2c838ef63c-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fb7263d8f62b8bb6dc4478e007ec53b2c838ef63c.pdf",[],[874],{"_key":875,"_type":366,"date":483,"location":876},"39d63ceeaa9a","Christhurch, New Zealand","First version of this work inspired by T. S. Eliot's poem was for an instrumental ensemble and won a prize from the Canterbury University Music Society. The work was never performed and is now lost. The present version, for two pianos, was arranged from the earlier one and was performed by Brian Barrett and myself for a union of Graduates house concert.",{"_type":375,"current":879},"impressions-of-the-hollow-men","Impressions of the Hollow Men",{"date":483,"instrumentation":882,"length":883,"text":884},"2 pianos",8,"T. S. Eliot",7,{"_id":887,"chapters":888,"content":889,"images":1022,"performances":4,"rawPoem":4,"rawText":1029,"slug":1030,"title":1032,"workInfo":1033,"workNumber":883},"affb7ca7-b080-4de9-be7c-41b38ff384dc",[],[890,898,906,914,922,929,939,947,969,976,986,1005,1012],{"_key":891,"_type":9,"audioSize":4,"audioURL":4,"children":892,"fileURL":4,"image":4,"markDefs":897,"style":18},"1faf5b49f6e3",[893],{"_key":894,"_type":13,"marks":895,"text":896},"36a8fd6573d6",[],"There was already a Song Book before 1969 but Rod Harries and I decided it needed to be updated:",[],{"_key":899,"_type":9,"audioSize":4,"audioURL":4,"children":900,"fileURL":4,"image":4,"markDefs":905,"style":634},"7c193e2591b8",[901],{"_key":902,"_type":13,"marks":903,"text":904},"b3e45c0f67d00",[],"Soon after we created the Physics Dept Choir and introduced a more ambitious style of music to the school assemblies it became apparent that we really needed a more ambitious version of the Linwood High School Song Book, too. I cannot recall exactly how it came about, but I can recall sitting at the table in Kit’s dining\u002Fmusic room with copies of the LHS Song Book, and my full music version hymnal. We proceeded to disembowel the hymnal, reassembling selected parts of it into what was to become the Linwood High School Choir Book. To this Kit added in autograph a number of rounds and other songs, as well as descants to many of the hymns.",[],{"_key":907,"_type":9,"audioSize":4,"audioURL":4,"children":908,"fileURL":4,"image":4,"markDefs":913,"style":634},"8f9bc177ce2b",[909],{"_key":910,"_type":13,"marks":911,"text":912},"5de68ebda3e00",[],"He got the assembled results printed as an A5 booklet. It was clear that his booklet would not last very long without a cover. I knew that the school had large numbers of a General Science textbook which was not only going out of use, but also had good stout covers somewhat larger then the Choir Book. Lester Davison, who, as always, had the required practical skills, offered to conduct a mass bookbinding class. So we assembled the necessary equipment and a team of choir members and set about removing covers from the General Science texts, cutting them down to size, and fitting them to the Choir Books. It was quite amusing to see the choir singing from these books which still carried the title “General Science”.",[],{"_key":915,"_type":9,"audioSize":4,"audioURL":4,"children":916,"fileURL":4,"image":4,"markDefs":921,"style":634},"28c406c1c228",[917],{"_key":918,"_type":13,"marks":919,"text":920},"2f53aaec854f0",[],"Later Kit organised a second edition of the Choir Book with card covers.",[],{"_key":923,"_type":9,"audioSize":4,"audioURL":4,"children":924,"fileURL":4,"image":4,"markDefs":928,"style":18},"35efcdeb9032",[925],{"_key":926,"_type":13,"marks":927,"text":25},"e17b54e0c8e7",[],[],{"_key":930,"_type":500,"audioSize":4,"audioURL":4,"caption":931,"fileURL":4,"image":932,"markDefs":4},"58a4567a2fae","Last index page and page 1 of my \"well used\" Linwood High School Song Book. Rounds were show as (R). The Descant can be seen written in by hand on the hymn page.",{"caption":4,"id":933,"meta":934,"parentID":4,"parentType":510,"url":938},"01cc52817ee100167d164cee58809ecbc8c845a7",{"_type":506,"aspectRatio":935,"height":936,"width":937},1.288860918816866,1589,2048,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F01cc52817ee100167d164cee58809ecbc8c845a7-2048x1589.jpg",{"_key":940,"_type":9,"audioSize":4,"audioURL":4,"children":941,"fileURL":4,"image":4,"markDefs":946,"style":18},"773a75a4d5fd",[942],{"_key":943,"_type":13,"marks":944,"text":945},"cb1675b7fafa",[],"The main purpose of this choir book was to involve choir orchestra and band in the morning assemblies. While the choir led the singing for the rest of the school, the orchestra and band took it in turns to accompany them. The band was in the happy situation of having most of the hymns already arranged for it.",[],{"_key":948,"_type":9,"audioSize":4,"audioURL":4,"children":949,"fileURL":4,"image":4,"markDefs":963,"style":18},"188854bd488e",[950,954,959],{"_key":951,"_type":13,"marks":952,"text":953},"694f40483f03",[],"One of the biggest jobs for me after the completion of the Choir Book was to arrange as many of the hymns as possible for the orchestra. This was before the time of copying machines and so I had to write all parts by a hand and often several examples of the same part. It was also important to have one instrument able to play the ",{"_key":955,"_type":13,"marks":956,"text":958},"73e0968b2ab5",[957],"a33fa4436ff1","descant",{"_key":960,"_type":13,"marks":961,"text":962},"f883a6ad05c2",[],", which was often sung in the last verse, not because it needed doubling, but so as to teach it to the sopranos in the short practice before the assembly. The sopranos knew most of the melodies of the hymns by heart and so used only the \"old\" song book, a pocket sized collection of texts. For this reason I wrote a special tiny booklet for the sopranos which would fit in their pockets alongside the song book:",[964],{"_key":957,"_type":321,"reference":965,"slug":967,"type":968},{"_ref":966,"_type":324},"28c1dc49-27c2-4a04-a7ad-d265b0380f28","rounds-from-linwood-high-school-song-book","places",{"_key":970,"_type":9,"audioSize":4,"audioURL":4,"children":971,"fileURL":4,"image":4,"markDefs":975,"style":18},"185720652efb",[972],{"_key":973,"_type":13,"marks":974,"text":25},"c6fd9028a7dc",[],[],{"_key":977,"_type":500,"audioSize":4,"audioURL":4,"caption":978,"fileURL":4,"image":979,"markDefs":4},"2a948c752a35","Two pages from the tiny Soprano Choir Book. The descants are shown with thicker note heads. One sees Brigitte's influence with the many German rounds.",{"caption":4,"id":980,"meta":981,"parentID":4,"parentType":510,"url":985},"2035196584bb3de9920e33b5b8d162ed9d36b256",{"_type":506,"aspectRatio":982,"height":983,"width":984},0.7023050514958313,2039,1432,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F2035196584bb3de9920e33b5b8d162ed9d36b256-1432x2039.jpg",{"_key":987,"_type":9,"audioSize":4,"audioURL":4,"children":988,"fileURL":4,"image":4,"markDefs":1002,"style":18},"027b99e6454f",[989,993,998],{"_key":990,"_type":13,"marks":991,"text":992},"eaad00945876",[],"While making the Choir book, we filled in all \"empty\" places with ",{"_key":994,"_type":13,"marks":995,"text":997},"071c2b8aedbd",[996],"158431f49a9d","rounds",{"_key":999,"_type":13,"marks":1000,"text":1001},"b4dbe3dc0276",[]," (R) and as maths teachers we were not averse to singing them when we needed a break from difficult calculations. One favourite in this context was:",[1003],{"_key":996,"_type":321,"reference":1004,"slug":967,"type":968},{"_ref":966,"_type":324},{"_key":1006,"_type":9,"audioSize":4,"audioURL":4,"children":1007,"fileURL":4,"image":4,"markDefs":1011,"style":18},"6e5ac98d1401",[1008],{"_key":1009,"_type":13,"marks":1010,"text":25},"03e8a72e4df0",[],[],{"_key":1013,"_type":500,"audioSize":4,"audioURL":4,"caption":1014,"fileURL":4,"image":1015,"markDefs":4},"71eb5471f440","See those poor fellows…",{"caption":4,"id":1016,"meta":1017,"parentID":4,"parentType":510,"url":1021},"7dc0163f43d11ce049bc2f2deb41b24fa844350a",{"_type":506,"aspectRatio":1018,"height":1019,"width":1020},2.545098039215686,255,649,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F7dc0163f43d11ce049bc2f2deb41b24fa844350a-649x255.jpg",[1023,1025,1027],{"caption":931,"id":933,"meta":1024,"parentID":887,"parentType":510,"url":938},{"_type":506,"aspectRatio":935,"height":936,"width":937},{"caption":978,"id":980,"meta":1026,"parentID":887,"parentType":510,"url":985},{"_type":506,"aspectRatio":982,"height":983,"width":984},{"caption":1014,"id":1016,"meta":1028,"parentID":887,"parentType":510,"url":1021},{"_type":506,"aspectRatio":1018,"height":1019,"width":1020},"There was already a Song Book before 1969 but Rod Harries and I decided it needed to be updated:\n\nSoon after we created the Physics Dept Choir and introduced a more ambitious style of music to the school assemblies it became apparent that we really needed a more ambitious version of the Linwood High School Song Book, too. I cannot recall exactly how it came about, but I can recall sitting at the table in Kit’s dining\u002Fmusic room with copies of the LHS Song Book, and my full music version hymnal. We proceeded to disembowel the hymnal, reassembling selected parts of it into what was to become the Linwood High School Choir Book. To this Kit added in autograph a number of rounds and other songs, as well as descants to many of the hymns.\n\nHe got the assembled results printed as an A5 booklet. It was clear that his booklet would not last very long without a cover. I knew that the school had large numbers of a General Science textbook which was not only going out of use, but also had good stout covers somewhat larger then the Choir Book. Lester Davison, who, as always, had the required practical skills, offered to conduct a mass bookbinding class. So we assembled the necessary equipment and a team of choir members and set about removing covers from the General Science texts, cutting them down to size, and fitting them to the Choir Books. It was quite amusing to see the choir singing from these books which still carried the title “General Science”.\n\nLater Kit organised a second edition of the Choir Book with card covers.\n\n\n\nThe main purpose of this choir book was to involve choir orchestra and band in the morning assemblies. While the choir led the singing for the rest of the school, the orchestra and band took it in turns to accompany them. The band was in the happy situation of having most of the hymns already arranged for it.\n\nOne of the biggest jobs for me after the completion of the Choir Book was to arrange as many of the hymns as possible for the orchestra. This was before the time of copying machines and so I had to write all parts by a hand and often several examples of the same part. It was also important to have one instrument able to play the descant, which was often sung in the last verse, not because it needed doubling, but so as to teach it to the sopranos in the short practice before the assembly. The sopranos knew most of the melodies of the hymns by heart and so used only the \"old\" song book, a pocket sized collection of texts. For this reason I wrote a special tiny booklet for the sopranos which would fit in their pockets alongside the song book:\n\n\n\nWhile making the Choir book, we filled in all \"empty\" places with rounds (R) and as maths teachers we were not averse to singing them when we needed a break from difficult calculations. One favourite in this context was:\n\n",{"_type":375,"current":1031},"linwood-high-school-choir-book","Linwood High School Choir Book",{"commissioned":1034,"date":1035,"endDate":1036,"text":1037},"Linwood High School","1969-01-01","1970-01-01","The English Hymnal, Rounds",{"_id":1039,"chapters":1040,"content":1041,"images":1277,"performances":1280,"rawPoem":1286,"rawText":1287,"slug":1288,"title":1260,"workInfo":1290,"workNumber":1293},"b45f66f2-0a97-4fbf-aa9a-cfc7e076d67c",[],[1042,1049,1056,1067,1094,1121,1262,1270],{"_key":1043,"_type":9,"audioSize":4,"audioURL":4,"children":1044,"fileURL":4,"image":4,"markDefs":1048,"style":18},"621fcca1856a",[1045],{"_key":1046,"_type":13,"marks":1047,"text":25},"bb744f0b7eb7",[],[],{"_key":1050,"_type":9,"audioSize":4,"audioURL":4,"children":1051,"fileURL":4,"image":4,"markDefs":1055,"style":18},"75b875bddd68",[1052],{"_key":1053,"_type":13,"marks":1054,"text":25},"a12018d7efb3",[],[],{"_key":1057,"_type":500,"audioSize":4,"audioURL":4,"fileURL":4,"hideCaption":1058,"image":1059,"imageSlug":1065,"markDefs":4},"f88fa08e879a",true,{"caption":4,"id":1060,"meta":1061,"parentID":4,"parentType":510,"url":273},"53de85e41a6a49fb490400f03f761fa7b6aa9f28",{"_type":506,"aspectRatio":1062,"height":1063,"width":1064},0.7077051926298158,1194,845,{"_type":375,"current":1066},"kuza-nama-first-page",{"_key":1068,"_type":9,"audioSize":4,"audioURL":4,"children":1069,"fileURL":4,"image":4,"markDefs":1091,"style":18},"2c001188bab0",[1070,1074,1078,1082,1087],{"_key":1071,"_type":13,"marks":1072,"text":1073},"1048cc250230",[],"Setting of nine verses (",{"_key":1075,"_type":13,"marks":1076,"text":1077},"06503a1d6da0",[73],"The Book of Pots",{"_key":1079,"_type":13,"marks":1080,"text":1081},"f12b3b8fb299",[],") of the ",{"_key":1083,"_type":13,"marks":1084,"text":1086},"34a66ad8f614",[1085],"9b39698cc633","Rubáiyát of Omar Khayyám",{"_key":1088,"_type":13,"marks":1089,"text":1090},"59cfc851d5b0",[]," for baritone and piano. Presented as an exercise for B.Mus.",[1092],{"_key":1085,"_type":316,"href":1093},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FRubaiyat_of_Omar_Khayyam",{"_key":1095,"_type":9,"audioSize":4,"audioURL":4,"children":1096,"fileURL":4,"image":4,"markDefs":1118,"style":18},"e87d1dc41a04",[1097,1101,1106,1110,1114],{"_key":1098,"_type":13,"marks":1099,"text":1100},"7243b54b9bd00",[],"I still wonder at the audacity of ",{"_key":1102,"_type":13,"marks":1103,"text":1105},"0531bec9bb99",[1104],"f53c6ed4cc0c","Omar Khayyám",{"_key":1107,"_type":13,"marks":1108,"text":1109},"ead6a7936b26",[]," to compare God with a potter, and one who made mistakes! And to ask “Did God create us or we him?\": ",{"_key":1111,"_type":13,"marks":1112,"text":1113},"7243b54b9bd01",[73],"Who is the Potter, pray, and who the Pot?",{"_key":1115,"_type":13,"marks":1116,"text":1117},"7243b54b9bd02",[]," But most of all I love his love of life – and wine!",[1119],{"_key":1104,"_type":316,"href":1120},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FOmar_Khayyam",{"_key":1122,"_type":754,"audioSize":4,"audioURL":4,"author":1123,"fileURL":4,"image":4,"markDefs":4,"poem":1124,"title":1253},"d5eb5783477c","Omar Khayyám - Edward FitzGerald Rubáiyát of Omar Khayyám, 1st Edition, verses 59 to 67",[1125,1133,1140,1148,1155,1163,1170,1178,1185,1193,1200,1208,1215,1223,1230,1238,1245],{"_key":1126,"_type":9,"children":1127,"markDefs":1132,"style":18},"26b7d719b2a6",[1128],{"_key":1129,"_type":13,"marks":1130,"text":1131},"46f9786c1a93",[],"Listen again. One evening at the Close\nOf Ramazan, ere the better Moon arose,\nIn that old Potter's Shop I stood alone\nWith the clay Population round in Rows.",[],{"_key":1134,"_type":9,"children":1135,"markDefs":1139,"style":18},"c53156493d77",[1136],{"_key":1137,"_type":13,"marks":1138,"text":25},"7ac3e461fdd60",[],[],{"_key":1141,"_type":9,"children":1142,"markDefs":1147,"style":18},"a4d8ce87c5a2",[1143],{"_key":1144,"_type":13,"marks":1145,"text":1146},"b00e44ef68d00",[],"And, strange to tell, among that Earthen Lot\nSome could articulate, while others not:\nAnd suddenly one more impatient cried—\n«Who is the Potter, pray, and who the Pot?»",[],{"_key":1149,"_type":9,"children":1150,"markDefs":1154,"style":18},"bbdd1abd4c74",[1151],{"_key":1152,"_type":13,"marks":1153,"text":25},"f39dc13495070",[],[],{"_key":1156,"_type":9,"children":1157,"markDefs":1162,"style":18},"3dbc3397f8a9",[1158],{"_key":1159,"_type":13,"marks":1160,"text":1161},"3da802505f210",[],"Then said another—«Surely not in vain\nMy substance from the common Earth was ta'en,\nThat he who subtly wrought me into Shape\nShould stamp me back to common Earth again.»",[],{"_key":1164,"_type":9,"children":1165,"markDefs":1169,"style":18},"64e8b729baee",[1166],{"_key":1167,"_type":13,"marks":1168,"text":25},"85994d387b560",[],[],{"_key":1171,"_type":9,"children":1172,"markDefs":1177,"style":18},"821e207ec4bc",[1173],{"_key":1174,"_type":13,"marks":1175,"text":1176},"0f69f48f4eb30",[],"Another said—«Why, ne'er a peevish Boy,\nWould break the Bowl from which he drank in Joy;\nShall He that made the Vessel in pure Love\nAnd Fancy, in an after Rage destroy!»",[],{"_key":1179,"_type":9,"children":1180,"markDefs":1184,"style":18},"acb965febd9e",[1181],{"_key":1182,"_type":13,"marks":1183,"text":25},"569346bdbc810",[],[],{"_key":1186,"_type":9,"children":1187,"markDefs":1192,"style":18},"eaf3abde77c8",[1188],{"_key":1189,"_type":13,"marks":1190,"text":1191},"526713338b5b0",[],"None answer'd this; but after Silence spake\nA vessel of a more ungainly Make:\n«They sneer at me for leaning all awry;\nWhat! did the Hand then of the Potter shake?»",[],{"_key":1194,"_type":9,"children":1195,"markDefs":1199,"style":18},"117a8ae9beeb",[1196],{"_key":1197,"_type":13,"marks":1198,"text":25},"d954f21f27d50",[],[],{"_key":1201,"_type":9,"children":1202,"markDefs":1207,"style":18},"a9dd5e862e15",[1203],{"_key":1204,"_type":13,"marks":1205,"text":1206},"243346a297090",[],"Said one—«Folks of a surly Tapster tell,\nAnd daub his Visage with the smoke of Hell;\nThey talk of some strict Testing of us—Pish!\nHe's a Good Fellow, and ‘twill all be well.»",[],{"_key":1209,"_type":9,"children":1210,"markDefs":1214,"style":18},"1ea4f8342477",[1211],{"_key":1212,"_type":13,"marks":1213,"text":25},"0b91a4c7fd390",[],[],{"_key":1216,"_type":9,"children":1217,"markDefs":1222,"style":18},"a8156a62eddc",[1218],{"_key":1219,"_type":13,"marks":1220,"text":1221},"43509efac9f80",[],"Then said another with a long-drawn Sigh,\n«My Clay with long oblivion is gone dry:\nBut, fill me with the old familiar Juice,\nMethinks I might recover by-and-bye!»",[],{"_key":1224,"_type":9,"children":1225,"markDefs":1229,"style":18},"d79bd600b0cf",[1226],{"_key":1227,"_type":13,"marks":1228,"text":25},"6cb3bb6e9fb20",[],[],{"_key":1231,"_type":9,"children":1232,"markDefs":1237,"style":18},"ee0b00b39f67",[1233],{"_key":1234,"_type":13,"marks":1235,"text":1236},"af32b00a98670",[],"So while the Vessels one by one were speaking,\nOne spied the little Crescent all were seeking:\nAnd then they jogg'd each other, «Brother, Brother!\nHark to the Porter's Shoulder-knot a creaking!»",[],{"_key":1239,"_type":9,"children":1240,"markDefs":1244,"style":18},"99ee210b6ed9",[1241],{"_key":1242,"_type":13,"marks":1243,"text":25},"a49846f0c6640",[],[],{"_key":1246,"_type":9,"children":1247,"markDefs":1252,"style":18},"374b96f8a213",[1248],{"_key":1249,"_type":13,"marks":1250,"text":1251},"d53abb3add5b0",[],"Ah, with the Grape my fading Life provide,\nAnd wash my Body whence the Life has died,\nAnd in a Windingsheet of Vine-leaf wrapt,\nSo bury me by some sweet Garden-side.",[],[1254],{"_key":1255,"_type":9,"children":1256,"markDefs":1261,"style":18},"aba697cdf2e7",[1257],{"_key":1258,"_type":13,"marks":1259,"text":1260},"263fca9591fe",[15,73],"Kuza Nama",[],{"_key":1263,"_type":413,"audioSize":4,"audioURL":4,"description":1264,"file":1265,"fileURL":1268,"filename":1269,"image":4,"markDefs":4},"8ae07e0dfd7f","Kuza Nama Score",{"_type":416,"asset":1266},{"_ref":1267,"_type":324},"file-8f0494b5b5343761a9aefe578670d258bb4fa706-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F8f0494b5b5343761a9aefe578670d258bb4fa706.pdf","Kuza Nama.pdf",{"_key":1271,"_type":9,"audioSize":4,"audioURL":4,"children":1272,"fileURL":4,"image":4,"markDefs":1276,"style":18},"9d7a06582280",[1273],{"_key":1274,"_type":13,"marks":1275,"text":25},"e7230d7f3f83",[],[],[1278],{"caption":4,"id":1060,"meta":1279,"parentID":1039,"parentType":510,"url":273},{"_type":506,"aspectRatio":1062,"height":1063,"width":1064},[1281],{"_key":1282,"_type":366,"date":1283,"location":1284,"performers":1285},"b98c12a785e8","1983-01-01","House Concert in Christchurch","Jillian Bartram, soprano\nJohn Scott, piano","Listen again. One evening at the Close\nOf Ramazan, ere the better Moon arose,\nIn that old Potter's Shop I stood alone\nWith the clay Population round in Rows.\n\n\n\nAnd, strange to tell, among that Earthen Lot\nSome could articulate, while others not:\nAnd suddenly one more impatient cried—\n«Who is the Potter, pray, and who the Pot?»\n\n\n\nThen said another—«Surely not in vain\nMy substance from the common Earth was ta'en,\nThat he who subtly wrought me into Shape\nShould stamp me back to common Earth again.»\n\n\n\nAnother said—«Why, ne'er a peevish Boy,\nWould break the Bowl from which he drank in Joy;\nShall He that made the Vessel in pure Love\nAnd Fancy, in an after Rage destroy!»\n\n\n\nNone answer'd this; but after Silence spake\nA vessel of a more ungainly Make:\n«They sneer at me for leaning all awry;\nWhat! did the Hand then of the Potter shake?»\n\n\n\nSaid one—«Folks of a surly Tapster tell,\nAnd daub his Visage with the smoke of Hell;\nThey talk of some strict Testing of us—Pish!\nHe's a Good Fellow, and ‘twill all be well.»\n\n\n\nThen said another with a long-drawn Sigh,\n«My Clay with long oblivion is gone dry:\nBut, fill me with the old familiar Juice,\nMethinks I might recover by-and-bye!»\n\n\n\nSo while the Vessels one by one were speaking,\nOne spied the little Crescent all were seeking:\nAnd then they jogg'd each other, «Brother, Brother!\nHark to the Porter's Shoulder-knot a creaking!»\n\n\n\nAh, with the Grape my fading Life provide,\nAnd wash my Body whence the Life has died,\nAnd in a Windingsheet of Vine-leaf wrapt,\nSo bury me by some sweet Garden-side.","\n\n\n\nSetting of nine verses (The Book of Pots) of the Rubáiyát of Omar Khayyám for baritone and piano. Presented as an exercise for B.Mus.\n\nI still wonder at the audacity of Omar Khayyám to compare God with a potter, and one who made mistakes! And to ask “Did God create us or we him?\": Who is the Potter, pray, and who the Pot? But most of all I love his love of life – and wine!\n\n",{"_type":375,"current":1289},"kuza-nama",{"date":569,"instrumentation":1291,"text":1292},"Baritone and piano","Omar Khayyám (Edward FitzGerald)",9,{"_id":1295,"chapters":1296,"content":1297,"images":1587,"performances":4,"rawPoem":1590,"rawText":1591,"slug":1592,"title":1356,"workInfo":1594,"workNumber":1596},"0317f37f-0361-4aa0-8c54-07c3481b2587",[],[1298,1305,1315,1322,1330,1346,1540,1547,1555,1571,1579],{"_key":1299,"_type":9,"audioSize":4,"audioURL":4,"children":1300,"fileURL":4,"image":4,"markDefs":1304,"style":18},"9d71e4b48944",[1301],{"_key":1302,"_type":13,"marks":1303,"text":25},"b48beb0b8933",[],[],{"_key":1306,"_type":500,"audioSize":4,"audioURL":4,"caption":1307,"fileURL":4,"image":1308,"markDefs":4},"dffae80dd7cf","Psalm 8 page one of the original (1964) version",{"caption":4,"id":1309,"meta":1310,"parentID":4,"parentType":510,"url":1314},"e3e752333b9c922c58b5451414df9bda10d8fd62",{"_type":506,"aspectRatio":1311,"height":1312,"width":1313},0.7366694011484823,1219,898,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fe3e752333b9c922c58b5451414df9bda10d8fd62-898x1219.png",{"_key":1316,"_type":9,"audioSize":4,"audioURL":4,"children":1317,"fileURL":4,"image":4,"markDefs":1321,"style":18},"f827ebabec97",[1318],{"_key":1319,"_type":13,"marks":1320,"text":25},"868645f0a1a2",[],[],{"_key":1323,"_type":9,"audioSize":4,"audioURL":4,"children":1324,"fileURL":4,"image":4,"markDefs":1329,"style":18},"bfcbb1a99f54",[1325],{"_key":1326,"_type":13,"marks":1327,"text":1328},"6414917e2982",[],"SATB. Exercise for B.Mus.",[],{"_key":1331,"_type":9,"audioSize":4,"audioURL":4,"children":1332,"fileURL":4,"image":4,"markDefs":1345,"style":18},"1e7c3ef6aaf1",[1333,1337,1341],{"_key":1334,"_type":13,"marks":1335,"text":1336},"66b5048924bd0",[],"This was performed by the ",{"_key":1338,"_type":13,"marks":1339,"text":1340},"66b5048924bd1",[73],"University Madrigal Singers",{"_key":1342,"_type":13,"marks":1343,"text":1344},"66b5048924bd2",[]," in Christchurch with conductor Brian Barrett during my absence in Europe (1966 - 1967). I never heard the work and to my knowledge it was not recorded.",[],{"_key":1347,"_type":754,"audioSize":4,"audioURL":4,"author":1348,"fileURL":4,"image":4,"markDefs":4,"poem":1349,"title":1532},"9bc470f97eff","King James Version ",[1350,1359,1375,1383,1391,1399,1407,1415,1423,1431,1439,1447,1455,1463,1479,1487,1499,1511,1524],{"_key":1351,"_type":9,"children":1352,"markDefs":1357,"style":1358},"4e1f50eb0325",[1353],{"_key":1354,"_type":13,"marks":1355,"text":1356},"1684ed54f523",[15],"Psalm 8",[],"h2",{"_key":1360,"_type":9,"children":1361,"markDefs":1374,"style":18},"627f0d2e3704",[1362,1366,1370],{"_key":1363,"_type":13,"marks":1364,"text":1365},"de7b8d8dc543",[],"O LORD our Lord, how excellent ",{"_key":1367,"_type":13,"marks":1368,"text":1369},"bf987b6d0d86",[73],"is",{"_key":1371,"_type":13,"marks":1372,"text":1373},"c56716416cba",[]," thy name in all the",[],{"_key":1376,"_type":9,"children":1377,"markDefs":1382,"style":18},"861abd124c51",[1378],{"_key":1379,"_type":13,"marks":1380,"text":1381},"1142b6563031",[],"earth! who hast set thy glory above the heavens.",[],{"_key":1384,"_type":9,"children":1385,"markDefs":1390,"style":18},"eaf6b70bc1c6",[1386],{"_key":1387,"_type":13,"marks":1388,"text":1389},"569d79cb7952",[],"Out of the mouth of babes and sucklings hast thou",[],{"_key":1392,"_type":9,"children":1393,"markDefs":1398,"style":18},"56529a07e7d8",[1394],{"_key":1395,"_type":13,"marks":1396,"text":1397},"f6d57a9b528b",[],"ordained strength because of thine enemies, that thou",[],{"_key":1400,"_type":9,"children":1401,"markDefs":1406,"style":18},"7d961cda214c",[1402],{"_key":1403,"_type":13,"marks":1404,"text":1405},"4cefb5615abd",[],"mightest still the enemy and the avenger.",[],{"_key":1408,"_type":9,"children":1409,"markDefs":1414,"style":18},"201bd571d749",[1410],{"_key":1411,"_type":13,"marks":1412,"text":1413},"40a91fbaa2b8",[],"When I consider thy heavens, the work of thy fingers, the",[],{"_key":1416,"_type":9,"children":1417,"markDefs":1422,"style":18},"6e0055c500f8",[1418],{"_key":1419,"_type":13,"marks":1420,"text":1421},"e40bae6abe6f",[],"moon and the stars, which thou hast ordained;",[],{"_key":1424,"_type":9,"children":1425,"markDefs":1430,"style":18},"17ec404847f9",[1426],{"_key":1427,"_type":13,"marks":1428,"text":1429},"d2c84d2f3e2c",[],"What is man, that thou art mindful of him? and the son of",[],{"_key":1432,"_type":9,"children":1433,"markDefs":1438,"style":18},"b41edc61e179",[1434],{"_key":1435,"_type":13,"marks":1436,"text":1437},"0f8886160660",[],"man, that thou visitest him?",[],{"_key":1440,"_type":9,"children":1441,"markDefs":1446,"style":18},"72cc2cebc95d",[1442],{"_key":1443,"_type":13,"marks":1444,"text":1445},"9ca1c62c122f",[],"For thou hast made him a little lower than the",[],{"_key":1448,"_type":9,"children":1449,"markDefs":1454,"style":18},"350f6975a173",[1450],{"_key":1451,"_type":13,"marks":1452,"text":1453},"0eec30cc8260",[],"angels, and hast crowned him with glory and honour.",[],{"_key":1456,"_type":9,"children":1457,"markDefs":1462,"style":18},"dd912076c9bd",[1458],{"_key":1459,"_type":13,"marks":1460,"text":1461},"7f3a88dcc256",[],"Thou madest him to have dominion over the works of thy",[],{"_key":1464,"_type":9,"children":1465,"markDefs":1478,"style":18},"a31a04866a84",[1466,1470,1474],{"_key":1467,"_type":13,"marks":1468,"text":1469},"06c0a8c1dad2",[],"hands; thou hast put all ",{"_key":1471,"_type":13,"marks":1472,"text":1473},"d2d6b443a002",[73],"things",{"_key":1475,"_type":13,"marks":1476,"text":1477},"b75cecd5b7c2",[]," under his feet:",[],{"_key":1480,"_type":9,"children":1481,"markDefs":1486,"style":18},"fe590e46a7c1",[1482],{"_key":1483,"_type":13,"marks":1484,"text":1485},"fde9b559262c",[],"All sheep and oxen, yea, and the beasts of the field;",[],{"_key":1488,"_type":9,"children":1489,"markDefs":1498,"style":18},"879ff184bbc5",[1490,1494],{"_key":1491,"_type":13,"marks":1492,"text":1493},"ccffd8a067b8",[],"The fowl of the air, and the fish of the sea, ",{"_key":1495,"_type":13,"marks":1496,"text":1497},"19ea0a03e80a",[73],"and",[],{"_key":1500,"_type":9,"children":1501,"markDefs":1510,"style":18},"2cf9e8aacf4d",[1502,1506],{"_key":1503,"_type":13,"marks":1504,"text":1505},"007bec5d9648",[73],"whatsoever",{"_key":1507,"_type":13,"marks":1508,"text":1509},"382869792bb4",[]," passeth through the paths of the seas.",[],{"_key":1512,"_type":9,"children":1513,"markDefs":1523,"style":18},"592896a76598",[1514,1517,1520],{"_key":1515,"_type":13,"marks":1516,"text":1365},"6b5d23883ad5",[],{"_key":1518,"_type":13,"marks":1519,"text":1369},"2b3d5c041869",[73],{"_key":1521,"_type":13,"marks":1522,"text":1373},"f5940b5455e9",[],[],{"_key":1525,"_type":9,"children":1526,"markDefs":1531,"style":18},"66ddc3dbf675",[1527],{"_key":1528,"_type":13,"marks":1529,"text":1530},"6c44132e515f",[],"earth!",[],[1533],{"_key":1534,"_type":9,"children":1535,"markDefs":1539,"style":18},"74f36abe3709",[1536],{"_key":1537,"_type":13,"marks":1538,"text":1356},"204b6f6b9d13",[15,73],[],{"_key":1541,"_type":9,"audioSize":4,"audioURL":4,"children":1542,"fileURL":4,"image":4,"markDefs":1546,"style":18},"bf94d8178d89",[1543],{"_key":1544,"_type":13,"marks":1545,"text":25},"4b6d2272a570",[],[],{"_key":1548,"_type":413,"audioSize":4,"audioURL":4,"description":1549,"file":1550,"fileURL":1553,"filename":1554,"image":4,"markDefs":4},"fddfd8ffa461","Psalm 8 Full score revised 2026",{"_type":416,"asset":1551},{"_ref":1552,"_type":324},"file-7ef31a73cafcf5ea88d6af2f66a0be94c719eb07-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F7ef31a73cafcf5ea88d6af2f66a0be94c719eb07.pdf","Psalm 8 - Full Score.pdf",{"_key":1556,"_type":9,"audioSize":4,"audioURL":4,"children":1557,"fileURL":4,"image":4,"markDefs":1570,"style":18},"7df3a9c28fe6",[1558,1562,1566],{"_key":1559,"_type":13,"marks":1560,"text":1561},"02c701f60383",[],"This revised version contains only small changes to the original version. A feature of the 1964 version was the frequent change of time signature and also my preoccupation with, what I will call, “a harmony of fifths”. By this I mean not only the “open” fifths (a triad with the third missing) but the result when two different such “open” fifths sound together. To realise this harmonic effect one often hears one fifth sung by the soprano and alto and the other by the tenor and bass, something which can be very demanding for an ",{"_key":1563,"_type":13,"marks":1564,"text":1565},"cbcca1780ada",[73],"a cappella",{"_key":1567,"_type":13,"marks":1568,"text":1569},"ea85cc1a59f4",[]," choir. Often the small changes which I have made were in order to make the approach to this harmony of fifths as logical as possible, that is, to make sure that the singers should not experience unnecessary difficulties. A third feature of the work was its frequent use of the whole-tone scale, which I have tried to preserve.",[],{"_key":1572,"_type":423,"audio":1573,"audioSize":1576,"audioURL":1577,"caption":1578,"fileURL":4,"image":4,"markDefs":4,"musicians":430},"4b97b17d4784",{"_type":416,"asset":1574},{"_ref":1575,"_type":324},"file-07f17a3921b14b2e2af2cc856519ef547d71f1bb-mp3",4671905,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F07f17a3921b14b2e2af2cc856519ef547d71f1bb.mp3","Psalm 8 revised version.mp3",{"_key":1580,"_type":9,"audioSize":4,"audioURL":4,"children":1581,"fileURL":4,"image":4,"markDefs":1586,"style":18},"0ea09790a40d",[1582],{"_key":1583,"_type":13,"marks":1584,"text":1585},"701faebeb5ab",[],"During the revision I accidentally listened to the synthetic voice sounds together with the piano reduction sounds (which were only meant for rehearsal!) and decided that this gave a much better impression of the work. The choral sounds, which have no text, sound like a sung “ah” and are most unattractive, but they have the advantage that they are capable of performing a crescendo or diminuendo. Exactly the opposite are the piano sounds, once struck they die away very quickly. But when both of these are heard together, the piano supplies the voice “Ah” sounds with something equivalent of the missing language consonant sounds. I am therefore publishing these false sounds until I have the possibility to replace them with a recording of a live performance.",[],[1588],{"caption":1307,"id":1309,"meta":1589,"parentID":1295,"parentType":510,"url":1314},{"_type":506,"aspectRatio":1311,"height":1312,"width":1313},"Psalm 8\n\nO LORD our Lord, how excellent is thy name in all the\n\nearth! who hast set thy glory above the heavens.\n\nOut of the mouth of babes and sucklings hast thou\n\nordained strength because of thine enemies, that thou\n\nmightest still the enemy and the avenger.\n\nWhen I consider thy heavens, the work of thy fingers, the\n\nmoon and the stars, which thou hast ordained;\n\nWhat is man, that thou art mindful of him? and the son of\n\nman, that thou visitest him?\n\nFor thou hast made him a little lower than the\n\nangels, and hast crowned him with glory and honour.\n\nThou madest him to have dominion over the works of thy\n\nhands; thou hast put all things under his feet:\n\nAll sheep and oxen, yea, and the beasts of the field;\n\nThe fowl of the air, and the fish of the sea, and\n\nwhatsoever passeth through the paths of the seas.\n\nO LORD our Lord, how excellent is thy name in all the\n\nearth!","\n\n\n\nSATB. Exercise for B.Mus.\n\nThis was performed by the University Madrigal Singers in Christchurch with conductor Brian Barrett during my absence in Europe (1966 - 1967). I never heard the work and to my knowledge it was not recorded.\n\n\n\nThis revised version contains only small changes to the original version. A feature of the 1964 version was the frequent change of time signature and also my preoccupation with, what I will call, “a harmony of fifths”. By this I mean not only the “open” fifths (a triad with the third missing) but the result when two different such “open” fifths sound together. To realise this harmonic effect one often hears one fifth sung by the soprano and alto and the other by the tenor and bass, something which can be very demanding for an a cappella choir. Often the small changes which I have made were in order to make the approach to this harmony of fifths as logical as possible, that is, to make sure that the singers should not experience unnecessary difficulties. A third feature of the work was its frequent use of the whole-tone scale, which I have tried to preserve.\n\nDuring the revision I accidentally listened to the synthetic voice sounds together with the piano reduction sounds (which were only meant for rehearsal!) and decided that this gave a much better impression of the work. The choral sounds, which have no text, sound like a sung “ah” and are most unattractive, but they have the advantage that they are capable of performing a crescendo or diminuendo. Exactly the opposite are the piano sounds, once struck they die away very quickly. But when both of these are heard together, the piano supplies the voice “Ah” sounds with something equivalent of the missing language consonant sounds. I am therefore publishing these false sounds until I have the possibility to replace them with a recording of a live performance.",{"_type":375,"current":1593},"psalm-8",{"date":483,"instrumentation":1595,"length":713},"a cappella Choir (SATB)",10,{"_id":1598,"chapters":1599,"content":1600,"images":1783,"performances":1788,"rawPoem":4,"rawText":1793,"slug":1794,"title":1773,"workInfo":1796,"workNumber":1798},"5ef2261f-f9f4-40ed-882d-6bb279b8ddc5",[],[1601,1650,1663,1682,1690,1698,1708,1716,1724,1732,1739,1747,1766,1775],{"_key":1602,"_type":9,"audioSize":4,"audioURL":4,"children":1603,"fileURL":4,"image":4,"markDefs":1643,"style":18},"aa4edc403b15",[1604,1608,1613,1617,1622,1626,1630,1634,1639],{"_key":1605,"_type":13,"marks":1606,"text":1607},"2d7d53589547",[],"Composed during my two month's stay in Siena attending the composition course at the ",{"_key":1609,"_type":13,"marks":1610,"text":1612},"86217f31673f",[1611],"6908ed948934","Accademia Chigiana",{"_key":1614,"_type":13,"marks":1615,"text":1616},"a153d8680dbc",[]," with tutor and Italian composer ",{"_key":1618,"_type":13,"marks":1619,"text":1621},"5351022006ab",[1620],"2412107a169e","Goffredo Petrassi",{"_key":1623,"_type":13,"marks":1624,"text":1625},"df414a4bb6a9",[],". We were a class of eight young men from four countries: Britain, France, Italy and New Zealand. Petrassi’s opening words were: ",{"_key":1627,"_type":13,"marks":1628,"text":1629},"7de2c1acab04",[73],"In Siena dovete scoprire Simone Martini",{"_key":1631,"_type":13,"marks":1632,"text":1633},"8b1e3c21da5b",[]," (In Siena you must discover ",{"_key":1635,"_type":13,"marks":1636,"text":1638},"940644d3c206",[1637],"167836aec113","Simone Martini",{"_key":1640,"_type":13,"marks":1641,"text":1642},"effb67fc687e",[],"). Here was a composition course starting with a sentence about a great medieval painter. Later Petrassi would disappear for weeks on end and I finished up learning more about early Sienese painting than about modern composition.",[1644,1646,1648],{"_key":1611,"_type":316,"href":1645},"http:\u002F\u002Fwww.chigiana.it",{"_key":1620,"_type":316,"href":1647},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FGoffredo_Petrassi",{"_key":1637,"_type":316,"href":1649},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FSimone_Martini",{"_key":1651,"_type":500,"alt":1652,"audioSize":4,"audioURL":4,"caption":1653,"fileURL":4,"image":1654,"markDefs":4,"size":1661},"4cbb84b182de","Guidoriccio da Fogliano by Simone Martini","Guidoriccio da Fogliano by Simone Martini 1284 - 1344 in the Palazzo Pubblico",{"caption":4,"id":1655,"meta":1656,"parentID":4,"parentType":510,"url":1660},"d37ee5c5cb2ef680fe59767bd821603999df3acf",{"_type":506,"aspectRatio":1657,"height":1658,"width":1659},2.9646786334684423,1727,5120,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fd37ee5c5cb2ef680fe59767bd821603999df3acf-5120x1727.jpg",[1662],"large",{"_key":1664,"_type":9,"audioSize":4,"audioURL":4,"children":1665,"fileURL":4,"image":4,"markDefs":1679,"style":18},"36fc75c96c04",[1666,1670,1675],{"_key":1667,"_type":13,"marks":1668,"text":1669},"1e45819a3eac",[],"Unlike the Cambridge Music School in New Zealand where students of all departments were in constant contact with one another and where there had been at least one concert per day, here we were totally alone. Even the members of the composer's group disappeared in all directions after class, only one did I ever get to know well, ",{"_key":1671,"_type":13,"marks":1672,"text":1674},"87b1160d61ce",[1673],"d8cfdc4dcb5d","Michael Short",{"_key":1676,"_type":13,"marks":1677,"text":1678},"6d2b7aa3ed74",[],", from England.",[1680],{"_key":1673,"_type":316,"href":1681},"https:\u002F\u002Fmichaelshortcomposer.blogspot.ch",{"_key":1683,"_type":9,"audioSize":4,"audioURL":4,"children":1684,"fileURL":4,"image":4,"markDefs":1689,"style":18},"812806cda5ac",[1685],{"_key":1686,"_type":13,"marks":1687,"text":1688},"92b9150f0f850",[],"Extract from a letter to Brigitte in Zurich, written after the first rehearsal of our pieces:",[],{"_key":1691,"_type":9,"audioSize":4,"audioURL":4,"children":1692,"fileURL":4,"image":4,"markDefs":1697,"style":634},"beb70470c04f",[1693],{"_key":1694,"_type":13,"marks":1695,"text":1696},"5aeddb93f7cd0",[],"It was so wonderful just to hear the players tuning up. I’ve been away from this sound for so long!! My second movement came off much better than the first (the pianist is very good). By the second movement I was writing what I wanted to write, but I don’t regret the first because you have to try new things. And the players are very enthusiastic for all four of our pieces. Michael’s is very good indeed. He has set some Italian verses for soprano, flute, harp, violin and cello, and the Japanese soprano who is learning these difficult songs is really excellent.",[],{"_key":1699,"_type":500,"alt":1700,"audioSize":4,"audioURL":4,"caption":1700,"fileURL":4,"image":1701,"markDefs":4},"196d0e5875db","Kit (with beard!) bowing with the musicians after the 1966 performance",{"caption":4,"id":1702,"meta":1703,"parentID":4,"parentType":510,"url":1707},"7415ff0e674f0087dec0661d5b30cb23e5a7dd6e",{"_type":506,"aspectRatio":1704,"height":1705,"width":1706},1.547126436781609,870,1346,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F7415ff0e674f0087dec0661d5b30cb23e5a7dd6e-1346x870.jpg",{"_key":1709,"_type":9,"audioSize":4,"audioURL":4,"children":1710,"fileURL":4,"image":4,"markDefs":1715,"style":634},"5f6b853f458d",[1711],{"_key":1712,"_type":13,"marks":1713,"text":1714},"df95393a18c0",[],"The concert was on Sunday evening 4th September 1966. Everything went well, but without the excitement of the first rehearsal. The audience was very generous with its applause, the newspaper critic less so. For my piece:",[],{"_key":1717,"_type":9,"audioSize":4,"audioURL":4,"children":1718,"fileURL":4,"image":4,"markDefs":1723,"style":634},"7aa13e2d19a8",[1719],{"_key":1720,"_type":13,"marks":1721,"text":1722},"46cfa0fccbfc0",[73],"Abiamo percipeto una atmosfera lucida, rarifatta, talvolta indecisa e un po’ banale. Una personalità più ingegnosa che genial, capace tuttavia di organizzare piacevole il materiale sonoro.",[],{"_key":1725,"_type":9,"audioSize":4,"audioURL":4,"children":1726,"fileURL":4,"image":4,"markDefs":1731,"style":634},"5df68978b433",[1727],{"_key":1728,"_type":13,"marks":1729,"text":1730},"610dcf0b9d3a0",[73],"We perceived a lucid and rarefied atmosphere, sometimes indecisive and banal. A personality more ingenuous than genial, nevertheless capable of a pleasant organisation of the sound material.",[],{"_key":1733,"_type":9,"audioSize":4,"audioURL":4,"children":1734,"fileURL":4,"image":4,"markDefs":1738,"style":18},"fcaa97adae1e",[1735],{"_key":1736,"_type":13,"marks":1737,"text":25},"0b8a12c63038",[],[],{"_key":1740,"_type":9,"audioSize":4,"audioURL":4,"children":1741,"fileURL":4,"image":4,"markDefs":1746,"style":18},"017b102e644b",[1742],{"_key":1743,"_type":13,"marks":1744,"text":1745},"6cd40c4de65b0",[15],"Fifty Years Later",[],{"_key":1748,"_type":9,"audioSize":4,"audioURL":4,"children":1749,"fileURL":4,"image":4,"markDefs":1763,"style":18},"ce6f891b3733",[1750,1754,1759],{"_key":1751,"_type":13,"marks":1752,"text":1753},"029333a9fb4d0",[],"Although one should never take such criticism seriously, it had its effect on me. I put this piece behind me and never looked at it again — until just recently: One of the players of those pieces on that night in September 1966, who had taken a copy of the score home with him was the Dutch flute player ",{"_key":1755,"_type":13,"marks":1756,"text":1758},"029333a9fb4d1",[1757],"eab8bc7726cb","Rien de Reede",{"_key":1760,"_type":13,"marks":1761,"text":1762},"029333a9fb4d2",[],". Unbeknown to me he recorded the work twice for Dutch radio. Now in the internet era he was able to find me and send me copies of both recordings. Both are excellent! Listening to them now 50 years later, I am astonished at how well I managed to copy the Webern-style — Michael Short had lent me a score of the Webern “Konzert” Op. 24 — and at the same time there is something of myself in it. Especially interesting is the tone row which includes the famous B-A-C-H motive and yet this is (I think) concealed enough not to intrude. Here is the second of the two Dutch performances:",[1764],{"_key":1757,"_type":316,"href":1765},"http:\u002F\u002Fwww.riendereede.nl\u002Findex.php?language=eng",{"_key":1767,"_type":423,"audio":1768,"audioSize":1771,"audioURL":1772,"caption":1773,"fileURL":4,"image":4,"markDefs":4,"musicians":1774},"32c0cac97349",{"_type":416,"asset":1769},{"_ref":1770,"_type":324},"file-dce56d26976b70645e3149dffbbadc3c32e2eaa1-mp3",6091232,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fdce56d26976b70645e3149dffbbadc3c32e2eaa1.mp3","Due movimenti per quattro strumenti","Rien de Reede piccolo, Sjef Douwes clarinet, Theo Bles piano, Max Werner cello",{"_key":1776,"_type":413,"audioSize":4,"audioURL":4,"description":1777,"file":1778,"fileURL":1781,"filename":1782,"image":4,"markDefs":4},"249adc61fdbb","Score",{"_type":416,"asset":1779},{"_ref":1780,"_type":324},"file-6dc6628fcb0b42210d81ddeb70ce2ba44388051a-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F6dc6628fcb0b42210d81ddeb70ce2ba44388051a.pdf","Due movimenti per quattro strumenti - Score",[1784,1786],{"caption":1653,"id":1655,"meta":1785,"parentID":1598,"parentType":510,"url":1660},{"_type":506,"aspectRatio":1657,"height":1658,"width":1659},{"caption":1700,"id":1702,"meta":1787,"parentID":1598,"parentType":510,"url":1707},{"_type":506,"aspectRatio":1704,"height":1705,"width":1706},[1789],{"_key":1790,"_type":366,"date":1791,"location":1792},"7f5f2e48f332","1966-01-01","Accademia Chigiana, Siena ","Composed during my two month's stay in Siena attending the composition course at the Accademia Chigiana with tutor and Italian composer Goffredo Petrassi. We were a class of eight young men from four countries: Britain, France, Italy and New Zealand. Petrassi’s opening words were: In Siena dovete scoprire Simone Martini (In Siena you must discover Simone Martini). Here was a composition course starting with a sentence about a great medieval painter. Later Petrassi would disappear for weeks on end and I finished up learning more about early Sienese painting than about modern composition.\n\nUnlike the Cambridge Music School in New Zealand where students of all departments were in constant contact with one another and where there had been at least one concert per day, here we were totally alone. Even the members of the composer's group disappeared in all directions after class, only one did I ever get to know well, Michael Short, from England.\n\nExtract from a letter to Brigitte in Zurich, written after the first rehearsal of our pieces:\n\nIt was so wonderful just to hear the players tuning up. I’ve been away from this sound for so long!! My second movement came off much better than the first (the pianist is very good). By the second movement I was writing what I wanted to write, but I don’t regret the first because you have to try new things. And the players are very enthusiastic for all four of our pieces. Michael’s is very good indeed. He has set some Italian verses for soprano, flute, harp, violin and cello, and the Japanese soprano who is learning these difficult songs is really excellent.\n\nThe concert was on Sunday evening 4th September 1966. Everything went well, but without the excitement of the first rehearsal. The audience was very generous with its applause, the newspaper critic less so. For my piece:\n\nAbiamo percipeto una atmosfera lucida, rarifatta, talvolta indecisa e un po’ banale. Una personalità più ingegnosa che genial, capace tuttavia di organizzare piacevole il materiale sonoro.\n\nWe perceived a lucid and rarefied atmosphere, sometimes indecisive and banal. A personality more ingenuous than genial, nevertheless capable of a pleasant organisation of the sound material.\n\n\n\nFifty Years Later\n\nAlthough one should never take such criticism seriously, it had its effect on me. I put this piece behind me and never looked at it again — until just recently: One of the players of those pieces on that night in September 1966, who had taken a copy of the score home with him was the Dutch flute player Rien de Reede. Unbeknown to me he recorded the work twice for Dutch radio. Now in the internet era he was able to find me and send me copies of both recordings. Both are excellent! Listening to them now 50 years later, I am astonished at how well I managed to copy the Webern-style — Michael Short had lent me a score of the Webern “Konzert” Op. 24 — and at the same time there is something of myself in it. Especially interesting is the tone row which includes the famous B-A-C-H motive and yet this is (I think) concealed enough not to intrude. Here is the second of the two Dutch performances:",{"_type":375,"current":1795},"due-movimenti-per-quattro-strumenti",{"date":1791,"instrumentation":1797,"length":713},"Piccolo, Clarinet, Cello, Piano",11,{"_id":1800,"chapters":1801,"content":1802,"images":1965,"performances":4,"rawPoem":4,"rawText":1968,"slug":1969,"title":1852,"workInfo":1971,"workNumber":1975},"40debdc0-9a90-43af-a14e-fa661d1c09fa",[],[1803,1835,1842,1858,1865,1900,1907,1922,1929,1938,1950,1957],{"_key":1804,"_type":9,"audioSize":4,"audioURL":4,"children":1805,"fileURL":4,"image":4,"markDefs":1828,"style":18},"c44743ce0f8c",[1806,1810,1815,1819,1824],{"_key":1807,"_type":13,"marks":1808,"text":1809},"2a1d0e23be79",[],"When I returned to Linwood in 1968 a young lady teacher had been appointed to replace Brian Barrett. Suddenly those of us who knew anything about music realised what an impossible job Brian had been expected to do. Because he had been such a formidable musician nobody would ever have dared offering to help him. But with this new lady we had no inhibitions. I offered to form a choir, Lester Davison a brass band and Rod Harries and I planned a new Hymn book which would be used in the assemblies. ",{"_key":1811,"_type":13,"marks":1812,"text":1814},"c838fbee26ed",[1813],"f594081b0bfe","Don McAra",{"_key":1816,"_type":13,"marks":1817,"text":1818},"b3f2091db0bc",[]," had left to join the Teachers College and had been replaced by John Kim, a theatre man whose business had gone bankrupt. There was also a clever new art teacher, ",{"_key":1820,"_type":13,"marks":1821,"text":1823},"d137ee400233",[1822],"be554cc5dcb5","Gavin Bishop",{"_key":1825,"_type":13,"marks":1826,"text":1827},"c65c10fb2502",[],", and so with all these new strengths we planned our version of Total Theatre.",[1829,1831],{"_key":1822,"_type":316,"href":1830},"http:\u002F\u002Fgavinbishop.com\u002F",{"_key":1813,"_type":321,"reference":1832,"slug":1834,"type":326},{"_ref":1833,"_type":324},"58060c2d-b0e5-48ca-b205-9111ae85cbbb","don-mcara",{"_key":1836,"_type":9,"audioSize":4,"audioURL":4,"children":1837,"fileURL":4,"image":4,"markDefs":1841,"style":18},"f2c9b8c16752",[1838],{"_key":1839,"_type":13,"marks":1840,"text":25},"13061329c8870",[],[],{"_key":1843,"_type":9,"audioSize":4,"audioURL":4,"children":1844,"fileURL":4,"image":4,"markDefs":1857,"style":18},"bc9a92254eb4",[1845,1849,1853],{"_key":1846,"_type":13,"marks":1847,"text":1848},"9eae9f8eed610",[],"These were very busy and intensive years for me writing music for total theatre. The first was ",{"_key":1850,"_type":13,"marks":1851,"text":1852},"9eae9f8eed611",[73],"The Odyssey",{"_key":1854,"_type":13,"marks":1855,"text":1856},"9eae9f8eed612",[],", a two hour long work in which all the wanderings of Odysseus were shown in a 40 minute mime sequence to the accompaniment of orchestra choir and soloists.",[],{"_key":1859,"_type":9,"audioSize":4,"audioURL":4,"children":1860,"fileURL":4,"image":4,"markDefs":1864,"style":18},"86219eaaa343",[1861],{"_key":1862,"_type":13,"marks":1863,"text":25},"1c29c13fb5620",[],[],{"_key":1866,"_type":9,"audioSize":4,"audioURL":4,"children":1867,"fileURL":4,"image":4,"markDefs":1897,"style":18},"9ca39ce23ae1",[1868,1872,1876,1880,1884,1888,1893],{"_key":1869,"_type":13,"marks":1870,"text":1871},"506d36128b0e0",[],"The whole school was transformed by the energy of this new total theatre experience. There was even a shift away from the main extra-curicular activity being artistic rather than of a ‘sporty’ nature. We all read Homer's ",{"_key":1873,"_type":13,"marks":1874,"text":1875},"506d36128b0e1",[73],"Odyssey",{"_key":1877,"_type":13,"marks":1878,"text":1879},"506d36128b0e2",[]," and John Kim made a sort of ‘film script’. The drama group (now much enlarged) met to make improvisations, the art people drew pictures the home-science people planned costumes and I settled down to write the ",{"_key":1881,"_type":13,"marks":1882,"text":1883},"506d36128b0e3",[73],"Mime Sequence",{"_key":1885,"_type":13,"marks":1886,"text":1887},"506d36128b0e4",[],", which was handed to the choir or orchestra piecemeal as it was finished. This was the time when copying machines were just appearing on the market although very few schools had one. I used to make regular trips across Christchurch to a school on the other side of the city where I could make copies of the orchestra parts. For the choir it still had to be duplicated on the wax folios of the ",{"_key":1889,"_type":13,"marks":1890,"text":1892},"e69295424756",[1891],"185d4fbe7336","Gestetner",{"_key":1894,"_type":13,"marks":1895,"text":1896},"a58815a5ca4f",[]," machine.",[1898],{"_key":1891,"_type":316,"href":1899},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FGestetner",{"_key":1901,"_type":9,"audioSize":4,"audioURL":4,"children":1902,"fileURL":4,"image":4,"markDefs":1906,"style":18},"4d50fb48a1ed",[1903],{"_key":1904,"_type":13,"marks":1905,"text":25},"100b7738e7350",[],[],{"_key":1908,"_type":9,"audioSize":4,"audioURL":4,"children":1909,"fileURL":4,"image":4,"markDefs":1921,"style":18},"fb1001472410",[1910,1914,1917],{"_key":1911,"_type":13,"marks":1912,"text":1913},"d1c8ff8280ba0",[],"This was the only one of the four big Linwood works which was recorded. The orchestra and choir squeezed themselves into a tiny studio in the centre of the city which recorded the ",{"_key":1915,"_type":13,"marks":1916,"text":1883},"d1c8ff8280ba1",[73],{"_key":1918,"_type":13,"marks":1919,"text":1920},"d1c8ff8280ba2",[]," and pressed it as LPs.",[],{"_key":1923,"_type":9,"audioSize":4,"audioURL":4,"children":1924,"fileURL":4,"image":4,"markDefs":1928,"style":18},"81df377c05c5",[1925],{"_key":1926,"_type":13,"marks":1927,"text":25},"3e49025f4b4b0",[],[],{"_key":1930,"_type":500,"audioSize":4,"audioURL":4,"caption":1931,"fileURL":4,"image":1932,"markDefs":4},"03d537be0775","Record cover picture by Gavin Bishop",{"caption":4,"id":1933,"meta":1934,"parentID":4,"parentType":510,"url":271},"e513c2cb06a302a6669df0b0bd1f75efd48b3b96",{"_type":506,"aspectRatio":1935,"height":1936,"width":1937},0.9966711051930759,1502,1497,{"_key":1939,"_type":9,"audioSize":4,"audioURL":4,"children":1940,"fileURL":4,"image":4,"markDefs":1949,"style":634},"b3678d1e239a",[1941,1945],{"_key":1942,"_type":13,"marks":1943,"text":1944},"5630546d9d1e0",[15],"School ‘Odyssey’ Fine Undertaking",{"_key":1946,"_type":13,"marks":1947,"text":1948},"5630546d9d1e1",[]," HOMER'S story of Odysseus and his long, danger-fraught journey home from the Trojan wars is a heroic work and, in school theatre, Linwood High School's staging of “The Odyssey” is an equally heroic undertaking.",[],{"_key":1951,"_type":9,"audioSize":4,"audioURL":4,"children":1952,"fileURL":4,"image":4,"markDefs":1956,"style":18},"4454831e9139",[1953],{"_key":1954,"_type":13,"marks":1955,"text":25},"5f9a06d6d1fa0",[],[],{"_key":1958,"_type":9,"audioSize":4,"audioURL":4,"children":1959,"fileURL":4,"image":4,"markDefs":1964,"style":634},"c63a6e4aa036",[1960],{"_key":1961,"_type":13,"marks":1962,"text":1963},"8816dc48eca80",[],"Two features stood out last night—the great creative’ drive which drew upon the school's resources in music, drama, dance, mime, gymnastics, art, and other creative activities and arranged them harmoniously into this concept of total theatre; and the enthusiastic response by actors and musicians, an enthusiasm echoed by young people in the audience. Staging was tremendously effective. The stage was extended with wings and rostri for a very fluid production. The Gods were properly elevated; Odysseus could be seen sailing through a storm-tossed ocean and, almost at the next minute, his hall at Ithaca could be crowded with suitors. The music is advanced and challenging, taxing the resources of the big school orchestra and the experience of the young players. They responded very well. The score was strongly inventive without being gimmicky—the few bars of what sounded like shepherds’ whistles as Odysseus and his men escaped from the Cyclops, for example, suited the action very well. Programme acknowledgements are most modest, attributing music to Mr Powell, production and format to Mr Kim, and the script to them together with Mr Harries and the cast. It is a lively script, no stiff translation, but an easily running contemporary rendering. Odysseus must stand prominently, and this Gerrit Bahlman made him do. Felicity Plunket seemed most of the things Homer wrote of Pallas Athene, and David Round's Hermes had a nice sense of lightness with some sense of mischief. Jenny Price gave Penelope good presence, but not such good speech, but Ashley Gray's Telemachus had all the hopes of youth without the strength of authority. Heather Mansell's nurse Eurycliea, was a good character. Altogether an excellent undertaking where creativity and honest enthusiasm counterbalance any imperfections.—G.W.S.",[],[1966],{"caption":1931,"id":1933,"meta":1967,"parentID":1800,"parentType":510,"url":271},{"_type":506,"aspectRatio":1935,"height":1936,"width":1937},"When I returned to Linwood in 1968 a young lady teacher had been appointed to replace Brian Barrett. Suddenly those of us who knew anything about music realised what an impossible job Brian had been expected to do. Because he had been such a formidable musician nobody would ever have dared offering to help him. But with this new lady we had no inhibitions. I offered to form a choir, Lester Davison a brass band and Rod Harries and I planned a new Hymn book which would be used in the assemblies. Don McAra had left to join the Teachers College and had been replaced by John Kim, a theatre man whose business had gone bankrupt. There was also a clever new art teacher, Gavin Bishop, and so with all these new strengths we planned our version of Total Theatre.\n\n\n\nThese were very busy and intensive years for me writing music for total theatre. The first was The Odyssey, a two hour long work in which all the wanderings of Odysseus were shown in a 40 minute mime sequence to the accompaniment of orchestra choir and soloists.\n\n\n\nThe whole school was transformed by the energy of this new total theatre experience. There was even a shift away from the main extra-curicular activity being artistic rather than of a ‘sporty’ nature. We all read Homer's Odyssey and John Kim made a sort of ‘film script’. The drama group (now much enlarged) met to make improvisations, the art people drew pictures the home-science people planned costumes and I settled down to write the Mime Sequence, which was handed to the choir or orchestra piecemeal as it was finished. This was the time when copying machines were just appearing on the market although very few schools had one. I used to make regular trips across Christchurch to a school on the other side of the city where I could make copies of the orchestra parts. For the choir it still had to be duplicated on the wax folios of the Gestetner machine.\n\n\n\nThis was the only one of the four big Linwood works which was recorded. The orchestra and choir squeezed themselves into a tiny studio in the centre of the city which recorded the Mime Sequence and pressed it as LPs.\n\n\n\nSchool ‘Odyssey’ Fine Undertaking HOMER'S story of Odysseus and his long, danger-fraught journey home from the Trojan wars is a heroic work and, in school theatre, Linwood High School's staging of “The Odyssey” is an equally heroic undertaking.\n\n\n\nTwo features stood out last night—the great creative’ drive which drew upon the school's resources in music, drama, dance, mime, gymnastics, art, and other creative activities and arranged them harmoniously into this concept of total theatre; and the enthusiastic response by actors and musicians, an enthusiasm echoed by young people in the audience. Staging was tremendously effective. The stage was extended with wings and rostri for a very fluid production. The Gods were properly elevated; Odysseus could be seen sailing through a storm-tossed ocean and, almost at the next minute, his hall at Ithaca could be crowded with suitors. The music is advanced and challenging, taxing the resources of the big school orchestra and the experience of the young players. They responded very well. The score was strongly inventive without being gimmicky—the few bars of what sounded like shepherds’ whistles as Odysseus and his men escaped from the Cyclops, for example, suited the action very well. Programme acknowledgements are most modest, attributing music to Mr Powell, production and format to Mr Kim, and the script to them together with Mr Harries and the cast. It is a lively script, no stiff translation, but an easily running contemporary rendering. Odysseus must stand prominently, and this Gerrit Bahlman made him do. Felicity Plunket seemed most of the things Homer wrote of Pallas Athene, and David Round's Hermes had a nice sense of lightness with some sense of mischief. Jenny Price gave Penelope good presence, but not such good speech, but Ashley Gray's Telemachus had all the hopes of youth without the strength of authority. Heather Mansell's nurse Eurycliea, was a good character. Altogether an excellent undertaking where creativity and honest enthusiasm counterbalance any imperfections.—G.W.S.",{"_type":375,"current":1970},"the-odyssey",{"date":1035,"instrumentation":1972,"length":1973,"text":1974},"orchestra, choir and soloists",120,"Homer",12,{"_id":1977,"chapters":1978,"content":1979,"images":2212,"performances":2221,"rawPoem":4,"rawText":2225,"slug":2226,"title":2016,"workInfo":2228,"workNumber":2230},"aef29d25-1ae5-45c2-bd60-e442e12ecb89",[],[1980,2028,2040,2052,2060,2067,2080,2087,2097,2109,2116,2126,2133,2141,2148,2156,2163,2178,2185],{"_key":1981,"_type":9,"audioSize":4,"audioURL":4,"children":1982,"fileURL":4,"image":4,"markDefs":2021,"style":18},"da6f47ea3616",[1983,1987,1991,1995,2000,2004,2009,2013,2017],{"_key":1984,"_type":13,"marks":1985,"text":1986},"eb38a1b9f59b",[],"The year after ",{"_key":1988,"_type":13,"marks":1989,"text":1852},"31dcb9ccfc86",[1990],"25d172efbef9",{"_key":1992,"_type":13,"marks":1993,"text":1994},"769c85ae6eae",[]," at Linwood High School we read the ",{"_key":1996,"_type":13,"marks":1997,"text":1999},"86a8c9881a17",[1998],"d9327616931b","Anglo-Saxon Chronicle",{"_key":2001,"_type":13,"marks":2002,"text":2003},"07b5f8408f4b",[],", studied the ",{"_key":2005,"_type":13,"marks":2006,"text":2008},"cea30827a84b",[2007],"04a468c938aa","Bayeux Tapestry",{"_key":2010,"_type":13,"marks":2011,"text":2012},"cf6e977c1a3c",[]," and created a piece around the events of 1066: ",{"_key":2014,"_type":13,"marks":2015,"text":2016},"5cd6945533e5",[15],"Harold and William",{"_key":2018,"_type":13,"marks":2019,"text":2020},"676bb3238a06",[],".",[2022,2024,2026],{"_key":1998,"_type":316,"href":2023},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FAnglo-Saxon_Chronicle",{"_key":2007,"_type":316,"href":2025},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FBayeux_Tapestry",{"_key":1990,"_type":321,"reference":2027,"slug":1970,"type":510},{"_ref":1800,"_type":324},{"_key":2029,"_type":500,"audioSize":4,"audioURL":4,"caption":2030,"fileURL":4,"image":2031,"imageSlug":2038,"markDefs":4,"size":1662},"d2298ef19db0","William crossing the 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Captain, let them come and buy!\nBeer by the keg and wine by the flagon,\nlet your men drink before they die.\nSabres and swords are hard to swallow,\nfirst you must give them some beer to drink,\nthen they can take what’s to follow,\nbut let them swim before they sink.\nChristians awake! the winter’s gone,\nthe snows depart, the dead sleep on,\nand though you may not long survive,\nget out of bed and look alive!",[],{"_key":2448,"_type":9,"children":2449,"markDefs":2453,"style":18},"778f30fe9031",[2450],{"_key":2451,"_type":13,"marks":2452,"text":25},"4a30d99d95b40",[],[],{"_key":2455,"_type":9,"children":2456,"markDefs":2461,"style":18},"6a429fe1dcee",[2457],{"_key":2458,"_type":13,"marks":2459,"text":2460},"46749445270e0",[],"Your men will march till they’re dead, sir,\nbut cannot fight unless they eat.\nThe blood they spill is red, sir,\nwhat fires that blood is my red meat.\nMeat and soup are jam and jelly,\nin this old cart of mine are found,\nso fill the hole up in your belly,\nbefore you fill one underground.\nChristians awake!…",[],[2463],{"_key":2464,"_type":9,"children":2465,"markDefs":2470,"style":18},"ef4faa67454c",[2466],{"_key":2467,"_type":13,"marks":2468,"text":2469},"3e51b5186338",[73,15],"1. Here’s Mother Courage",[],{"_key":2472,"_type":423,"audio":2473,"audioSize":2476,"audioURL":2477,"caption":2478,"fileURL":4,"image":4,"markDefs":4,"musicians":2479},"981e2f41f626",{"_type":416,"asset":2474},{"_ref":2475,"_type":324},"file-44637df571d14a98a10ccc0b3abc0b96422393ff-mp3",2725533,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F44637df571d14a98a10ccc0b3abc0b96422393ff.mp3","Here's Mother Courage (Song 1)","Fiona Powell Soprano, Annette Burkhard piano",{"_key":2481,"_type":754,"audioSize":4,"audioURL":4,"author":2437,"fileURL":4,"image":4,"markDefs":4,"poem":2482,"title":2506},"7228c9ffa202",[2483,2491,2498],{"_key":2484,"_type":9,"children":2485,"markDefs":2490,"style":18},"10384531ccae",[2486],{"_key":2487,"_type":13,"marks":2488,"text":2489},"1b7826913af4",[],"In March a tree we planted\nto make the garden gay.\nIn June we were enchanted:\na lovely rose was blooming,\nthe balmy air perfuming!\nBlest of the Gods are they\nwho have a garden gay!\nIn June we were enchanted.",[],{"_key":2492,"_type":9,"children":2493,"markDefs":2497,"style":18},"406da58220a4",[2494],{"_key":2495,"_type":13,"marks":2496,"text":25},"dc085469aefe0",[],[],{"_key":2499,"_type":9,"children":2500,"markDefs":2505,"style":18},"5943db3f53fa",[2501],{"_key":2502,"_type":13,"marks":2503,"text":2504},"56a349d284860",[],"When snow falls helter skelter\nand loudly blows the storm,\nour farmhouse gives us shelter,\nthe Winter’s in a hurry\nbut we’ve no cause to worry,\ncosy and warm are we\ntho’ loudly blows the storm,\nour farmhouse gives us shelter.",[],[2507],{"_key":2508,"_type":9,"children":2509,"markDefs":2514,"style":18},"663dc4e9c46b",[2510],{"_key":2511,"_type":13,"marks":2512,"text":2513},"2edf3f4e365a",[],"3. On the Highway",[],{"_key":2516,"_type":423,"audio":2517,"audioSize":2520,"audioURL":2521,"caption":2522,"fileURL":4,"image":4,"markDefs":4,"musicians":2479},"537ccee680a2",{"_type":416,"asset":2518},{"_ref":2519,"_type":324},"file-8d559adf47e22e2bfd51ff09cec28ab46e205a20-mp3",2720913,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F8d559adf47e22e2bfd51ff09cec28ab46e205a20.mp3"," On the Highway (Song 3)",{"_key":2524,"_type":9,"audioSize":4,"audioURL":4,"children":2525,"fileURL":4,"image":4,"markDefs":2529,"style":18},"bd2b1de2ae42",[2526],{"_key":2527,"_type":13,"marks":2528,"text":25},"18e7cbdde77d",[],[],{"_key":2531,"_type":413,"audioSize":4,"audioURL":4,"description":2532,"file":2533,"fileURL":2536,"image":4,"markDefs":4},"4d1c9d9b92d0","6 Mother Courage Songs (Soprano and Piano)",{"_type":416,"asset":2534},{"_ref":2535,"_type":324},"file-d714b97334dee7a0ff9226212f2a6a86f5ad7d22-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fd714b97334dee7a0ff9226212f2a6a86f5ad7d22.pdf",{"_key":2538,"_type":9,"audioSize":4,"audioURL":4,"children":2539,"fileURL":4,"image":4,"markDefs":2543,"style":18},"98f98dc95475",[2540],{"_key":2541,"_type":13,"marks":2542,"text":25},"21a61d1c2f46",[],[],{"_key":2545,"_type":413,"audioSize":4,"audioURL":4,"description":2546,"file":2547,"fileURL":2550,"image":4,"markDefs":4},"39984fb57b0d","6 Mother Courage Songs (Soprano and Harp)",{"_type":416,"asset":2548},{"_ref":2549,"_type":324},"file-5e475951c6f077817624c9fce8714a24e9a4fe99-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F5e475951c6f077817624c9fce8714a24e9a4fe99.pdf",[2552],{"caption":4,"id":2381,"meta":2553,"parentID":2368,"parentType":510,"url":2386},{"_type":506,"aspectRatio":2383,"height":2384,"width":2385},[2555,2559],{"_key":2556,"_type":366,"date":2557,"location":2558},"151c2637ab00","2004-01-01","Zurich, Switzerland",{"_key":2560,"_type":366,"date":2561,"location":2562,"performers":2563},"36c76be2e570","2005-01-01","Eglisau, Switzerland","Fiona Powell, Soprano\nAnnette Burkhard, Piano","Here’s Mother Courage with her wagon,\nHey! Captain, let them come and buy!\nBeer by the keg and wine by the flagon,\nlet your men drink before they die.\nSabres and swords are hard to swallow,\nfirst you must give them some beer to drink,\nthen they can take what’s to follow,\nbut let them swim before they sink.\nChristians awake! the winter’s gone,\nthe snows depart, the dead sleep on,\nand though you may not long survive,\nget out of bed and look alive!\n\n\n\nYour men will march till they’re dead, sir,\nbut cannot fight unless they eat.\nThe blood they spill is red, sir,\nwhat fires that blood is my red meat.\nMeat and soup are jam and jelly,\nin this old cart of mine are found,\nso fill the hole up in your belly,\nbefore you fill one underground.\nChristians awake!…\n\nIn March a tree we planted\nto make the garden gay.\nIn June we were enchanted:\na lovely rose was blooming,\nthe balmy air perfuming!\nBlest of the Gods are they\nwho have a garden gay!\nIn June we were enchanted.\n\n\n\nWhen snow falls helter skelter\nand loudly blows the storm,\nour farmhouse gives us shelter,\nthe Winter’s in a hurry\nbut we’ve no cause to worry,\ncosy and warm are we\ntho’ loudly blows the storm,\nour farmhouse gives us shelter.","\n\nOne of the many collaborations with Don McAra Written for a production by Don McAra (and Mervin Thompson) for a production by the University Drama Society at the Ngaio Marsh Theatre (1972).\n\nI later arranged these six songs for Fiona (solo soprano and piano) and still later (2009) for soprano and harp.\n\n\n\n",{"_type":375,"current":2567},"6-mother-courage-songs","6 Mother Courage Songs",{"date":2570,"instrumentation":2571,"length":2266,"revisions":2572,"text":2437},"1978-01-01","soprano and piano",[2557],19,{"_id":2575,"chapters":2576,"content":2577,"images":2810,"performances":2819,"rawPoem":4,"rawText":2824,"slug":2825,"title":2637,"workInfo":2827,"workNumber":710},"88d2fe95-98c0-4957-9fe6-dfd99cd60ca9",[],[2578,2588,2595,2603,2649,2665,2672,2679,2688,2695,2705,2713,2721,2729,2737,2745,2753,2766,2776,2783,2793],{"_key":2579,"_type":500,"audioSize":4,"audioURL":4,"caption":2580,"fileURL":4,"image":2581,"markDefs":4},"39a5b92d387b","Akhnaton, Nefertiti and some of their children with the \"Aten\" (sun) in the background",{"caption":4,"id":2582,"meta":2583,"parentID":4,"parentType":510,"url":2587},"599c86aca2f159c2e7fbe66b425bb1dee1aa64c2",{"_type":506,"aspectRatio":2584,"height":2585,"width":2586},1.155581947743468,842,973,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F599c86aca2f159c2e7fbe66b425bb1dee1aa64c2-973x842.png",{"_key":2589,"_type":9,"audioSize":4,"audioURL":4,"children":2590,"fileURL":4,"image":4,"markDefs":2594,"style":18},"9191cd473766",[2591],{"_key":2592,"_type":13,"marks":2593,"text":25},"b770878a61e20",[],[],{"_key":2596,"_type":9,"audioSize":4,"audioURL":4,"children":2597,"fileURL":4,"image":4,"markDefs":2602,"style":634},"2c65a289eef3",[2598],{"_key":2599,"_type":13,"marks":2600,"text":2601},"14aedd663b31",[],"Rod Harries wrote (January, 2022):\nOne night during Akhenaton I left the lighting box to the crew and went down to the servery at the other end of the hall, where I had installed a telephone connected to the lighting box, so I could watch the show as seen by the audience, while still able to direct the lighting. The show was wonderful. The lighting exceeded my hopes. The music was grand. How clever we were. And what fun!\n“Listen my children. It is night. All the Two Lands of Egypt are wrapt in night.”",[],{"_key":2604,"_type":9,"audioSize":4,"audioURL":4,"children":2605,"fileURL":4,"image":4,"markDefs":2642,"style":18},"063197523207",[2606,2610,2614,2618,2622,2626,2630,2634,2638],{"_key":2607,"_type":13,"marks":2608,"text":2609},"c7022247f9bc",[],"The next big total theatre piece at Linwood High School (after ",{"_key":2611,"_type":13,"marks":2612,"text":1852},"1c95b4355ca4",[2613],"0eb56d3ba3a7",{"_key":2615,"_type":13,"marks":2616,"text":2617},"cb5da1d73257",[],", ",{"_key":2619,"_type":13,"marks":2620,"text":2016},"d4de5a88bf24",[2621],"bb1aa8f8ff1c",{"_key":2623,"_type":13,"marks":2624,"text":2625},"1f8db7a02df6",[]," and ",{"_key":2627,"_type":13,"marks":2628,"text":2362},"403e1886ec0a",[2629],"96de14641ebb",{"_key":2631,"_type":13,"marks":2632,"text":2633},"cd674f7ea75c",[],") was ",{"_key":2635,"_type":13,"marks":2636,"text":2637},"f7760ca04a96",[15],"Akhnaton",{"_key":2639,"_type":13,"marks":2640,"text":2641},"006253a0bba5",[],". The basic idea came from Rod Harries who had been studying comparative religion and was fascinated by this first attempt at monotheism in ancient Egypt—an attempt which failed miserably. ",[2643,2645,2647],{"_key":2613,"_type":321,"reference":2644,"slug":1970,"type":510},{"_ref":1800,"_type":324},{"_key":2621,"_type":321,"reference":2646,"slug":2227,"type":510},{"_ref":1977,"_type":324},{"_key":2629,"_type":321,"reference":2648,"slug":2361,"type":510},{"_ref":2269,"_type":324},{"_key":2650,"_type":9,"audioSize":4,"audioURL":4,"children":2651,"fileURL":4,"image":4,"markDefs":2664,"style":18},"8970829a88e1",[2652,2656,2660],{"_key":2653,"_type":13,"marks":2654,"text":2655},"13989ca4f52c0",[],"N.B. The modern accepted English spelling of the Pharaoh's name is ",{"_key":2657,"_type":13,"marks":2658,"text":2659},"9a6ba22bc75d",[15],"Akhenaten",{"_key":2661,"_type":13,"marks":2662,"text":2663},"4fdf901896e6",[],". In 1972 we accepted the spelling used by Immanuel Velikovsky and others.",[],{"_key":2666,"_type":9,"audioSize":4,"audioURL":4,"children":2667,"fileURL":4,"image":4,"markDefs":2671,"style":18},"c24083639b31",[2668],{"_key":2669,"_type":13,"marks":2670,"text":25},"c736f0f66c2c",[],[],{"_key":2673,"_type":9,"audioSize":4,"audioURL":4,"children":2674,"fileURL":4,"image":4,"markDefs":2678,"style":18},"1a3aebea55a9",[2675],{"_key":2676,"_type":13,"marks":2677,"text":25},"aeaf7ecc2d85",[],[],{"_key":2680,"_type":500,"audioSize":4,"audioURL":4,"caption":2681,"fileURL":4,"image":2682,"markDefs":4},"7a3b2ea44053","Akhnaton worshiping the Sun-God, \"Aten\"",{"caption":4,"id":2683,"meta":2684,"parentID":4,"parentType":510,"url":2687},"6f7ebaeed3fd72961c9b534979f4423262296e8c",{"_type":506,"aspectRatio":2685,"height":2686,"width":2123},0.7963483146067416,712,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F6f7ebaeed3fd72961c9b534979f4423262296e8c-567x712.png",{"_key":2689,"_type":9,"audioSize":4,"audioURL":4,"children":2690,"fileURL":4,"image":4,"markDefs":2694,"style":18},"31c4e954824e",[2691],{"_key":2692,"_type":13,"marks":2693,"text":25},"1795829d345a",[],[],{"_key":2696,"_type":500,"audioSize":4,"audioURL":4,"caption":2697,"fileURL":4,"image":2698,"markDefs":4},"1dc0ba102c53","Nefertiti from the Linwood production",{"caption":4,"id":2699,"meta":2700,"parentID":4,"parentType":510,"url":2704},"76dad8d154786a3739c9a1acdac5115e1f064161",{"_type":506,"aspectRatio":2701,"height":2702,"width":2703},1.313929313929314,481,632,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F76dad8d154786a3739c9a1acdac5115e1f064161-632x481.jpg",{"_key":2706,"_type":9,"audioSize":4,"audioURL":4,"children":2707,"fileURL":4,"image":4,"markDefs":2712,"style":18},"01c60a58967b",[2708],{"_key":2709,"_type":13,"marks":2710,"text":2711},"9518fd6e8baf",[],"To this Linwood High School stage work Rod Harries wrote:",[],{"_key":2714,"_type":9,"audioSize":4,"audioURL":4,"children":2715,"fileURL":4,"image":4,"markDefs":2720,"style":634},"63ca1bd37508",[2716],{"_key":2717,"_type":13,"marks":2718,"text":2719},"dfe0347ac363",[],"For many years I had had an interest in Ancient Egypt and one of the topics which had attracted my attention was the strange episode of the rise and fall of the Pharaoh Akhenaten, with the concomitant revolutions in art and religion. It seemed to me that these would make a suitable basis for a total theatre production of the kind for which Linwood HS was becoming known. It surely had all the required components: a young king comes to the throne; he overthrows the established polytheistic religion, replacing it by monotheism; he takes away the power of the old priesthood; he marries a young woman whose beauty still appeals to people today; contrary to tradition he and his family appear in public, and in art, as real people; he builds a new capital city; his lack of interest in warfare leads to the armies being defeated in battle; he becomes blind; the old priesthood and conservative forces combine to destroy him and his new city, and attempt to efface every trace of his rule.",[],{"_key":2722,"_type":9,"audioSize":4,"audioURL":4,"children":2723,"fileURL":4,"image":4,"markDefs":2728,"style":634},"8a3ee4c9192c",[2724],{"_key":2725,"_type":13,"marks":2726,"text":2727},"74ed6145d5ab",[],"When one studies Ancient Egypt one can hardly fail to be struck by the way that the Egyptians themselves depicted their history in art, particularly in tomb-paintings. What I hoped we could produce was a sort of bringing to life of such art.",[],{"_key":2730,"_type":9,"audioSize":4,"audioURL":4,"children":2731,"fileURL":4,"image":4,"markDefs":2736,"style":634},"b85c92a3f04f",[2732],{"_key":2733,"_type":13,"marks":2734,"text":2735},"c5289861391a",[],"It seemed to me that any attempt to create suitable dialogue was doomed to failure. On the other hand, there were in existence English translations of texts from the time of Akhenaten, in particular his so-called ‘Hymn to Aten’, which could supply the basis for choral movements.\nIn lieu of dialogue I chose to have a disembodied voice, perhaps a goddess, intervene at times to comment.",[],{"_key":2738,"_type":9,"audioSize":4,"audioURL":4,"children":2739,"fileURL":4,"image":4,"markDefs":2744,"style":634},"76b13780bafc",[2740],{"_key":2741,"_type":13,"marks":2742,"text":2743},"6b18d5fa2164",[],"Some historians have suggested that towards the end of his reign Akhenaten became blind, perhaps as a result of staring at the sun, the visible manifestation of The Aten. Certainly a number of the sculptures of Akhenaten which survived the wholesale destruction of such images after his death show him (and, often, his family) with arms upraised and faces turned to the sun. This suggested to me that a visible representation of the sun, which could be gradually brightened during the course of the play and abruptly darkened towards the end, should be a central part of the setting. The art of the period provided the solar disc with supporting serpents, and the lighting department provided amber medium to form the face of the disc, and behind it a large dimmable floodlight. This solar disc was placed atop a structure which suggested a pyramid, because, although the pyramid building age was remote from the time of Akhenaten, the pyramid immediately suggested Egypt to the audience. Moreover, the various levels of the pyramid were useful for the choreography.",[],{"_key":2746,"_type":9,"audioSize":4,"audioURL":4,"children":2747,"fileURL":4,"image":4,"markDefs":2752,"style":634},"7859b82b7da2",[2748],{"_key":2749,"_type":13,"marks":2750,"text":2751},"fd241666bacb",[],"After that it was all up to others. Costumes resembling as closely as possible those depicted in the artwork of the period; the set designed round my basic suggestions of solar disc and pyramid; and, of course, above all the music.\n",[],{"_key":2754,"_type":9,"audioSize":4,"audioURL":4,"children":2755,"fileURL":4,"image":4,"markDefs":2760,"style":18},"740b1e25baba",[2756],{"_key":2757,"_type":13,"marks":2758,"text":2759},"bfe3dcec47440",[],"Once again I tried to involve some pupils in the writing of the music and once again it proved to be even more time consuming than if I'd done it myself. ",[2761],{"_key":2762,"_type":321,"reference":2763,"slug":2765,"type":510},"15353908e6c8",{"_ref":2764,"_type":324},"a1c172fc-e9b7-43af-a0a2-54b60216ffc2","the-fisherman-and-his-wife",{"_key":2767,"_type":9,"audioSize":4,"audioURL":4,"children":2768,"fileURL":4,"image":4,"markDefs":2773,"style":18},"8c0a11b28b74",[2769],{"_key":2770,"_type":13,"marks":2771,"text":2772},"70a4de3dbc66",[],"I remember, for example, visiting the School Certificate Music class, which had been studying (among other works) the finale of Stravinsky's \"Firebird Suite\". I suggested, that the music for sailing up the Nile to the site of the new city of Thebes could be built similarly: a simple 5 note melody capable of constant repetition, but with different instrumentation. In the end I accepted one such piece by a pupil but had to write the score and parts myself. ",[2774],{"_key":2762,"_type":321,"reference":2775,"slug":2765,"type":510},{"_ref":2764,"_type":324},{"_key":2777,"_type":9,"audioSize":4,"audioURL":4,"children":2778,"fileURL":4,"image":4,"markDefs":2782,"style":18},"bff9efd0fbd8",[2779],{"_key":2780,"_type":13,"marks":2781,"text":25},"c975959291bd",[],[],{"_key":2784,"_type":500,"audioSize":4,"audioURL":4,"caption":2785,"fileURL":4,"image":2786,"markDefs":4},"d613b636cd46","Linwood production of Akhnaton with the stage arranged in the form of a pyamid and the \"Aten\" as focal point. This \"sun\" was a large flood light which at the high point of the work shone blindingly at the audience before becoming suddenly dark.",{"caption":4,"id":2787,"meta":2788,"parentID":4,"parentType":510,"url":2792},"ade0b6d009e3b1ca3b4dbb5160bbcad843f45745",{"_type":506,"aspectRatio":2789,"height":2790,"width":2791},1.4244120940649496,893,1272,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fade0b6d009e3b1ca3b4dbb5160bbcad843f45745-1272x893.jpg",{"_key":2794,"_type":9,"audioSize":4,"audioURL":4,"children":2795,"fileURL":4,"image":4,"markDefs":2807,"style":18},"0940266ed524",[2796,2800,2804],{"_key":2797,"_type":13,"marks":2798,"text":2799},"67d1b641eeab",[],"Although the end result was very good it was probably less good than its three predecessors, and perhaps for this reason the following year there was no such total-theatre undertaking—instead I started working on the comic opera ",{"_key":2801,"_type":13,"marks":2802,"text":2803},"af8d7299b84e",[2762],"The Fisherman and his Wife",{"_key":2805,"_type":13,"marks":2806,"text":2020},"65a558054b51",[],[2808],{"_key":2762,"_type":321,"reference":2809,"slug":2765,"type":510},{"_ref":2764,"_type":324},[2811,2813,2815,2817],{"caption":2580,"id":2582,"meta":2812,"parentID":2575,"parentType":510,"url":2587},{"_type":506,"aspectRatio":2584,"height":2585,"width":2586},{"caption":2681,"id":2683,"meta":2814,"parentID":2575,"parentType":510,"url":2687},{"_type":506,"aspectRatio":2685,"height":2686,"width":2123},{"caption":2697,"id":2699,"meta":2816,"parentID":2575,"parentType":510,"url":2704},{"_type":506,"aspectRatio":2701,"height":2702,"width":2703},{"caption":2785,"id":2787,"meta":2818,"parentID":2575,"parentType":510,"url":2792},{"_type":506,"aspectRatio":2789,"height":2790,"width":2791},[2820],{"_key":2821,"_type":366,"date":2822,"location":2823},"54727a969a78","1972-01-01"," Linwood High School, Christchurch, New Zealand ","\n\nRod Harries wrote (January, 2022):\nOne night during Akhenaton I left the lighting box to the crew and went down to the servery at the other end of the hall, where I had installed a telephone connected to the lighting box, so I could watch the show as seen by the audience, while still able to direct the lighting. The show was wonderful. The lighting exceeded my hopes. The music was grand. How clever we were. And what fun!\n“Listen my children. It is night. All the Two Lands of Egypt are wrapt in night.”\n\nThe next big total theatre piece at Linwood High School (after The Odyssey, Harold and William and Simplicissimus) was Akhnaton. The basic idea came from Rod Harries who had been studying comparative religion and was fascinated by this first attempt at monotheism in ancient Egypt—an attempt which failed miserably. \n\nN.B. The modern accepted English spelling of the Pharaoh's name is Akhenaten. In 1972 we accepted the spelling used by Immanuel Velikovsky and others.\n\n\n\n\n\n\n\nTo this Linwood High School stage work Rod Harries wrote:\n\nFor many years I had had an interest in Ancient Egypt and one of the topics which had attracted my attention was the strange episode of the rise and fall of the Pharaoh Akhenaten, with the concomitant revolutions in art and religion. It seemed to me that these would make a suitable basis for a total theatre production of the kind for which Linwood HS was becoming known. It surely had all the required components: a young king comes to the throne; he overthrows the established polytheistic religion, replacing it by monotheism; he takes away the power of the old priesthood; he marries a young woman whose beauty still appeals to people today; contrary to tradition he and his family appear in public, and in art, as real people; he builds a new capital city; his lack of interest in warfare leads to the armies being defeated in battle; he becomes blind; the old priesthood and conservative forces combine to destroy him and his new city, and attempt to efface every trace of his rule.\n\nWhen one studies Ancient Egypt one can hardly fail to be struck by the way that the Egyptians themselves depicted their history in art, particularly in tomb-paintings. What I hoped we could produce was a sort of bringing to life of such art.\n\nIt seemed to me that any attempt to create suitable dialogue was doomed to failure. On the other hand, there were in existence English translations of texts from the time of Akhenaten, in particular his so-called ‘Hymn to Aten’, which could supply the basis for choral movements.\nIn lieu of dialogue I chose to have a disembodied voice, perhaps a goddess, intervene at times to comment.\n\nSome historians have suggested that towards the end of his reign Akhenaten became blind, perhaps as a result of staring at the sun, the visible manifestation of The Aten. Certainly a number of the sculptures of Akhenaten which survived the wholesale destruction of such images after his death show him (and, often, his family) with arms upraised and faces turned to the sun. This suggested to me that a visible representation of the sun, which could be gradually brightened during the course of the play and abruptly darkened towards the end, should be a central part of the setting. The art of the period provided the solar disc with supporting serpents, and the lighting department provided amber medium to form the face of the disc, and behind it a large dimmable floodlight. This solar disc was placed atop a structure which suggested a pyramid, because, although the pyramid building age was remote from the time of Akhenaten, the pyramid immediately suggested Egypt to the audience. Moreover, the various levels of the pyramid were useful for the choreography.\n\nAfter that it was all up to others. Costumes resembling as closely as possible those depicted in the artwork of the period; the set designed round my basic suggestions of solar disc and pyramid; and, of course, above all the music.\n\n\nOnce again I tried to involve some pupils in the writing of the music and once again it proved to be even more time consuming than if I'd done it myself. \n\nI remember, for example, visiting the School Certificate Music class, which had been studying (among other works) the finale of Stravinsky's \"Firebird Suite\". I suggested, that the music for sailing up the Nile to the site of the new city of Thebes could be built similarly: a simple 5 note melody capable of constant repetition, but with different instrumentation. In the end I accepted one such piece by a pupil but had to write the score and parts myself. \n\n\n\nAlthough the end result was very good it was probably less good than its three predecessors, and perhaps for this reason the following year there was no such total-theatre undertaking—instead I started working on the comic opera The Fisherman and his Wife.",{"_type":375,"current":2826},"akhnaton",{"date":2822,"instrumentation":2828,"text":2829},"school orchestra and brass band","Rodney Harries",{"_id":2831,"chapters":2832,"content":2833,"images":2967,"performances":4,"rawPoem":4,"rawText":2968,"slug":2969,"title":2962,"workInfo":2971,"workNumber":2973},"43a8cae2-c68e-4866-81fd-249d7ed3f669",[],[2834,2842,2879,2886,2906,2914,2930,2938,2946,2953,2960],{"_key":2835,"_type":9,"audioSize":4,"audioURL":4,"children":2836,"fileURL":4,"image":4,"markDefs":2841,"style":18},"709073ca9420",[2837],{"_key":2838,"_type":13,"marks":2839,"text":2840},"40819020df70",[]," ",[],{"_key":2843,"_type":9,"audioSize":4,"audioURL":4,"children":2844,"fileURL":4,"image":4,"markDefs":2872,"style":18},"dcee4cfed3e9",[2845,2849,2853,2857,2861,2865,2868],{"_key":2846,"_type":13,"marks":2847,"text":2848},"e3de4b6e50730",[],"During the first period at ",{"_key":2850,"_type":13,"marks":2851,"text":1034},"a296f853e7bc",[2852],"5abadd37c8cb",{"_key":2854,"_type":13,"marks":2855,"text":2856},"f6a6fadd6ece",[]," from 1962-65 the music was managed exclusively by Brian Barrett, a brilliant pianist, singer, conductor, timpanist—in short a very sensitive and capable all round musician. Although one had the feeling he would have been much more at home at the university, he never found a place there, and he never complained about having to teach class music—something which would have driven me mad. Occasionally I visited his classes with my clarinet and he also performed my setting of ",{"_key":2858,"_type":13,"marks":2859,"text":1356},"ee23d1163e1b",[2860],"7d1d847580cf",{"_key":2862,"_type":13,"marks":2863,"text":2864},"f6cfe3278b07",[]," with his ",{"_key":2866,"_type":13,"marks":2867,"text":1340},"e3de4b6e50735",[73],{"_key":2869,"_type":13,"marks":2870,"text":2871},"e3de4b6e50736",[],". During my two years in Europe 1966-67 he left Linwood for a job in Perth. I was never to see him again—he was there for only a short time before he died of cancer and his wife, Mary, and three children had to return to Christchurch without him.",[2873,2875],{"_key":2860,"_type":321,"reference":2874,"slug":1593,"type":510},{"_ref":1295,"_type":324},{"_key":2852,"_type":321,"reference":2876,"slug":2878,"type":968},{"_ref":2877,"_type":324},"e6a12766-cef6-4c6f-8819-d01037cd3cee","linwood-high-school",{"_key":2880,"_type":9,"audioSize":4,"audioURL":4,"children":2881,"fileURL":4,"image":4,"markDefs":2885,"style":18},"25264d6c7195",[2882],{"_key":2883,"_type":13,"marks":2884,"text":25},"22b80e1a45230",[],[],{"_key":2887,"_type":9,"audioSize":4,"audioURL":4,"children":2888,"fileURL":4,"image":4,"markDefs":2905,"style":18},"e6e3ad5a1e32",[2889,2893,2897,2901],{"_key":2890,"_type":13,"marks":2891,"text":2892},"1f8506cad6ed0",[73],"In memoriam Brian Barrett",{"_key":2894,"_type":13,"marks":2895,"text":2896},"1f8506cad6ed1",[]," (6 min) is an experimental piece, using fragments of the Gregorian ",{"_key":2898,"_type":13,"marks":2899,"text":2900},"1f8506cad6ed2",[73],"Dies Irae",{"_key":2902,"_type":13,"marks":2903,"text":2904},"1f8506cad6ed3",[],". There is a special part for timpani, which instrument Brian also played in the Christchurch Civic Orchestra.",[],{"_key":2907,"_type":9,"audioSize":4,"audioURL":4,"children":2908,"fileURL":4,"image":4,"markDefs":2913,"style":18},"3d8ac7bd37f8",[2909],{"_key":2910,"_type":13,"marks":2911,"text":2912},"599a58c7b24c",[],"Here is the introductory paragraph from the score:",[],{"_key":2915,"_type":9,"audioSize":4,"audioURL":4,"children":2916,"fileURL":4,"image":4,"markDefs":2929,"style":634},"1626a69b572d",[2917,2921,2925],{"_key":2918,"_type":13,"marks":2919,"text":2920},"e88191afda560",[],"Dedicated to my friend and colleague, ",{"_key":2922,"_type":13,"marks":2923,"text":2924},"fab3a57023cb",[15],"Brian Barrett",{"_key":2926,"_type":13,"marks":2927,"text":2928},"a39faf6ee4b6",[],", who died in Australia on January 20, 1971. ",[],{"_key":2931,"_type":9,"audioSize":4,"audioURL":4,"children":2932,"fileURL":4,"image":4,"markDefs":2937,"style":634},"a9d3995948ac",[2933],{"_key":2934,"_type":13,"marks":2935,"text":2936},"3c48cc308e7b",[],"In his short life Brian was a music teacher in Christchurch and in Perth, conductor of the Skellerup-Woolston Band and of the University of Canterbury Madrigal Singers, percussionist for the National Band of New Zealand which toured Britain in 1953, conductor and timpanist for the Christchurch Symphony Orchestra, chorister and deputy organist at Christchurch Cathedral, composer and arranger for all the groups he worked with. The present piece was written therefore for the Woolston-Skellerup Band which he once led, and because of his activities as a percussionist it has important parts for those instruments, especially the timpani. The requiem nature of the work is underlined by the quotation of a fragment from the Gregorian Dies Irae. ",[],{"_key":2939,"_type":9,"audioSize":4,"audioURL":4,"children":2940,"fileURL":4,"image":4,"markDefs":2945,"style":634},"30a62d1ea528",[2941],{"_key":2942,"_type":13,"marks":2943,"text":2944},"d5095b29ee53",[],"Kit Powell Christchurch 1972",[],{"_key":2947,"_type":9,"audioSize":4,"audioURL":4,"children":2948,"fileURL":4,"image":4,"markDefs":2952,"style":18},"9710ee297ffd",[2949],{"_key":2950,"_type":13,"marks":2951,"text":25},"2e3d03820a13",[],[],{"_key":2954,"_type":9,"audioSize":4,"audioURL":4,"children":2955,"fileURL":4,"image":4,"markDefs":2959,"style":18},"1a3868e520bc",[2956],{"_key":2957,"_type":13,"marks":2958,"text":25},"85e0ab434959",[],[],{"_key":2961,"_type":413,"audioSize":4,"audioURL":4,"description":2962,"file":2963,"fileURL":2966,"image":4,"markDefs":4},"cc5765e1f123","In Memoriam Brian Barrett",{"_type":416,"asset":2964},{"_ref":2965,"_type":324},"file-b5b3a84770cc65da4f64c8fa95d0db21d3c1a5d0-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fb5b3a84770cc65da4f64c8fa95d0db21d3c1a5d0.pdf",[]," \n\nDuring the first period at Linwood High School from 1962-65 the music was managed exclusively by Brian Barrett, a brilliant pianist, singer, conductor, timpanist—in short a very sensitive and capable all round musician. Although one had the feeling he would have been much more at home at the university, he never found a place there, and he never complained about having to teach class music—something which would have driven me mad. Occasionally I visited his classes with my clarinet and he also performed my setting of Psalm 8 with his University Madrigal Singers. During my two years in Europe 1966-67 he left Linwood for a job in Perth. I was never to see him again—he was there for only a short time before he died of cancer and his wife, Mary, and three children had to return to Christchurch without him.\n\n\n\nIn memoriam Brian Barrett (6 min) is an experimental piece, using fragments of the Gregorian Dies Irae. There is a special part for timpani, which instrument Brian also played in the Christchurch Civic Orchestra.\n\nHere is the introductory paragraph from the score:\n\nDedicated to my friend and colleague, Brian Barrett, who died in Australia on January 20, 1971. \n\nIn his short life Brian was a music teacher in Christchurch and in Perth, conductor of the Skellerup-Woolston Band and of the University of Canterbury Madrigal Singers, percussionist for the National Band of New Zealand which toured Britain in 1953, conductor and timpanist for the Christchurch Symphony Orchestra, chorister and deputy organist at Christchurch Cathedral, composer and arranger for all the groups he worked with. The present piece was written therefore for the Woolston-Skellerup Band which he once led, and because of his activities as a percussionist it has important parts for those instruments, especially the timpani. The requiem nature of the work is underlined by the quotation of a fragment from the Gregorian Dies Irae. \n\nKit Powell Christchurch 1972\n\n\n\n",{"_type":375,"current":2970},"in-memoriam-brian-barrett",{"date":2822,"instrumentation":2972,"length":841},"Brass Band",21,{"_id":2975,"chapters":2976,"content":2977,"images":3027,"performances":3028,"rawPoem":4,"rawText":3033,"slug":3034,"title":3036,"workInfo":3037,"workNumber":3040},"f1569067-0dd9-4fb6-a868-16d69157e2e3",[],[2978,2997,3004,3012,3019],{"_key":2979,"_type":9,"audioSize":4,"audioURL":4,"children":2980,"fileURL":4,"image":4,"markDefs":2994,"style":18},"c35e4d9419ea",[2981,2985,2990],{"_key":2982,"_type":13,"marks":2983,"text":2984},"1323434a7200",[],"Commissioned by Bob Perks (founder and then director of the CSIM) for a CSIM (",{"_key":2986,"_type":13,"marks":2987,"text":2989},"cb3106674f04",[2988],"12c01917a2ae","Christchurch School of Instrumental Music",{"_key":2991,"_type":13,"marks":2992,"text":2993},"0babe08c4154",[],") Demonstration Concert in Cowles Stadium, Christchurch.",[2995],{"_key":2988,"_type":316,"href":2996},"https:\u002F\u002Fwww.csm.org.nz\u002F",{"_key":2998,"_type":9,"audioSize":4,"audioURL":4,"children":2999,"fileURL":4,"image":4,"markDefs":3003,"style":18},"fd91dceb8df3",[3000],{"_key":3001,"_type":13,"marks":3002,"text":25},"cabaebb096eb0",[],[],{"_key":3005,"_type":9,"audioSize":4,"audioURL":4,"children":3006,"fileURL":4,"image":4,"markDefs":3011,"style":18},"7a96b09e1221",[3007],{"_key":3008,"_type":13,"marks":3009,"text":3010},"67a37675267e0",[],"An experimental work using graphic notation and inspired by listening to tapes played backwards. All sounds in the second half are an exact mirror image of those in the first half (for example, a gong struck normally in the first half was a gong crescendo with abrupt ending in the second). Important was also the exploitation of the spatial effect of movement and sounds among the orchestras.",[],{"_key":3013,"_type":9,"audioSize":4,"audioURL":4,"children":3014,"fileURL":4,"image":4,"markDefs":3018,"style":18},"59c4ba3e0369",[3015],{"_key":3016,"_type":13,"marks":3017,"text":25},"3ca05b9799050",[],[],{"_key":3020,"_type":9,"audioSize":4,"audioURL":4,"children":3021,"fileURL":4,"image":4,"markDefs":3026,"style":18},"44f288db93db",[3022],{"_key":3023,"_type":13,"marks":3024,"text":3025},"1cc55899ad630",[],"On the stage there were five orchestras, from beginners to the very good Youth Orchestra (centre stage). The idea that sounds would move back and forth across the wide stage meant that often the beginning of a phrase started left and finished right. This made for a rather difficult preparation period, since each orchestra rehearsed separately and only on the day of the concert did they all come together. Fortunately it worked at the end and the final result was well received.",[],[],[3029],{"_key":3030,"_type":366,"date":3031,"location":3032},"f3c69f4122a8","1980-01-01","Christchurch, New Zealand","Commissioned by Bob Perks (founder and then director of the CSIM) for a CSIM (Christchurch School of Instrumental Music) Demonstration Concert in Cowles Stadium, Christchurch.\n\n\n\nAn experimental work using graphic notation and inspired by listening to tapes played backwards. All sounds in the second half are an exact mirror image of those in the first half (for example, a gong struck normally in the first half was a gong crescendo with abrupt ending in the second). Important was also the exploitation of the spatial effect of movement and sounds among the orchestras.\n\n\n\nOn the stage there were five orchestras, from beginners to the very good Youth Orchestra (centre stage). The idea that sounds would move back and forth across the wide stage meant that often the beginning of a phrase started left and finished right. This made for a rather difficult preparation period, since each orchestra rehearsed separately and only on the day of the concert did they all come together. Fortunately it worked at the end and the final result was well received.",{"_type":375,"current":3035},"palindrome","Palindrome",{"date":3038,"instrumentation":3039},"1973-01-01","for 5 orchestras",22,{"_id":3042,"chapters":3043,"content":3044,"images":3174,"performances":4,"rawPoem":3175,"rawText":3176,"slug":3177,"title":3158,"workInfo":3178,"workNumber":3182},"4571c366-f6eb-4154-bb39-2358a0e7156a",[],[3045,3053,3061,3077,3084,3160,3167],{"_key":3046,"_type":9,"audioSize":4,"audioURL":4,"children":3047,"fileURL":4,"image":4,"markDefs":3052,"style":18},"0f9b34265931",[3048],{"_key":3049,"_type":13,"marks":3050,"text":3051},"969fba3ffa52",[],"An experimental piece for unaccompanied choir (16+ voices). The sections S, A, T, B are divided in 4",[],{"_key":3054,"_type":9,"audioSize":4,"audioURL":4,"children":3055,"fileURL":4,"image":4,"markDefs":3060,"style":18},"dc3a20794b4a",[3056],{"_key":3057,"_type":13,"marks":3058,"text":3059},"af2bbeb76968",[],"After completing the work I had doubts that it was possible to perform. 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It is in three sections: slow\u002Ffast\u002F slow. The first section contains a stone cadenza, and the third a canon for the two antiphonal groups. The work was commissioned by APRA for the Ilam Wind Ensemble to perform at Sonic Circus 4.",[],{"_key":3550,"_type":9,"audioSize":4,"audioURL":4,"children":3551,"fileURL":4,"image":4,"markDefs":3597,"style":634},"0e28e01e34ce",[3552,3555,3559,3563,3567,3571,3575,3578,3582,3585,3589,3593],{"_key":3553,"_type":13,"marks":3554,"text":3543},"17bf357b5d2d0",[73],{"_key":3556,"_type":13,"marks":3557,"text":3558},"17bf357b5d2d1",[],": one kind of song, one kind of poem. ",{"_key":3560,"_type":13,"marks":3561,"text":3562},"17bf357b5d2d2",[73],"Stone-poems",{"_key":3564,"_type":13,"marks":3565,"text":3566},"17bf357b5d2d3",[]," were, and are, always being made, always being sought and imagined into existence. As with music and its measures of time, space, and feeling, the ",{"_key":3568,"_type":13,"marks":3569,"text":3570},"17bf357b5d2d4",[73],"stonepoem",{"_key":3572,"_type":13,"marks":3573,"text":3574},"17bf357b5d2d5",[]," is always there—waiting in the enigmas of possibility, in the curve of a hand, in the weight and shaping force of earth, air, fire, and water. And waiting too, in the voice. ",{"_key":3576,"_type":13,"marks":3577,"text":3543},"17bf357b5d2d6",[73],{"_key":3579,"_type":13,"marks":3580,"text":3581},"17bf357b5d2d7",[],": the extension into and out of music—the music of ‘matter’ found in its elemental state and shaped through the imaginative fields of sounds and images. The ‘secret’ life of the ",{"_key":3583,"_type":13,"marks":3584,"text":3570},"17bf357b5d2d8",[73],{"_key":3586,"_type":13,"marks":3587,"text":3588},"17bf357b5d2d9",[]," is no secret: it is the imaginative notation of ",{"_key":3590,"_type":13,"marks":3591,"text":3592},"17bf357b5d2d10",[73],"discovery",{"_key":3594,"_type":13,"marks":3595,"text":3596},"17bf357b5d2d11",[],", embraced in the music of the stone and the music of the voice. It is measured against the silence of space and born in the images that we dream we may become.",[],[3599,3601,3603],{"caption":3363,"id":3365,"meta":3600,"parentID":3357,"parentType":510,"url":3370},{"_type":506,"aspectRatio":3367,"height":3368,"width":3369},{"caption":3418,"id":3420,"meta":3602,"parentID":3357,"parentType":510,"url":3425},{"_type":506,"aspectRatio":3422,"height":3423,"width":3424},{"caption":3488,"id":3490,"meta":3604,"parentID":3357,"parentType":510,"url":261},{"_type":506,"aspectRatio":3492,"height":3493,"width":3494},[3606],{"_key":3607,"_type":366,"date":3338,"location":3608,"performers":3609},"acbd14ed8c65","Ngaio Marsh Theatre , Christchurch, NZ","Ilam Wind Ensemble\nSpeakers: Michael Harlow and Kit Powell","Commissioned by APRA for the Sonic Circus IV in Christchurch 1976. Written for the Ilam Wind Ensemble who performed the work in the Ngaio Marsh Theatre, conducted by Thomas Rogers. Scored for double wind quintet placed antiphonally, two speakers (Michael Harlow and Kit Powell) and a stone curtain (played by the speakers).\n\nThis was my first collaborative work with Michael Harlow—how it was that we came to use stones is described on the Michael Harlow–page and also in the J. M. Moreau Interview.\n\nIt was performed very successfully (but only once) in the Ngaio Marsh Theatre of the Canterbury University. Douglas Lilburn was present and was very positive in his reaction. The work was also recorded by Radio New Zealand but apparently lost!\n\nMichael Harlow wrote the following in the December 1976 issue of Landfall\n\nStone Poem\n\nStonepoem is scored for two antiphonal wind quintets plus two speakers with stones. It is in three sections: slow\u002Ffast\u002F slow. The first section contains a stone cadenza, and the third a canon for the two antiphonal groups. The work was commissioned by APRA for the Ilam Wind Ensemble to perform at Sonic Circus 4.\n\nStonepoem: one kind of song, one kind of poem. Stone-poems were, and are, always being made, always being sought and imagined into existence. As with music and its measures of time, space, and feeling, the stonepoem is always there—waiting in the enigmas of possibility, in the curve of a hand, in the weight and shaping force of earth, air, fire, and water. And waiting too, in the voice. Stonepoem: the extension into and out of music—the music of ‘matter’ found in its elemental state and shaped through the imaginative fields of sounds and images. The ‘secret’ life of the stonepoem is no secret: it is the imaginative notation of discovery, embraced in the music of the stone and the music of the voice. It is measured against the silence of space and born in the images that we dream we may become.",{"_type":375,"current":3612},"stone-poem",{"date":3338,"instrumentation":3614,"text":3405},"2 wind quintets, 2 speakers and stone curtain",25,{"_id":3617,"chapters":3618,"content":3619,"images":3984,"performances":3993,"rawPoem":4004,"rawText":4005,"slug":4006,"title":3662,"workInfo":4008,"workNumber":4011},"8224dc77-f9cb-46b5-b341-322b0f8c121d",[],[3620,3627,3634,3644,3652,3707,3723,3730,3740,3768,3791,3840,3848,3864,3879,3887,3895,3903,3922,3930,3948,3960,3970,3977],{"_key":3621,"_type":9,"audioSize":4,"audioURL":4,"children":3622,"fileURL":4,"image":4,"markDefs":3626,"style":18},"3ad3cb9ca826",[3623],{"_key":3624,"_type":13,"marks":3625,"text":25},"3ebea58f66d8",[],[],{"_key":3628,"_type":9,"audioSize":4,"audioURL":4,"children":3629,"fileURL":4,"image":4,"markDefs":3633,"style":18},"ae9cdc365f2d",[3630],{"_key":3631,"_type":13,"marks":3632,"text":25},"1ccbccfdf059",[],[],{"_key":3635,"_type":500,"audioSize":4,"audioURL":4,"caption":3636,"fileURL":4,"image":3637,"markDefs":4},"7a7bd7c15ae2","Sketch showing scafolding and lighting for found instruments",{"caption":4,"id":3638,"meta":3639,"parentID":4,"parentType":510,"url":3643},"3e3cbcbde38f78965a35957c07bf0730994b4e6e",{"_type":506,"aspectRatio":3640,"height":3641,"width":3642},0.7435307648073606,1739,1293,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F3e3cbcbde38f78965a35957c07bf0730994b4e6e-1293x1739.jpg",{"_key":3645,"_type":9,"audioSize":4,"audioURL":4,"children":3646,"fileURL":4,"image":4,"markDefs":3651,"style":18},"6808732dc935",[3647],{"_key":3648,"_type":13,"marks":3649,"text":3650},"81d8d2bb7933",[],"Michael Harlow: Introduction to the 1984 edition of “Texts for Composition”",[],{"_key":3653,"_type":9,"audioSize":4,"audioURL":4,"children":3654,"fileURL":4,"image":4,"markDefs":3701,"style":634},"0e6ac1527033",[3655,3659,3663,3667,3672,3675,3680,3684,3689,3693,3697],{"_key":3656,"_type":13,"marks":3657,"text":3658},"94c34515aaca",[],"These ",{"_key":3660,"_type":13,"marks":3661,"text":3662},"da3dd1e7f0b0",[73],"Texts for Composition",{"_key":3664,"_type":13,"marks":3665,"text":3666},"8c66952c025e",[]," owe their initial impulse to ",{"_key":3668,"_type":13,"marks":3669,"text":3671},"f744d152896f",[3670],"bad004f691ad","Karlheinz Stockhausen's",{"_key":3673,"_type":13,"marks":3674,"text":2840},"a63684dc89c0",[],{"_key":3676,"_type":13,"marks":3677,"text":3679},"813cf8b38a82",[3678],"923abccbadff","Aus den sieben Tagen",{"_key":3681,"_type":13,"marks":3682,"text":3683},"821ab1a95d2d",[]," composed in May 1968 as well as his ",{"_key":3685,"_type":13,"marks":3686,"text":3688},"1e3b4c8e0743",[3687],"233e4000e71d","Für kommende Zeiten",{"_key":3690,"_type":13,"marks":3691,"text":3692},"307e98e6f5e6",[],", 17 ",{"_key":3694,"_type":13,"marks":3695,"text":3696},"061ad7dd620c",[73],"Texte für intuitive Musik",{"_key":3698,"_type":13,"marks":3699,"text":3700},"df1cbbc2da1c",[],", Werk Nr. 33.",[3702,3704,3706],{"_key":3687,"_type":316,"blank":1058,"href":3703},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FF%C3%BCr_kommende_Zeiten",{"_key":3670,"_type":316,"blank":1058,"href":3705},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FAus_den_sieben_Tagen",{"_key":3678,"_type":316,"blank":1058,"href":3705},{"_key":3708,"_type":9,"audioSize":4,"audioURL":4,"children":3709,"fileURL":4,"image":4,"markDefs":3722,"style":634},"5dbaf9939ad6",[3710,3714,3718],{"_key":3711,"_type":13,"marks":3712,"text":3713},"b8ce8c4e53690",[],"I am indebted for some of the material extracted from ",{"_key":3715,"_type":13,"marks":3716,"text":3717},"b8ce8c4e53691",[73],"Flexibility Exercises",{"_key":3719,"_type":13,"marks":3720,"text":3721},"b8ce8c4e53692",[]," by T. G. Cutler, from his Speech Studio, Christchurch, New Zealand.",[],{"_key":3724,"_type":9,"audioSize":4,"audioURL":4,"children":3725,"fileURL":4,"image":4,"markDefs":3729,"style":18},"6e8050b26b6f",[3726],{"_key":3727,"_type":13,"marks":3728,"text":25},"c31776e64f2f",[],[],{"_key":3731,"_type":500,"audioSize":4,"audioURL":4,"caption":3732,"fileURL":4,"image":3733,"markDefs":4},"245b7a958b54","Kit and Michael preparing for a performance of \"Texts for Composition\"",{"caption":4,"id":3734,"meta":3735,"parentID":4,"parentType":510,"url":3739},"b179f6b9c2c5d6644a5680897ad2dad55f637c7f",{"_type":506,"aspectRatio":3736,"height":3737,"width":3738},0.7946787148594378,1992,1583,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fb179f6b9c2c5d6644a5680897ad2dad55f637c7f-1583x1992.jpg",{"_key":3741,"_type":9,"audioSize":4,"audioURL":4,"children":3742,"fileURL":4,"image":4,"markDefs":3765,"style":18},"043cb5efebc5",[3743,3746,3750,3754,3758,3761],{"_key":3744,"_type":13,"marks":3745,"text":3662},"a99bb43205c60",[73],{"_key":3747,"_type":13,"marks":3748,"text":3749},"a99bb43205c61",[]," can be enjoyed as a work in its own right, but it can also be used as the framework and inspiration for a new work. ",{"_key":3751,"_type":13,"marks":3752,"text":3405},"36744856c41f",[3753],"b667d538d80a",{"_key":3755,"_type":13,"marks":3756,"text":3757},"e0994dd66d76",[]," showed how this was possible during the writing of the work itself when he responded to his own first set of texts and to my graphic scores to produce the second set of texts. The deliberate ambiguity of texts and scores means that there is no limit to the number of new works ",{"_key":3759,"_type":13,"marks":3760,"text":3662},"a99bb43205c64",[73],{"_key":3762,"_type":13,"marks":3763,"text":3764},"a99bb43205c65",[]," can inspire. In documenting the 1983 Christchurch version my aim is rather to remember what we did and to offer a possible realisation, than to give the impression of a definitive version. It is, of course, just one example of the many millions of possibilities.",[3766],{"_key":3753,"_type":321,"reference":3767,"slug":3414,"type":326},{"_ref":3413,"_type":324},{"_key":3769,"_type":9,"audioSize":4,"audioURL":4,"children":3770,"fileURL":4,"image":4,"markDefs":3790,"style":18},"2ae2a6c02c21",[3771,3775,3778,3782,3786],{"_key":3772,"_type":13,"marks":3773,"text":3774},"60d93c43c22c0",[],"The 1983 Christchurch version of ",{"_key":3776,"_type":13,"marks":3777,"text":3662},"60d93c43c22c1",[73],{"_key":3779,"_type":13,"marks":3780,"text":3781},"60d93c43c22c2",[]," We set out to make a piece using found objects, tapes and movement—and the ",{"_key":3783,"_type":13,"marks":3784,"text":3785},"60d93c43c22c3",[73],"Texts",{"_key":3787,"_type":13,"marks":3788,"text":3789},"60d93c43c22c4",[]," themselves. These last were both seen and heard. Slides of texts and graphic scores were projected—white on black—for each section of the piece. This became a visual effect as well as a projection of the pages of a book, because the image was thrown across the acting space and danced on the backs of the players and on the sides of their instruments. The texts were also the impetus and material for spoken improvisations, which follow one or two of the “straight” readings on the tape.",[],{"_key":3792,"_type":9,"audioSize":4,"audioURL":4,"children":3793,"fileURL":4,"image":4,"markDefs":3835,"style":18},"00e363b4fa86",[3794,3798,3802,3806,3810,3814,3818,3823,3827,3831],{"_key":3795,"_type":13,"marks":3796,"text":3797},"2d0a6ab84a960",[73],"Layout of stage:",{"_key":3799,"_type":13,"marks":3800,"text":3801},"2d0a6ab84a961",[]," The stage diagram—see below—is shown on each left-hand page of the score. We worked in a square area which was dominated by two large scaffolding constructions: the ",{"_key":3803,"_type":13,"marks":3804,"text":3805},"2d0a6ab84a962",[73],"gong stand",{"_key":3807,"_type":13,"marks":3808,"text":3809},"2d0a6ab84a963",[]," and the ",{"_key":3811,"_type":13,"marks":3812,"text":3813},"2d0a6ab84a964",[73],"tree stand",{"_key":3815,"_type":13,"marks":3816,"text":3817},"2d0a6ab84a965",[],". The two stands were joined by a 10m long bar, which was about 2.5m above ground level. Because we were using found instruments, some of which made tiny sounds, we needed microphones. M1 (microphone 1) lay on the ground near the stone mat and M2 (microphone 2) was on a stand in the corner opposite. C.M. was the output from several contact microphones which were planted in our trees. The trees were built under the direction of ",{"_key":3819,"_type":13,"marks":3820,"text":3822},"013610864aa6",[3821],"6ea0b5b6201b","Ian Whalley",{"_key":3824,"_type":13,"marks":3825,"text":3826},"7aae0896a6ca",[],", developing and enlarging an ideal of mine called a ",{"_key":3828,"_type":13,"marks":3829,"text":3830},"2d0a6ab84a968",[73],"dowel-box",{"_key":3832,"_type":13,"marks":3833,"text":3834},"2d0a6ab84a969",[],". Dowels of different lengths are glued into a resonating box and are plucked or beaten or bowed, or they are fitted with rubber bands which are plucked or strummed. These trees were about 2 m high and hung from scaffolding. The output from each contact microphone went to a repeater (small microphone mixer) whose output went to another mixer which combined the signals of M1, M2, C.M. and the tape recorder.",[3836],{"_key":3821,"_type":321,"reference":3837,"slug":3839,"type":326},{"_ref":3838,"_type":324},"200c2051-787a-4c8d-a37d-8717837a4bb7","ian-whalley",{"_key":3841,"_type":9,"audioSize":4,"audioURL":4,"children":3842,"fileURL":4,"image":4,"markDefs":3847,"style":18},"4954f83eaf2f",[3843],{"_key":3844,"_type":13,"marks":3845,"text":3846},"8aad1d03277c0",[],"Also mounted on the scaffolding were about 8 spot lights which were able to light the three general areas: centre stage, gong stand and tree stand.",[],{"_key":3849,"_type":9,"audioSize":4,"audioURL":4,"children":3850,"fileURL":4,"image":4,"markDefs":3863,"style":18},"f8b084cc5af5",[3851,3855,3859],{"_key":3852,"_type":13,"marks":3853,"text":3854},"da11c821d0b50",[],"The pattern for all ten ",{"_key":3856,"_type":13,"marks":3857,"text":3858},"da11c821d0b51",[73],"Days",{"_key":3860,"_type":13,"marks":3861,"text":3862},"da11c821d0b52",[]," is the same.",[],{"_key":3865,"_type":9,"audioSize":4,"audioURL":4,"children":3866,"fileURL":4,"image":4,"markDefs":3878,"style":18},"362b6f3d2058",[3867,3871,3875],{"_key":3868,"_type":13,"marks":3869,"text":3870},"f9c69a86e2500",[],"Here, as an example, is ",{"_key":3872,"_type":13,"marks":3873,"text":3874},"f9c69a86e2501",[73],"Day 1",{"_key":3876,"_type":13,"marks":3877,"text":104},"f9c69a86e2502",[],[],{"_key":3880,"_type":9,"audioSize":4,"audioURL":4,"children":3881,"fileURL":4,"image":4,"level":382,"listItem":2078,"markDefs":3886,"style":18},"0ef7fce9d3dc",[3882],{"_key":3883,"_type":13,"marks":3884,"text":3885},"36e9f995d6ca0",[],"The first text (“Wake early . . . “) was inspiration for …",[],{"_key":3888,"_type":9,"audioSize":4,"audioURL":4,"children":3889,"fileURL":4,"image":4,"level":382,"listItem":2078,"markDefs":3894,"style":18},"7ac72d555bc2",[3890],{"_key":3891,"_type":13,"marks":3892,"text":3893},"e68199f38d3e0",[],"the graphic and …",[],{"_key":3896,"_type":9,"audioSize":4,"audioURL":4,"children":3897,"fileURL":4,"image":4,"level":382,"listItem":2078,"markDefs":3902,"style":18},"b451d92aa98e",[3898],{"_key":3899,"_type":13,"marks":3900,"text":3901},"c4fed6390ded0",[],"the second text (“Play what you hear . . .\") a reaction to the graphic.",[],{"_key":3904,"_type":754,"audioSize":4,"audioURL":4,"author":3405,"fileURL":4,"image":4,"markDefs":4,"poem":3905,"title":3914},"a95f3a7df1df",[3906],{"_key":3907,"_type":9,"children":3908,"markDefs":3913,"style":18},"464d0138c78b",[3909],{"_key":3910,"_type":13,"marks":3911,"text":3912},"2c614ca955db",[],"Wake, early\non your birth-day\nbreath in,\nbreath out,\nlike (two) boatmen\nrowing\n(Lax",[],[3915],{"_key":3916,"_type":9,"children":3917,"markDefs":3921,"style":18},"076fc2123f9f",[3918],{"_key":3919,"_type":13,"marks":3920,"text":3874},"c84284aaf55f",[15,73],[],{"_key":3923,"_type":500,"audioSize":4,"audioURL":4,"fileURL":4,"image":3924,"markDefs":4},"f00c5cb2aff7",{"caption":4,"id":3925,"meta":3926,"parentID":4,"parentType":510,"url":249},"709ac32f5199b21df9dcb091ff1a9c10386d0ffa",{"_type":506,"aspectRatio":3927,"height":3928,"width":3929},1.4244186046511629,516,735,{"_key":3931,"_type":754,"audioSize":4,"audioURL":4,"fileURL":4,"hideTitle":1058,"image":4,"markDefs":4,"poem":3932,"title":3941},"c81cf6555d94",[3933],{"_key":3934,"_type":9,"children":3935,"markDefs":3940,"style":18},"cab66cbcec09",[3936],{"_key":3937,"_type":13,"marks":3938,"text":3939},"e3e3be8d710e",[],": Play what you hear, forward\nthen, backward : let the phrase\nmove in & out : let light and dark\nbe as a mirror :",[],[3942],{"_key":3934,"_type":9,"children":3943,"markDefs":3947,"style":18},[3944],{"_key":3937,"_type":13,"marks":3945,"text":3946},[],": Play what you hear",[],{"_key":3949,"_type":9,"audioSize":4,"audioURL":4,"children":3950,"fileURL":4,"image":4,"markDefs":3959,"style":634},"13d4b3beb08d",[3951,3955],{"_key":3952,"_type":13,"marks":3953,"text":3954},"655e806f08d8",[15],"DAY 1",{"_key":3956,"_type":13,"marks":3957,"text":3958},"7114f0fbd5a6",[]," (movement text): Rise slowly to standing position during text. Movement becomes more and more agitated. Shape of flower is completely open. Freeze on word “mirror”. The group turns slowly to leave flower formation and heads in slow motion towards gongs. Electronic and improvised voice sounds on tape. One big stroke on gongs from everybody, as tape finishes. Freeze. E drums on tiny drum. Duartion: ca. 3 minutes.",[],{"_key":3961,"_type":500,"alt":3962,"audioSize":4,"audioURL":4,"caption":3962,"fileURL":4,"image":3963,"markDefs":4},"da83364c6c34","Day 1 Stage Diagram",{"caption":4,"id":3964,"meta":3965,"parentID":4,"parentType":510,"url":3969},"32521f8c6aba70e63520952bc44c1656af95f0ce",{"_type":506,"aspectRatio":3966,"height":3967,"width":3968},1.0721003134796239,638,684,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F32521f8c6aba70e63520952bc44c1656af95f0ce-684x638.jpg",{"_key":3971,"_type":413,"audioSize":4,"audioURL":4,"description":3972,"file":3973,"fileURL":3976,"image":4,"markDefs":4},"bb35a8ec4f38","Texts for Composition, Score",{"_type":416,"asset":3974},{"_ref":3975,"_type":324},"file-3976473107f405014e593a6752845d234178381f-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F3976473107f405014e593a6752845d234178381f.pdf",{"_key":3978,"_type":9,"audioSize":4,"audioURL":4,"children":3979,"fileURL":4,"image":4,"markDefs":3983,"style":18},"30f2dad8eb54",[3980],{"_key":3981,"_type":13,"marks":3982,"text":25},"ec5f12b93a97",[],[],[3985,3987,3989,3991],{"caption":3636,"id":3638,"meta":3986,"parentID":3617,"parentType":510,"url":3643},{"_type":506,"aspectRatio":3640,"height":3641,"width":3642},{"caption":3732,"id":3734,"meta":3988,"parentID":3617,"parentType":510,"url":3739},{"_type":506,"aspectRatio":3736,"height":3737,"width":3738},{"caption":4,"id":3925,"meta":3990,"parentID":3617,"parentType":510,"url":249},{"_type":506,"aspectRatio":3927,"height":3928,"width":3929},{"caption":3962,"id":3964,"meta":3992,"parentID":3617,"parentType":510,"url":3969},{"_type":506,"aspectRatio":3966,"height":3967,"width":3968},[3994,3996,4000],{"_key":3995,"_type":366,"date":3345,"location":3032},"a9a06341870a",{"_key":3997,"_type":366,"date":3998,"location":3999},"111083834613","1998-01-01","Wädenswil Switzerland",{"_key":4001,"_type":366,"date":4002,"location":2558,"title":4003},"7e1bb1431dc2","2002-01-01","André Fischer, A Perfect Circle","Wake, early\non your birth-day\nbreath in,\nbreath out,\nlike (two) boatmen\nrowing\n(Lax\n\n: Play what you hear, forward\nthen, backward : let the phrase\nmove in & out : let light and dark\nbe as a mirror :","\n\n\n\nMichael Harlow: Introduction to the 1984 edition of “Texts for Composition”\n\nThese Texts for Composition owe their initial impulse to Karlheinz Stockhausen's Aus den sieben Tagen composed in May 1968 as well as his Für kommende Zeiten, 17 Texte für intuitive Musik, Werk Nr. 33.\n\nI am indebted for some of the material extracted from Flexibility Exercises by T. G. Cutler, from his Speech Studio, Christchurch, New Zealand.\n\n\n\nTexts for Composition can be enjoyed as a work in its own right, but it can also be used as the framework and inspiration for a new work. Michael Harlow showed how this was possible during the writing of the work itself when he responded to his own first set of texts and to my graphic scores to produce the second set of texts. The deliberate ambiguity of texts and scores means that there is no limit to the number of new works Texts for Composition can inspire. In documenting the 1983 Christchurch version my aim is rather to remember what we did and to offer a possible realisation, than to give the impression of a definitive version. It is, of course, just one example of the many millions of possibilities.\n\nThe 1983 Christchurch version of Texts for Composition We set out to make a piece using found objects, tapes and movement—and the Texts themselves. These last were both seen and heard. Slides of texts and graphic scores were projected—white on black—for each section of the piece. This became a visual effect as well as a projection of the pages of a book, because the image was thrown across the acting space and danced on the backs of the players and on the sides of their instruments. The texts were also the impetus and material for spoken improvisations, which follow one or two of the “straight” readings on the tape.\n\nLayout of stage: The stage diagram—see below—is shown on each left-hand page of the score. We worked in a square area which was dominated by two large scaffolding constructions: the gong stand and the tree stand. The two stands were joined by a 10m long bar, which was about 2.5m above ground level. Because we were using found instruments, some of which made tiny sounds, we needed microphones. M1 (microphone 1) lay on the ground near the stone mat and M2 (microphone 2) was on a stand in the corner opposite. C.M. was the output from several contact microphones which were planted in our trees. The trees were built under the direction of Ian Whalley, developing and enlarging an ideal of mine called a dowel-box. Dowels of different lengths are glued into a resonating box and are plucked or beaten or bowed, or they are fitted with rubber bands which are plucked or strummed. These trees were about 2 m high and hung from scaffolding. The output from each contact microphone went to a repeater (small microphone mixer) whose output went to another mixer which combined the signals of M1, M2, C.M. and the tape recorder.\n\nAlso mounted on the scaffolding were about 8 spot lights which were able to light the three general areas: centre stage, gong stand and tree stand.\n\nThe pattern for all ten Days is the same.\n\nHere, as an example, is Day 1:\n\nThe first text (“Wake early . . . “) was inspiration for …\n\nthe graphic and …\n\nthe second text (“Play what you hear . . .\") a reaction to the graphic.\n\nDAY 1 (movement text): Rise slowly to standing position during text. Movement becomes more and more agitated. Shape of flower is completely open. Freeze on word “mirror”. The group turns slowly to leave flower formation and heads in slow motion towards gongs. Electronic and improvised voice sounds on tape. One big stroke on gongs from everybody, as tape finishes. Freeze. E drums on tiny drum. Duartion: ca. 3 minutes.\n\n",{"_type":375,"current":4007},"texts-for-composition",{"date":3031,"instrumentation":4009,"length":4010,"text":3405},"free—found objects",45,34,{"_id":4013,"chapters":4014,"content":4015,"images":4164,"performances":4,"rawPoem":4,"rawText":4165,"slug":4166,"title":4134,"workInfo":4168,"workNumber":4172},"7c7d260d-612c-48a5-933c-75b7660e7f76",[],[4016,4032,4051,4067,4075,4082,4090,4097,4105,4112,4120,4127,4136,4143,4150,4157],{"_key":4017,"_type":9,"audioSize":4,"audioURL":4,"children":4018,"fileURL":4,"image":4,"markDefs":4031,"style":18},"acda0f14187f",[4019,4023,4027],{"_key":4020,"_type":13,"marks":4021,"text":4022},"8ff6ab71dd550",[],"First movement, ",{"_key":4024,"_type":13,"marks":4025,"text":4026},"8ff6ab71dd551",[73,15],"March",{"_key":4028,"_type":13,"marks":4029,"text":4030},"8ff6ab71dd552",[],", is in a Satie-like style and was first written for the 1979  Teachers College orchestra.",[],{"_key":4033,"_type":9,"audioSize":4,"audioURL":4,"children":4034,"fileURL":4,"image":4,"markDefs":4050,"style":18},"27794d7820f8",[4035,4039,4043,4046],{"_key":4036,"_type":13,"marks":4037,"text":4038},"cb2f51b6f8130",[],"Movement two ",{"_key":4040,"_type":13,"marks":4041,"text":4042},"cb2f51b6f8131",[73,15],"Molto grave e delicato",{"_key":4044,"_type":13,"marks":4045,"text":2840},"cb2f51b6f8132",[15],{"_key":4047,"_type":13,"marks":4048,"text":4049},"cffde7b19491",[],"is an orchestration of an early piano piece.",[],{"_key":4052,"_type":9,"audioSize":4,"audioURL":4,"children":4053,"fileURL":4,"image":4,"markDefs":4066,"style":18},"1997729660aa",[4054,4058,4062],{"_key":4055,"_type":13,"marks":4056,"text":4057},"71bfb0cb0d440",[],"The third movement, ",{"_key":4059,"_type":13,"marks":4060,"text":4061},"71bfb0cb0d441",[73,15],"Vivace",{"_key":4063,"_type":13,"marks":4064,"text":4065},"71bfb0cb0d442",[],", also in a Satie-like style, was especially written to complete the cycle. ",[],{"_key":4068,"_type":9,"audioSize":4,"audioURL":4,"children":4069,"fileURL":4,"image":4,"markDefs":4074,"style":18},"2078b09c5162",[4070],{"_key":4071,"_type":13,"marks":4072,"text":4073},"65c6d0018aea0",[],"This version, completed in 1979 was replaced by a revised version in 1982 for double wind, three percussionists and strings. ",[],{"_key":4076,"_type":9,"audioSize":4,"audioURL":4,"children":4077,"fileURL":4,"image":4,"markDefs":4081,"style":18},"73ae5db41620",[4078],{"_key":4071,"_type":13,"marks":4079,"text":4080},[],"The final version with a new title and with major changes (especially to the third movement) is from 2023\u002F6.",[],{"_key":4083,"_type":9,"audioSize":4,"audioURL":4,"children":4084,"fileURL":4,"image":4,"markDefs":4089,"style":18},"72d2892b79fe",[4085],{"_key":4086,"_type":13,"marks":4087,"text":4088},"3297b48ebd2c",[],"I hereby withdraw the earlier versions with the title “3 Easy Pieces for Orchestra”. ",[],{"_key":4091,"_type":9,"audioSize":4,"audioURL":4,"children":4092,"fileURL":4,"image":4,"markDefs":4096,"style":18},"2b45609cadb1",[4093],{"_key":4086,"_type":13,"marks":4094,"text":4095},[],"Any future performances should be of the following (“Three Short Pieces for Orchestra”):",[],{"_key":4098,"_type":413,"audioSize":4,"audioURL":4,"description":4099,"file":4100,"fileURL":4103,"filename":4104,"image":4,"markDefs":4},"80c0a0615b4a","Three Short Pieces for Orchestra - Full Score.",{"_type":416,"asset":4101},{"_ref":4102,"_type":324},"file-2e8d0570690b11b61476010ea52f8e9fc3032445-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F2e8d0570690b11b61476010ea52f8e9fc3032445.pdf","3 Short Pieces for Orchestra-Full Score.pdf",{"_key":4106,"_type":9,"audioSize":4,"audioURL":4,"children":4107,"fileURL":4,"image":4,"markDefs":4111,"style":18},"86c05ccfb6fe",[4108],{"_key":4109,"_type":13,"marks":4110,"text":25},"7268cf877e9d",[],[],{"_key":4113,"_type":413,"audioSize":4,"audioURL":4,"description":4114,"file":4115,"fileURL":4118,"filename":4119,"image":4,"markDefs":4},"0ab3aea2e67a","Three Short Pieces for Orchestra – Performing Material",{"_type":416,"asset":4116},{"_ref":4117,"_type":324},"file-a6ddb7cd16a74af0ab7b61c6e9909cbf832e1371-zip","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fa6ddb7cd16a74af0ab7b61c6e9909cbf832e1371.zip","Three Short Pieces Parts.zip",{"_key":4121,"_type":9,"audioSize":4,"audioURL":4,"children":4122,"fileURL":4,"image":4,"markDefs":4126,"style":18},"fb11bc0314fc",[4123],{"_key":4124,"_type":13,"marks":4125,"text":25},"67d8e699103c",[],[],{"_key":4128,"_type":423,"audio":4129,"audioSize":4132,"audioURL":4133,"caption":4134,"fileURL":4,"image":4,"markDefs":4,"musicians":4135},"51e579354f54",{"_type":416,"asset":4130},{"_ref":4131,"_type":324},"file-b408cb4206468dc536bd61fbfa8f3672c50333f3-mp3",6986145,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fb408cb4206468dc536bd61fbfa8f3672c50333f3.mp3","Three Short Pieces for Orchestra","Computer Sounds",{"_key":4137,"_type":9,"audioSize":4,"audioURL":4,"children":4138,"fileURL":4,"image":4,"markDefs":4142,"style":18},"1163a1f64756",[4139],{"_key":4140,"_type":13,"marks":4141,"text":25},"3122a2f26650",[],[],{"_key":4144,"_type":9,"audioSize":4,"audioURL":4,"children":4145,"fileURL":4,"image":4,"markDefs":4149,"style":18},"4b59ce4c306c",[4146],{"_key":4147,"_type":13,"marks":4148,"text":25},"9344dd41b63b",[],[],{"_key":4151,"_type":9,"audioSize":4,"audioURL":4,"children":4152,"fileURL":4,"image":4,"markDefs":4156,"style":18},"0a6854042e4d",[4153],{"_key":4154,"_type":13,"marks":4155,"text":25},"6f7e5aedea53",[],[],{"_key":4158,"_type":9,"audioSize":4,"audioURL":4,"children":4159,"fileURL":4,"image":4,"markDefs":4163,"style":18},"af6707f7fc4f",[4160],{"_key":4161,"_type":13,"marks":4162,"text":25},"d804a69c2ec7",[],[],[],"First movement, March, is in a Satie-like style and was first written for the 1979  Teachers College orchestra.\n\nMovement two Molto grave e delicato is an orchestration of an early piano piece.\n\nThe third movement, Vivace, also in a Satie-like style, was especially written to complete the cycle. \n\nThis version, completed in 1979 was replaced by a revised version in 1982 for double wind, three percussionists and strings. \n\nThe final version with a new title and with major changes (especially to the third movement) is from 2023\u002F6.\n\nI hereby withdraw the earlier versions with the title “3 Easy Pieces for Orchestra”. \n\nAny future performances should be of the following (“Three Short Pieces for Orchestra”):\n\n\n\n\n\n\n\n\n\n\n\n",{"_type":375,"current":4167},"three-short-pieces-for-orchestra",{"date":4169,"endDate":4170,"instrumentation":4171,"length":885},"1979-01-01","2026-01-01","Orchestra:\n2 2 2 2 - 2 2 2 1 - Timp, Xylo\u002FGlockenspiel, Perc. - Strings",35,{"_id":4174,"chapters":4175,"content":4176,"images":4355,"performances":4,"rawPoem":4358,"rawText":4359,"slug":4360,"title":4362,"workInfo":4363,"workNumber":4368},"dda90fd1-e44a-495e-bdf5-422e7e8925b5",[],[4177,4201,4253,4271,4278,4315,4323,4331,4341,4348],{"_key":4178,"_type":9,"audioSize":4,"audioURL":4,"children":4179,"fileURL":4,"image":4,"markDefs":4200,"style":18},"14108478072f",[4180,4184,4188,4192,4196],{"_key":4181,"_type":13,"marks":4182,"text":4183},"30a7df6c0ab2",[],"The last carol of the cycle, ",{"_key":4185,"_type":13,"marks":4186,"text":4187},"e7e1a332176b",[73],"I Saw Three Ships",{"_key":4189,"_type":13,"marks":4190,"text":4191},"f475b6c631f3",[]," was written for Cambridge Music School in the summer of 1962 under the name ",{"_key":4193,"_type":13,"marks":4194,"text":4195},"3e2c29a0baa8",[73],"Carol for Christmas",{"_key":4197,"_type":13,"marks":4198,"text":4199},"2caf325c24a5",[],". It was first performed in 1980 by the Auckland Dorian Choir under the baton of Peter Godfrey.",[],{"_key":4202,"_type":9,"audioSize":4,"audioURL":4,"children":4203,"fileURL":4,"image":4,"markDefs":4244,"style":18},"2641721a2905",[4204,4208,4212,4216,4220,4225,4228,4232,4235,4240],{"_key":4205,"_type":13,"marks":4206,"text":4207},"a9e7cdf35d620",[73],"Now I Joseph was walking*",{"_key":4209,"_type":13,"marks":4210,"text":4211},"a9e7cdf35d621",[]," was written in the early 70s while I was teaching at Linwood High School and originally had a percussion accompaniment. The other two were written in 1977 to complete the cycle with texts ",{"_key":4213,"_type":13,"marks":4214,"text":4215},"a9e7cdf35d622",[73],"Welcome Lullaby",{"_key":4217,"_type":13,"marks":4218,"text":4219},"a9e7cdf35d623",[]," by ",{"_key":4221,"_type":13,"marks":4222,"text":4224},"619db0b67246",[4223],"e93579b3850e","Brigitte",{"_key":4226,"_type":13,"marks":4227,"text":2625},"a075520b35a7",[],{"_key":4229,"_type":13,"marks":4230,"text":4231},"a9e7cdf35d626",[73],"Can you see the star?",{"_key":4233,"_type":13,"marks":4234,"text":4219},"a9e7cdf35d627",[],{"_key":4236,"_type":13,"marks":4237,"text":4239},"282901067e64",[4238],"cf97960bb67c","Fiona",{"_key":4241,"_type":13,"marks":4242,"text":4243},"b166882a7f60",[]," (aged 7) in Christchurch.",[4245,4249],{"_key":4223,"_type":321,"reference":4246,"slug":4248,"type":326},{"_ref":4247,"_type":324},"4a309485-e626-45f6-b3fa-89295ec4f671","brigitte-powell",{"_key":4238,"_type":321,"reference":4250,"slug":4252,"type":326},{"_ref":4251,"_type":324},"c53c21ad-d1af-4f53-be50-4067c14f4671","fiona-powell",{"_key":4254,"_type":9,"audioSize":4,"audioURL":4,"children":4255,"fileURL":4,"image":4,"markDefs":4268,"style":18},"28375fb4316a",[4256,4260,4264],{"_key":4257,"_type":13,"marks":4258,"text":4259},"f2605bd59f40",[],"* The Text was discovered by ",{"_key":4261,"_type":13,"marks":4262,"text":3276},"f2da73f7beb8",[4263],"0d190c6eafcd",{"_key":4265,"_type":13,"marks":4266,"text":4267},"70739e2b7816",[]," in the Apocrypha:",[4269],{"_key":4263,"_type":321,"reference":4270,"slug":3291,"type":326},{"_ref":3290,"_type":324},{"_key":4272,"_type":9,"audioSize":4,"audioURL":4,"children":4273,"fileURL":4,"image":4,"markDefs":4277,"style":18},"9e26e1e5ba28",[4274],{"_key":4275,"_type":13,"marks":4276,"text":25},"baab8c210ec4",[],[],{"_key":4279,"_type":754,"audioSize":4,"audioURL":4,"author":4280,"fileURL":4,"image":4,"markDefs":4,"poem":4281,"title":4306},"e082dab2b35c","Protevangelium: Chapter XVIII v 2",[4282,4290,4298],{"_key":4283,"_type":9,"children":4284,"markDefs":4289,"style":18},"6fabfbd4a1f4",[4285],{"_key":4286,"_type":13,"marks":4287,"text":4288},"9294754899920",[],"Now I Joseph was walking\nand I walked not\nI looked up to the air\nand saw it in amazement",[],{"_key":4291,"_type":9,"children":4292,"markDefs":4297,"style":18},"bd420ad144fa",[4293],{"_key":4294,"_type":13,"marks":4295,"text":4296},"cca68b0d654d",[],"Then looked I up\nunto the pole of heaven\nand saw it standing still\nand the fowls of the air\nwithout motion",[],{"_key":4299,"_type":9,"children":4300,"markDefs":4305,"style":18},"6b5f09bff8a9",[4301],{"_key":4302,"_type":13,"marks":4303,"text":4304},"7bc5272f22f9",[],"And of a sudden\nall things moved on in their courses\nGloria in excelsis Deo!",[],[4307],{"_key":4308,"_type":9,"children":4309,"markDefs":4314,"style":18},"b56b2f7c10e9",[4310],{"_key":4311,"_type":13,"marks":4312,"text":4313},"ca0f896a50ec",[73,15],"Now I Joseph was walking",[],{"_key":4316,"_type":9,"audioSize":4,"audioURL":4,"children":4317,"fileURL":4,"image":4,"markDefs":4322,"style":18},"c5df17ce0626",[4318],{"_key":4319,"_type":13,"marks":4320,"text":4321},"3962ff15c9ef",[],"Translations of this text differ widely, however, none has the Latin \"Gloria in excelsis Deo\". ",[],{"_key":4324,"_type":9,"audioSize":4,"audioURL":4,"children":4325,"fileURL":4,"image":4,"markDefs":4330,"style":18},"c005bee7e67c",[4326],{"_key":4327,"_type":13,"marks":4328,"text":4329},"f5bdbddb063d",[],"I assume that Rod added the Latin \"Gloria\" to help emphasise the fact that Jesus was born as Joseph was having this curious experience.",[],{"_key":4332,"_type":500,"audioSize":4,"audioURL":4,"caption":4333,"fileURL":4,"image":4334,"markDefs":4},"18a66f6512f7","Cover of an American Publisher",{"caption":4,"id":4335,"meta":4336,"parentID":4,"parentType":510,"url":4340},"e8e7cfe831f5cbae8112fb56ea4e579b2e1a08da",{"_type":506,"aspectRatio":4337,"height":4338,"width":4339},0.7077977720651243,1167,826,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fe8e7cfe831f5cbae8112fb56ea4e579b2e1a08da-826x1167.jpg",{"_key":4342,"_type":413,"audioSize":4,"audioURL":4,"description":4343,"file":4344,"fileURL":4347,"image":4,"markDefs":4},"27ef2678a80c","4 Carols on 4 Notes — score",{"_type":416,"asset":4345},{"_ref":4346,"_type":324},"file-b3991021b615319464cc108afeb15e7dc9119a3d-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fb3991021b615319464cc108afeb15e7dc9119a3d.pdf",{"_key":4349,"_type":9,"audioSize":4,"audioURL":4,"children":4350,"fileURL":4,"image":4,"markDefs":4354,"style":18},"4222977391af",[4351],{"_key":4352,"_type":13,"marks":4353,"text":25},"353a75a2909b",[],[],[4356],{"caption":4333,"id":4335,"meta":4357,"parentID":4174,"parentType":510,"url":4340},{"_type":506,"aspectRatio":4337,"height":4338,"width":4339},"Now I Joseph was walking\nand I walked not\nI looked up to the air\nand saw it in amazement\n\nThen looked I up\nunto the pole of heaven\nand saw it standing still\nand the fowls of the air\nwithout motion\n\nAnd of a sudden\nall things moved on in their courses\nGloria in excelsis Deo!","The last carol of the cycle, I Saw Three Ships was written for Cambridge Music School in the summer of 1962 under the name Carol for Christmas. It was first performed in 1980 by the Auckland Dorian Choir under the baton of Peter Godfrey.\n\nNow I Joseph was walking* was written in the early 70s while I was teaching at Linwood High School and originally had a percussion accompaniment. The other two were written in 1977 to complete the cycle with texts Welcome Lullaby by Brigitte and Can you see the star? by Fiona (aged 7) in Christchurch.\n\n* The Text was discovered by Rod Harries in the Apocrypha:\n\n\n\nTranslations of this text differ widely, however, none has the Latin \"Gloria in excelsis Deo\". \n\nI assume that Rod added the Latin \"Gloria\" to help emphasise the fact that Jesus was born as Joseph was having this curious experience.\n\n",{"_type":375,"current":4361},"4-carols-on-4-notes","4 Carols on 4 Notes",{"date":576,"instrumentation":4364,"length":885,"revisions":4365,"text":4367},"SATB choir",[4366],"2008-01-01","N.T. Apocrypha, Brigitte Powell, Fiona Powell, Traditional",37,{"_id":2342,"chapters":4370,"content":4371,"images":4624,"performances":4,"rawPoem":4,"rawText":4631,"slug":4632,"title":4633,"workInfo":4634,"workNumber":4638},[],[4372,4384,4392,4400,4415,4426,4434,4442,4449,4458,4466,4507,4531,4539,4576,4587,4598],{"_key":4373,"_type":9,"audioSize":4,"audioURL":4,"children":4374,"fileURL":4,"image":4,"markDefs":4383,"style":18},"19434280c95b",[4375,4379],{"_key":4376,"_type":13,"marks":4377,"text":4378},"cfa5d33690fa",[15],"The Ever-Circling Light",{"_key":4380,"_type":13,"marks":4381,"text":4382},"b6c1232f2b30",[]," is a personal statement about NEW ZEALAND In particular, its weathers, the land and its proximity to the sea; and about human life in general. The traditional Maori poetry was an ideal starting point because it contains all these elements in abundance and furthermore, it epitomizes New Zealand for me, merely by its being Maori. All these “poems” were in fact already songs but I have not drawn on their original melodies or rhythms directly, instead I have allowed a study of Maori music to effect my own style. Thus many aspects of the work will sound “maori-ish” - the various chants, glissandi at phrase ends, stamping, etc. - but none of these is taken from an original Maori song. It is difficult for me to say what has shaped my own style, but I would like to acknowledge one important source: the many young people (primary, secondary, tertiary) I have worked with over the last 12 years. The problems we have met in working with percussion instruments and voices and the solutions we have reached together have left an indelible mark on me and on all that I say musically.",[],{"_key":4385,"_type":9,"audioSize":4,"audioURL":4,"children":4386,"fileURL":4,"image":4,"markDefs":4391,"style":18},"f59c73100aba",[4387],{"_key":4388,"_type":13,"marks":4389,"text":4390},"2f0dfa3c05c40",[],"Kit Powell January 1980",[],{"_key":4393,"_type":9,"audioSize":4,"audioURL":4,"children":4394,"fileURL":4,"image":4,"markDefs":4399,"style":18},"4742ac9228f4",[4395],{"_key":4396,"_type":13,"marks":4397,"text":4398},"e836a45b5a0d0",[],"Christchurch Star Review from 5.7.1982",[],{"_key":4401,"_type":9,"audioSize":4,"audioURL":4,"children":4402,"fileURL":4,"image":4,"markDefs":4414,"style":634},"cf04d5fd6158",[4403,4407,4410],{"_key":4404,"_type":13,"marks":4405,"text":4406},"d1e3de2ed1500",[],"Powell's ",{"_key":4408,"_type":13,"marks":4409,"text":4378},"d1e3de2ed1501",[15],{"_key":4411,"_type":13,"marks":4412,"text":4413},"d1e3de2ed1502",[]," sets Maori texts to a musical style which blends authentic Maori chant idiom with atmospheric non-melodic tone painting a la modern Polish school. A traditional orchestra, which would sound incongruous to the mood of this work, is rejected in favour of vast battery of percussion instruments requiring six players in this half hour work. Although these include standard percussion, the most appropriate sounds came from the many home-made ones especially those made of wood. These are used with introspective sensitivity to atmosphere although some of the sounds added little if any audible effect such as the rubbing of stones and the singers’ cooing through cardboard tubes. Without the dynamism of melody and rhythm these static clouds of quiet sound can become, uneventfully flabby like those Penderecki oratorio effusions, unless contained within a tolerable time limit. Powell's work suffered from this very point where atmosphere outweighed incident (a trap which McLeod's equally Maori-ish ‘Earth and Sky’ cleverly avoided). The powerfully rhythmic third movement provided dynamism and incident as did the far less coherent fourth movement to a lesser degree but it was outweighed by the interminable static choral whispers, vowel cooing and shushing in the remaining three movements. The opening movement with its directional build-up towards two climactic chord sonorities is strongly structured and its mirror effect in the equally cohesive finale give the work a fine outer unity. The weaknesses are in the cluttered jumble of the fourth movement and more so the second movement. Its slow finicky static effects don't come off and the first movement says it all far more coherently. The strong movements (No.s 1, 3 and 5) are by far the best work Powell has produced. With pruning and also a more lucid coherence in the fourth movement, it could be a very fine work.",[],{"_key":4416,"_type":9,"audioSize":4,"audioURL":4,"children":4417,"fileURL":4,"image":4,"markDefs":4422,"style":634},"820957c2a589",[4418],{"_key":4419,"_type":13,"marks":4420,"text":4421},"f3e8d052d4340",[],"IAN DANDO",[4423],{"_key":4424,"_type":316,"href":4425},"4d4858301207","\u002Fpeople\u002Fian-dando\u002F",{"_key":4427,"_type":9,"audioSize":4,"audioURL":4,"children":4428,"fileURL":4,"image":4,"markDefs":4433,"style":18},"43313bf66eed",[4429],{"_key":4430,"_type":13,"marks":4431,"text":4432},"656d177a78ef0",[],"The following article was written for CANZONA in the late 80s (Kit)",[],{"_key":4435,"_type":9,"audioSize":4,"audioURL":4,"children":4436,"fileURL":4,"image":4,"markDefs":4441,"style":634},"fb50d6e5012f",[4437],{"_key":4438,"_type":13,"marks":4439,"text":4440},"e63df32f3f3c0",[],"In the last two years two features of my composition have become more prominent:",[],{"_key":4443,"_type":9,"audioSize":4,"audioURL":4,"children":4444,"fileURL":4,"image":4,"markDefs":4448,"style":634},"1543b7394d1a",[4445],{"_key":4446,"_type":13,"marks":4447,"text":25},"f02419ed0ed30",[],[],{"_key":4450,"_type":9,"audioSize":4,"audioURL":4,"children":4451,"fileURL":4,"image":4,"level":382,"listItem":4456,"markDefs":4457,"style":18},"6d57c3af7488",[4452],{"_key":4453,"_type":13,"marks":4454,"text":4455},"d8eec9c4d03d0",[],"the use of found and home-made instruments and","number",[],{"_key":4459,"_type":9,"audioSize":4,"audioURL":4,"children":4460,"fileURL":4,"image":4,"level":382,"listItem":4456,"markDefs":4465,"style":18},"84744f3c2a8b",[4461],{"_key":4462,"_type":13,"marks":4463,"text":4464},"26b21f8391010",[],"the use of chance.",[],{"_key":4467,"_type":9,"audioSize":4,"audioURL":4,"children":4468,"fileURL":4,"image":4,"markDefs":4504,"style":634},"ecb625e2b1b1",[4469,4473,4476,4480,4484,4488,4491,4495,4500],{"_key":4470,"_type":13,"marks":4471,"text":4472},"9e4a9f4bcc1e0",[],"The first of these works was ",{"_key":4474,"_type":13,"marks":4475,"text":4378},"9e4a9f4bcc1e1",[73],{"_key":4477,"_type":13,"marks":4478,"text":4479},"9e4a9f4bcc1e2",[]," commissioned by the ",{"_key":4481,"_type":13,"marks":4482,"text":4483},"9e4a9f4bcc1e3",[73],"Royal Christchurch Musical Society",{"_key":4485,"_type":13,"marks":4486,"text":4487},"9e4a9f4bcc1e4",[]," in 1980 and first performed in July 1982. My main aim was to write a New Zealand piece about the land, its people and its weathers. I chose texts from traditional Maori poetry which would serve this purpose and arranged them in movements to show a New Zealand day as I saw it. Thus the macro-form is largely programmatic, but chance processes were used to determine details of the micro-form. I shall describe two uses of chance systems in ",{"_key":4489,"_type":13,"marks":4490,"text":4378},"9e4a9f4bcc1e5",[73],{"_key":4492,"_type":13,"marks":4493,"text":4494},"9e4a9f4bcc1e6",[]," which typify most other uses.\n\n\n\nThe quiet introduction of “night sounds” is subdivided into “bars” whose proportions are derived from the ",{"_key":4496,"_type":13,"marks":4497,"text":4499},"9e4a9f4bcc1e7",[4498],"e882886f079a","Fibonacci Series",{"_key":4501,"_type":13,"marks":4502,"text":4503},"9e4a9f4bcc1e8",[],": 1, 2, 3, 5, 8, 13, 21, 34 . . . . I wrote 6 of these numbers (1, 2, 3, 5, 8, 34) on the sides of a die and rolled it until, calling the numbers seconds and each roll one bar, they added up to a minute and a half. The number of instruments playing at the beginning of each bar was found by rolling an ordinary die, and which instruments by rolling another.\n\n",[4505],{"_key":4498,"_type":316,"href":4506},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FFibonacci_number",{"_key":4508,"_type":9,"audioSize":4,"audioURL":4,"children":4509,"fileURL":4,"image":4,"markDefs":4530,"style":634},"691b63133d2e",[4510,4514,4518,4522,4526],{"_key":4511,"_type":13,"marks":4512,"text":4513},"8e8be7bfcff30",[],"A similar process was used in the last movement, in which each singer of the chorus (except the basses) sings only one note. The note is taken from the harmonic series of a low F and the plastic tube which each singer has is tuned to his or her note. For the whole movement (",{"_key":4515,"_type":13,"marks":4516,"text":4517},"8e8be7bfcff31",[73],"Waiata Tangi",{"_key":4519,"_type":13,"marks":4520,"text":4521},"8e8be7bfcff32",[],") I used random number tables to decide how many seconds each singer would alternately sing and rest. Over this pattern I imposed another pattern—like a solid inverted V (see diagram). All durations outside this V were rejected, and the voices which were thus made redundant were then required to sing the ",{"_key":4523,"_type":13,"marks":4524,"text":4525},"8e8be7bfcff33",[73],"Waiata",{"_key":4527,"_type":13,"marks":4528,"text":4529},"8e8be7bfcff34",[],". This was chanted on one note, a D flat, especially chosen to contrast with notes in the harmonic series of the low F.",[],{"_key":4532,"_type":500,"audioSize":4,"audioURL":4,"fileURL":4,"image":4533,"markDefs":4},"8fb8c6a7fce4",{"caption":4,"id":4534,"meta":4535,"parentID":4,"parentType":510,"url":4538},"92545db9da8077627b1d87db48d08f1f11cd4d71",{"_type":506,"aspectRatio":4536,"height":4537,"width":2123},2.1156716417910446,268,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F92545db9da8077627b1d87db48d08f1f11cd4d71-567x268.jpg",{"_key":4540,"_type":9,"audioSize":4,"audioURL":4,"children":4541,"fileURL":4,"image":4,"markDefs":4575,"style":18},"f5a4752e6004",[4542,4546,4549,4553,4557,4561,4564,4568,4571],{"_key":4543,"_type":13,"marks":4544,"text":4545},"b8546d61aed30",[],"If one is to accept the critisism of Ian Dando (above), one important experimental feature of ",{"_key":4547,"_type":13,"marks":4548,"text":4378},"b8546d61aed31",[73],{"_key":4550,"_type":13,"marks":4551,"text":4552},"b8546d61aed32",[]," probably failed. The abstract voice sounds, which are heard first in the introduction, are intended as a simple fore-taste of the richer and more complex palette of fricative sounds used in ",{"_key":4554,"_type":13,"marks":4555,"text":4556},"b8546d61aed33",[73],"Rimurimu",{"_key":4558,"_type":13,"marks":4559,"text":4560},"b8546d61aed34",[],". In the introduction one hears just ‘f’ and ‘s’ fricatives, but in ",{"_key":4562,"_type":13,"marks":4563,"text":4556},"b8546d61aed35",[73],{"_key":4565,"_type":13,"marks":4566,"text":4567},"b8546d61aed36",[]," are added ‘sh’ and ‘ch’, each being filtered by the mouth shape, between the shape for ‘i’ and for ‘u’. In the introduction the chorus is divided into two stereo groups, in ",{"_key":4569,"_type":13,"marks":4570,"text":4556},"b8546d61aed37",[73],{"_key":4572,"_type":13,"marks":4573,"text":4574},"b8546d61aed38",[]," into four groups. The text, half whispered, is superimposed (in 4-way stereo) over this, and all is heard against a background of delicate percussion sounds plus the long notes from the four solo sopranos. Some listeners responded very positively to this movement, others felt it didn't say anything new that the opening “night sounds” had not already said. This is probably a valid response, due mainly to the inability of the chorus to differentiate clearly between ‘sh’ and ‘ch’ and the half-whispered words. I now think the movement would be improved if, as well as four solo sopranos, there were four solo speakers, so that the text could be clearly projected and the chorus could concentrate on the filtering of the fricative sounds.",[],{"_key":4577,"_type":500,"alt":4578,"audioSize":4,"audioURL":4,"caption":4578,"fileURL":4,"image":4579,"markDefs":4,"position":4586},"884777f124b0","Photos from the final rehearsal of The Ever-Circling Light: Three of the six percussionists",{"caption":4,"id":4580,"meta":4581,"parentID":4,"parentType":510,"url":4585},"3de845a71f8e68709fb626404c834efab9be9229",{"_type":506,"aspectRatio":4582,"height":4583,"width":4584},2.504,1125,2817,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F3de845a71f8e68709fb626404c834efab9be9229-2817x1125.jpg","right",{"_key":4588,"_type":500,"alt":4589,"audioSize":4,"audioURL":4,"caption":4589,"fileURL":4,"image":4590,"markDefs":4,"position":4597},"299371ab0844","Speaker of the Karakia — Percussionist playing stones — Kit conducting The Ever-Circling Light in the Christchurch Town Hall",{"caption":4,"id":4591,"meta":4592,"parentID":4,"parentType":510,"url":4596},"96a8911ce2bc44cbc1c15eaee05910c577263567",{"_type":506,"aspectRatio":4593,"height":4594,"width":4595},2.4290687554395127,1149,2791,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F96a8911ce2bc44cbc1c15eaee05910c577263567-2791x1149.jpg","left",{"_key":4599,"_type":9,"audioSize":4,"audioURL":4,"children":4600,"fileURL":4,"image":4,"markDefs":4617,"style":18},"382f97cf03d2",[4601,4605,4609,4612],{"_key":4602,"_type":13,"marks":4603,"text":4604},"895b307cfc3a",[],"See also: ",{"_key":4606,"_type":13,"marks":4607,"text":3822},"90ad473d4b0d",[4608],"ea7c7f134a3e",{"_key":4610,"_type":13,"marks":4611,"text":2625},"c14b03ed1851",[],{"_key":4613,"_type":13,"marks":4614,"text":4616},"3379d292e8ef",[4615],"bf60c7525186","Gennie Delange",[4618,4620],{"_key":4608,"_type":321,"reference":4619,"slug":3839,"type":326},{"_ref":3838,"_type":324},{"_key":4615,"_type":321,"reference":4621,"slug":4623,"type":326},{"_ref":4622,"_type":324},"49b0a192-e8c9-4e23-bca5-c4991d5a14d1","gennie-de-lange",[4625,4627,4629],{"caption":4,"id":4534,"meta":4626,"parentID":2342,"parentType":510,"url":4538},{"_type":506,"aspectRatio":4536,"height":4537,"width":2123},{"caption":4578,"id":4580,"meta":4628,"parentID":2342,"parentType":510,"url":4585},{"_type":506,"aspectRatio":4582,"height":4583,"width":4584},{"caption":4589,"id":4591,"meta":4630,"parentID":2342,"parentType":510,"url":4596},{"_type":506,"aspectRatio":4593,"height":4594,"width":4595},"The Ever-Circling Light is a personal statement about NEW ZEALAND In particular, its weathers, the land and its proximity to the sea; and about human life in general. The traditional Maori poetry was an ideal starting point because it contains all these elements in abundance and furthermore, it epitomizes New Zealand for me, merely by its being Maori. All these “poems” were in fact already songs but I have not drawn on their original melodies or rhythms directly, instead I have allowed a study of Maori music to effect my own style. Thus many aspects of the work will sound “maori-ish” - the various chants, glissandi at phrase ends, stamping, etc. - but none of these is taken from an original Maori song. It is difficult for me to say what has shaped my own style, but I would like to acknowledge one important source: the many young people (primary, secondary, tertiary) I have worked with over the last 12 years. The problems we have met in working with percussion instruments and voices and the solutions we have reached together have left an indelible mark on me and on all that I say musically.\n\nKit Powell January 1980\n\nChristchurch Star Review from 5.7.1982\n\nPowell's The Ever-Circling Light sets Maori texts to a musical style which blends authentic Maori chant idiom with atmospheric non-melodic tone painting a la modern Polish school. A traditional orchestra, which would sound incongruous to the mood of this work, is rejected in favour of vast battery of percussion instruments requiring six players in this half hour work. Although these include standard percussion, the most appropriate sounds came from the many home-made ones especially those made of wood. These are used with introspective sensitivity to atmosphere although some of the sounds added little if any audible effect such as the rubbing of stones and the singers’ cooing through cardboard tubes. Without the dynamism of melody and rhythm these static clouds of quiet sound can become, uneventfully flabby like those Penderecki oratorio effusions, unless contained within a tolerable time limit. Powell's work suffered from this very point where atmosphere outweighed incident (a trap which McLeod's equally Maori-ish ‘Earth and Sky’ cleverly avoided). The powerfully rhythmic third movement provided dynamism and incident as did the far less coherent fourth movement to a lesser degree but it was outweighed by the interminable static choral whispers, vowel cooing and shushing in the remaining three movements. The opening movement with its directional build-up towards two climactic chord sonorities is strongly structured and its mirror effect in the equally cohesive finale give the work a fine outer unity. The weaknesses are in the cluttered jumble of the fourth movement and more so the second movement. Its slow finicky static effects don't come off and the first movement says it all far more coherently. The strong movements (No.s 1, 3 and 5) are by far the best work Powell has produced. With pruning and also a more lucid coherence in the fourth movement, it could be a very fine work.\n\nIAN DANDO\n\nThe following article was written for CANZONA in the late 80s (Kit)\n\nIn the last two years two features of my composition have become more prominent:\n\n\n\nthe use of found and home-made instruments and\n\nthe use of chance.\n\nThe first of these works was The Ever-Circling Light commissioned by the Royal Christchurch Musical Society in 1980 and first performed in July 1982. My main aim was to write a New Zealand piece about the land, its people and its weathers. I chose texts from traditional Maori poetry which would serve this purpose and arranged them in movements to show a New Zealand day as I saw it. Thus the macro-form is largely programmatic, but chance processes were used to determine details of the micro-form. I shall describe two uses of chance systems in The Ever-Circling Light which typify most other uses.\n\n\n\nThe quiet introduction of “night sounds” is subdivided into “bars” whose proportions are derived from the Fibonacci Series: 1, 2, 3, 5, 8, 13, 21, 34 . . . . I wrote 6 of these numbers (1, 2, 3, 5, 8, 34) on the sides of a die and rolled it until, calling the numbers seconds and each roll one bar, they added up to a minute and a half. The number of instruments playing at the beginning of each bar was found by rolling an ordinary die, and which instruments by rolling another.\n\n\n\nA similar process was used in the last movement, in which each singer of the chorus (except the basses) sings only one note. The note is taken from the harmonic series of a low F and the plastic tube which each singer has is tuned to his or her note. For the whole movement (Waiata Tangi) I used random number tables to decide how many seconds each singer would alternately sing and rest. Over this pattern I imposed another pattern—like a solid inverted V (see diagram). All durations outside this V were rejected, and the voices which were thus made redundant were then required to sing the Waiata. This was chanted on one note, a D flat, especially chosen to contrast with notes in the harmonic series of the low F.\n\nIf one is to accept the critisism of Ian Dando (above), one important experimental feature of The Ever-Circling Light probably failed. The abstract voice sounds, which are heard first in the introduction, are intended as a simple fore-taste of the richer and more complex palette of fricative sounds used in Rimurimu. In the introduction one hears just ‘f’ and ‘s’ fricatives, but in Rimurimu are added ‘sh’ and ‘ch’, each being filtered by the mouth shape, between the shape for ‘i’ and for ‘u’. In the introduction the chorus is divided into two stereo groups, in Rimurimu into four groups. The text, half whispered, is superimposed (in 4-way stereo) over this, and all is heard against a background of delicate percussion sounds plus the long notes from the four solo sopranos. Some listeners responded very positively to this movement, others felt it didn't say anything new that the opening “night sounds” had not already said. This is probably a valid response, due mainly to the inability of the chorus to differentiate clearly between ‘sh’ and ‘ch’ and the half-whispered words. I now think the movement would be improved if, as well as four solo sopranos, there were four solo speakers, so that the text could be clearly projected and the chorus could concentrate on the filtering of the fricative sounds.\n\nSee also: Ian Whalley and Gennie Delange",{"_type":375,"current":2343},"The Ever-Circling Light — Te Ao Hurihuri",{"date":3031,"instrumentation":4635,"length":4636,"text":4637},"choir, percussion ensemble",30,"Traditional Maori poetry",38,{"_id":4640,"chapters":4641,"content":4642,"images":4886,"performances":4895,"rawPoem":4742,"rawText":4902,"slug":4903,"title":4687,"workInfo":4905,"workNumber":4907},"2e4c8000-5ae3-4a10-87ea-23a069d9fefa",[],[4643,4650,4660,4707,4716,4723,4733,4752,4761,4768,4778,4797,4818,4872,4880],{"_key":4644,"_type":9,"audioSize":4,"audioURL":4,"children":4645,"fileURL":4,"image":4,"markDefs":4649,"style":18},"701c72dbc854",[4646],{"_key":4647,"_type":13,"marks":4648,"text":25},"053a35f63066",[],[],{"_key":4651,"_type":500,"audioSize":4,"audioURL":4,"caption":4652,"fileURL":4,"image":4653,"markDefs":4},"38a29b2713ed","Jillian Bartram, Michael Harlow and self ",{"caption":4,"id":4654,"meta":4655,"parentID":4,"parentType":510,"url":4659},"d9d76f5212c419990ad6ca893771c1abd92d8a59",{"_type":506,"aspectRatio":4656,"height":4657,"width":4658},1.0022918258212377,1309,1312,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fd9d76f5212c419990ad6ca893771c1abd92d8a59-1312x1309.jpg",{"_key":4661,"_type":9,"audioSize":4,"audioURL":4,"children":4662,"fileURL":4,"image":4,"markDefs":4700,"style":18},"77cf3578983e",[4663,4667,4671,4675,4680,4684,4688,4692,4696],{"_key":4664,"_type":13,"marks":4665,"text":4666},"d6afb65dd68c",[],"An experimental setting of six small poems by ",{"_key":4668,"_type":13,"marks":4669,"text":3405},"f52509d290a2",[4670],"0e1ebe9a8958",{"_key":4672,"_type":13,"marks":4673,"text":4674},"b2b5cbba5e64",[]," for solo soprano and five percussionists. The soprano part uses graphic notation for all but one movement. The percussion parts avoid all the large instruments and also use a number of home-made instruments, e.g. a dowel box (resonating box with dowels of different lengths glued into it, which is played with a violin bow), bowed plate (a wooden version of the ",{"_key":4676,"_type":13,"marks":4677,"text":4679},"71261cd58b8c",[4678],"7bb8c52e258e","Chladni",{"_key":4681,"_type":13,"marks":4682,"text":4683},"9d4c75089576",[]," plate) and numerous found gongs. ",{"_key":4685,"_type":13,"marks":4686,"text":4687},"f167f255235f",[15],"Devotion to the Small",{"_key":4689,"_type":13,"marks":4690,"text":4691},"8f516c46e946",[]," was recorded by ",{"_key":4693,"_type":13,"marks":4694,"text":3476},"ca5c40fd199f",[4695],"1bbce7fc04a1",{"_key":4697,"_type":13,"marks":4698,"text":4699},"241e5b3e4bad",[],", the recording winning a Mobil Award for best produced New Zealand Musical Work 1981.",[4701,4703,4705],{"_key":4678,"_type":316,"href":4702},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FErnst_Chladni",{"_key":4695,"_type":316,"href":4704},"http:\u002F\u002Fwww.radionz.co.nz\u002F",{"_key":4670,"_type":321,"reference":4706,"slug":3414,"type":326},{"_ref":3413,"_type":324},{"_key":4708,"_type":500,"alt":4709,"audioSize":4,"audioURL":4,"fileURL":4,"image":4710,"markDefs":4},"0e3c9bd6b587","Arrangement of Instruments",{"caption":4,"id":4711,"meta":4712,"parentID":4,"parentType":510,"url":265},"49a3af50f803165693da7916a262713b61687d8a",{"_type":506,"aspectRatio":4713,"height":4714,"width":4715},1.4425,400,577,{"_key":4717,"_type":9,"audioSize":4,"audioURL":4,"children":4718,"fileURL":4,"image":4,"markDefs":4722,"style":18},"385664221fc9",[4719],{"_key":4720,"_type":13,"marks":4721,"text":25},"5fd105576c95",[],[],{"_key":4724,"_type":500,"audioSize":4,"audioURL":4,"caption":4725,"fileURL":4,"image":4726,"markDefs":4},"112099553069","Rehearsal of \"Devotion to the Small\"",{"caption":4,"id":4727,"meta":4728,"parentID":4,"parentType":510,"url":4732},"192c55392377685669b6f3e290621541a4208ae8",{"_type":506,"aspectRatio":4729,"height":4730,"width":4731},1.4470457079152732,897,1298,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F192c55392377685669b6f3e290621541a4208ae8-1298x897.jpg",{"_key":4734,"_type":754,"audioSize":4,"audioURL":4,"author":3405,"fileURL":4,"image":4,"markDefs":4,"poem":4735,"title":4744},"aafbd0545933",[4736],{"_key":4737,"_type":9,"children":4738,"markDefs":4743,"style":18},"1ec2bfb4f17a",[4739],{"_key":4740,"_type":13,"marks":4741,"text":4742},"4953bfcf2b89",[],"lt is how\nclimbing an\neven air-\nless stairway\none sleeve catches\na dry stalk\nof thorn how\nthe first nail\nits bead of\nlight waits in\nshadow for\nthe moon on\nthe snail's back\nto appear",[],[4745],{"_key":4746,"_type":9,"children":4747,"markDefs":4751,"style":18},"b75ef11683ac",[4748],{"_key":4749,"_type":13,"marks":4750,"text":4687},"e586039f09ca",[15,73],[],{"_key":4753,"_type":423,"audio":4754,"audioSize":4757,"audioURL":4758,"caption":4759,"fileURL":4,"image":4,"markDefs":4,"musicians":4760},"fae0a475ff7b",{"_type":416,"asset":4755},{"_ref":4756,"_type":324},"file-500dc0accc1f8ae30694fbef9efc8aa5e72d0598-mp3",3445467,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F500dc0accc1f8ae30694fbef9efc8aa5e72d0598.mp3","Devotion to the Small (Song 1)","Jillian Bartram Soprano",{"_key":4762,"_type":9,"audioSize":4,"audioURL":4,"children":4763,"fileURL":4,"image":4,"markDefs":4767,"style":18},"3553fa92a3b8",[4764],{"_key":4765,"_type":13,"marks":4766,"text":25},"29c0cfede757",[],[],{"_key":4769,"_type":500,"audioSize":4,"audioURL":4,"caption":4770,"fileURL":4,"image":4771,"markDefs":4},"1dd96433cc19","Article from a Christchurch newspaper, April, 1982",{"caption":4,"id":4772,"meta":4773,"parentID":4,"parentType":510,"url":4777},"4a11ad8c6cd3903ac866de1a4ad7288246ad5101",{"_type":506,"aspectRatio":4774,"height":4775,"width":4776},0.673,1000,673,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F4a11ad8c6cd3903ac866de1a4ad7288246ad5101-673x1000.jpg",{"_key":4779,"_type":9,"audioSize":4,"audioURL":4,"children":4780,"fileURL":4,"image":4,"markDefs":4794,"style":18},"e8fa84fc2849",[4781,4785,4790],{"_key":4782,"_type":13,"marks":4783,"text":4784},"5689347e4f43",[],"The following article was written for ",{"_key":4786,"_type":13,"marks":4787,"text":4789},"459491bbf991",[4788],"c29bef533179","CANZONA",{"_key":4791,"_type":13,"marks":4792,"text":4793},"1167c3e625b5",[]," in the late 1980s (Kit)",[4795],{"_key":4788,"_type":316,"href":4796},"http:\u002F\u002Fcanz.net.nz\u002F",{"_key":4798,"_type":9,"audioSize":4,"audioURL":4,"children":4799,"fileURL":4,"image":4,"markDefs":4815,"style":634},"1ee84448913e",[4800,4803,4807,4811],{"_key":4801,"_type":13,"marks":4802,"text":4687},"ecfe8429cb8c0",[15],{"_key":4804,"_type":13,"marks":4805,"text":4806},"ecfe8429cb8c1",[]," contrasts deliberately with ",{"_key":4808,"_type":13,"marks":4809,"text":4378},"4b8215b6029f",[4810],"c4acf8bac823",{"_key":4812,"_type":13,"marks":4813,"text":4814},"5e5228f665ba",[],". There is one solo voice instead of a large choir, and all the large percussion is avoided in favour of small instruments, including many found and home-made instruments. These are arranged on two large stands, so that some of the gongs and bells can also be played by the solo singer, while the rest of the battery is managed by five percussionists. The texts are a selection of six small poems by Michael Harlow, whose themes are also “small”.",[4816],{"_key":4810,"_type":321,"reference":4817,"slug":2343,"type":510},{"_ref":2342,"_type":324},{"_key":4819,"_type":9,"audioSize":4,"audioURL":4,"children":4820,"fileURL":4,"image":4,"markDefs":4867,"style":634},"e27404fc0aad",[4821,4825,4829,4833,4837,4841,4846,4850,4855,4859,4863],{"_key":4822,"_type":13,"marks":4823,"text":4824},"43e6afa6811b0",[],"To a large extent the texts determine the shape of each movement, e.g. the short lines of ",{"_key":4826,"_type":13,"marks":4827,"text":4828},"43e6afa6811b1",[73],"Andacht zum Kleinen",{"_key":4830,"_type":13,"marks":4831,"text":4832},"43e6afa6811b2",[]," are emphasized by breaks in the singer's line. In the second movement “Stone Poem”, the text even determines the Instruments: each of the five percussionists has two large stones, which are gradually replaced by the softer sounding clay chimes. In ",{"_key":4834,"_type":13,"marks":4835,"text":4836},"43e6afa6811b3",[73],"Contemplating the letter O",{"_key":4838,"_type":13,"marks":4839,"text":4840},"43e6afa6811b4",[]," the singer does just this through a range of emotional Os from sadness, shock, surprise, interest and ecstasy, while the percussionists supply both accompaniment and text. The fourth movement, like the other even-numbered movements, has a strong “tonic”, which is superimposed onto the graphic notation. In this movement the singer tries to break away from this tonic, making small jumps at first, but only really succeeding on the very last note. This, note is one of the few big sounds in the whole piece. It is sung fortissimo and supported by two ",{"_key":4842,"_type":13,"marks":4843,"text":4845},"43e6afa6811b5",[4844],"ea28e4d0b21e","bull roarers",{"_key":4847,"_type":13,"marks":4848,"text":4849},"43e6afa6811b6",[],", two bowed Chladni plates and a ",{"_key":4851,"_type":13,"marks":4852,"text":4854},"43e6afa6811b7",[4853],"9ddca72b1f97","vibraslap",{"_key":4856,"_type":13,"marks":4857,"text":4858},"43e6afa6811b8",[],". This “different” note is an example of the contrast principle on a micro-level which I discussed during the planning period of the piece with poet Michael Harlow: ",{"_key":4860,"_type":13,"marks":4861,"text":4862},"43e6afa6811b11",[73],"‘The lateral leap which throws the whole structure into relief.'",{"_key":4864,"_type":13,"marks":4865,"text":4866},"43e6afa6811b12",[]," The fifth movement is an example of the same principle on a macro-level. It stands apart from the other movements by the use of conventional notation and of repetition of various parameters: words, rhythms, even melodic fragments. The number of repetitions of the percussion ostinati and durations of rests were determined by chance, but the number of instruments playing was determined by me. The “lateral leap” in the last movement is given by the percussionists in the form of a brief cadenza.",[4868,4870],{"_key":4844,"_type":316,"href":4869},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FBullroarer",{"_key":4853,"_type":316,"href":4871},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FVibraslap",{"_key":4873,"_type":9,"audioSize":4,"audioURL":4,"children":4874,"fileURL":4,"image":4,"markDefs":4879,"style":18},"72360169d3a0",[4875],{"_key":4876,"_type":13,"marks":4877,"text":4878},"dcdb90ccfac10",[],"\n",[],{"_key":4881,"_type":413,"audioSize":4,"audioURL":4,"description":4687,"file":4882,"fileURL":4885,"image":4,"markDefs":4},"9becf124e2f1",{"_type":416,"asset":4883},{"_ref":4884,"_type":324},"file-3b9894f8c13f10aa59f4bc5b1b522ebc44a76e60-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F3b9894f8c13f10aa59f4bc5b1b522ebc44a76e60.pdf",[4887,4889,4891,4893],{"caption":4652,"id":4654,"meta":4888,"parentID":4640,"parentType":510,"url":4659},{"_type":506,"aspectRatio":4656,"height":4657,"width":4658},{"caption":4,"id":4711,"meta":4890,"parentID":4640,"parentType":510,"url":265},{"_type":506,"aspectRatio":4713,"height":4714,"width":4715},{"caption":4725,"id":4727,"meta":4892,"parentID":4640,"parentType":510,"url":4732},{"_type":506,"aspectRatio":4729,"height":4730,"width":4731},{"caption":4770,"id":4772,"meta":4894,"parentID":4640,"parentType":510,"url":4777},{"_type":506,"aspectRatio":4774,"height":4775,"width":4776},[4896,4898],{"_key":4897,"_type":366,"date":3031,"location":3032},"9d8bcfca10ed",{"_key":4899,"_type":366,"date":4900,"location":4901},"0fd44a7ab5c2","1989-01-01","Rigiblick, Zurich, Switzerland","\n\nAn experimental setting of six small poems by Michael Harlow for solo soprano and five percussionists. The soprano part uses graphic notation for all but one movement. The percussion parts avoid all the large instruments and also use a number of home-made instruments, e.g. a dowel box (resonating box with dowels of different lengths glued into it, which is played with a violin bow), bowed plate (a wooden version of the Chladni plate) and numerous found gongs. Devotion to the Small was recorded by Radio New Zealand, the recording winning a Mobil Award for best produced New Zealand Musical Work 1981.\n\n\n\n\n\nThe following article was written for CANZONA in the late 1980s (Kit)\n\nDevotion to the Small contrasts deliberately with The Ever-Circling Light. There is one solo voice instead of a large choir, and all the large percussion is avoided in favour of small instruments, including many found and home-made instruments. These are arranged on two large stands, so that some of the gongs and bells can also be played by the solo singer, while the rest of the battery is managed by five percussionists. The texts are a selection of six small poems by Michael Harlow, whose themes are also “small”.\n\nTo a large extent the texts determine the shape of each movement, e.g. the short lines of Andacht zum Kleinen are emphasized by breaks in the singer's line. In the second movement “Stone Poem”, the text even determines the Instruments: each of the five percussionists has two large stones, which are gradually replaced by the softer sounding clay chimes. In Contemplating the letter O the singer does just this through a range of emotional Os from sadness, shock, surprise, interest and ecstasy, while the percussionists supply both accompaniment and text. The fourth movement, like the other even-numbered movements, has a strong “tonic”, which is superimposed onto the graphic notation. In this movement the singer tries to break away from this tonic, making small jumps at first, but only really succeeding on the very last note. This, note is one of the few big sounds in the whole piece. It is sung fortissimo and supported by two bull roarers, two bowed Chladni plates and a vibraslap. This “different” note is an example of the contrast principle on a micro-level which I discussed during the planning period of the piece with poet Michael Harlow: ‘The lateral leap which throws the whole structure into relief.' The fifth movement is an example of the same principle on a macro-level. It stands apart from the other movements by the use of conventional notation and of repetition of various parameters: words, rhythms, even melodic fragments. The number of repetitions of the percussion ostinati and durations of rests were determined by chance, but the number of instruments playing was determined by me. The “lateral leap” in the last movement is given by the percussionists in the form of a brief cadenza.\n\n\n",{"_type":375,"current":4904},"devotion-to-the-small",{"date":3031,"instrumentation":4906,"length":2230},"Soprano, Percussion",39,{"_id":4909,"chapters":4910,"content":4911,"images":5187,"performances":4,"rawPoem":5196,"rawText":5197,"slug":5198,"title":5168,"workInfo":5200,"workNumber":5203},"9bcf3e55-a1b0-475f-83fd-a5c54c4af04f",[],[4912,4919,4929,4937,4945,4953,4961,4969,4979,4988,4997,5170,5180],{"_key":4913,"_type":9,"audioSize":4,"audioURL":4,"children":4914,"fileURL":4,"image":4,"markDefs":4918,"style":18},"6b77fc02300e",[4915],{"_key":4916,"_type":13,"marks":4917,"text":25},"db1c6b8d764b",[],[],{"_key":4920,"_type":500,"alt":4921,"audioSize":4,"audioURL":4,"fileURL":4,"image":4922,"markDefs":4},"a9cfc29b0f39","Hubert the Clockmaker CD cover",{"caption":4,"id":4923,"meta":4924,"parentID":4,"parentType":510,"url":4928},"0f055ee81db8261944a619bc1eb137c54f4c600d",{"_type":506,"aspectRatio":4925,"height":4926,"width":4927},0.9868421052631579,836,825,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F0f055ee81db8261944a619bc1eb137c54f4c600d-825x836.jpg",{"_key":4930,"_type":9,"audioSize":4,"audioURL":4,"children":4931,"fileURL":4,"image":4,"markDefs":4936,"style":18},"6083daa58dea",[4932],{"_key":4933,"_type":13,"marks":4934,"text":4935},"1d036e21067b",[],"In 1979 I was approached by a representative of the NZ Army Band asking for a piece. l was reluctant to write an entertainment piece, but after a visit to my father (who had always been an amateur clockmaker) in January 1980, l realized that I could write a piece which would have both serious and light-hearted elements.",[],{"_key":4938,"_type":9,"audioSize":4,"audioURL":4,"children":4939,"fileURL":4,"image":4,"markDefs":4944,"style":18},"054352aa7762",[4940],{"_key":4941,"_type":13,"marks":4942,"text":4943},"551f4b0520cd0",[],"Extra-musical Themes:",[],{"_key":4946,"_type":9,"audioSize":4,"audioURL":4,"children":4947,"fileURL":4,"image":4,"markDefs":4952,"style":18},"54c2e7a6a8ee",[4948],{"_key":4949,"_type":13,"marks":4950,"text":4951},"aefb843b13a50",[],"• Old age is often regulated by the hours of the day. This is all the more obvious in Hubert's case because of all his clocks.",[],{"_key":4954,"_type":9,"audioSize":4,"audioURL":4,"children":4955,"fileURL":4,"image":4,"markDefs":4960,"style":18},"18b6ca206842",[4956],{"_key":4957,"_type":13,"marks":4958,"text":4959},"8766bb5562fc0",[],"• If this old-age world seems odd or unsatisfactory to us it is probably because we are seeing it only from our own point of view. Hubert (and all grandmothers and grandfathers) has achieved the ultimate. He has created a world, which really works for him. lf at times it seems to go wrong it is probably because we have entered it and disturbed it.",[],{"_key":4962,"_type":9,"audioSize":4,"audioURL":4,"children":4963,"fileURL":4,"image":4,"markDefs":4968,"style":18},"cb44c9cd4515",[4964],{"_key":4965,"_type":13,"marks":4966,"text":4967},"5b2ba8818c120",[],"• The clocks are amoral. Their job is to tell the time and they will do that with complete disregard for Beethoven or their colleagues. That's how they behave during the day anyway perhaps at night they behave differently?",[],{"_key":4970,"_type":500,"alt":4971,"audioSize":4,"audioURL":4,"fileURL":4,"image":4972,"markDefs":4},"39a4004065c0","Musical Themes",{"caption":4,"id":4973,"meta":4974,"parentID":4,"parentType":510,"url":4978},"3f0ee11b93695ca6fc4382a3a4683f6957cd0225",{"_type":506,"aspectRatio":4975,"height":4976,"width":4977},1.104424778761062,565,624,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F3f0ee11b93695ca6fc4382a3a4683f6957cd0225-624x565.jpg",{"_key":4980,"_type":500,"audioSize":4,"audioURL":4,"caption":4971,"fileURL":4,"image":4981,"markDefs":4},"b1180b1241ea",{"caption":4,"id":4982,"meta":4983,"parentID":4,"parentType":510,"url":4987},"f93ecadb83b43cd313fd04c9b30b4476af4db5eb",{"_type":506,"aspectRatio":4984,"height":4985,"width":4986},1.7849162011173185,358,639,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Ff93ecadb83b43cd313fd04c9b30b4476af4db5eb-639x358.jpg",{"_key":4989,"_type":423,"audio":4990,"audioSize":4993,"audioURL":4994,"caption":4995,"fileURL":4,"image":4,"markDefs":4,"musicians":4996},"8dd39db96601",{"_type":416,"asset":4991},{"_ref":4992,"_type":324},"file-8f2a5a691991c6504b3f8eafd1a1b1b8817936ef-mp3",11251799,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F8f2a5a691991c6504b3f8eafd1a1b1b8817936ef.mp3","Hubert the Clockmaker ","Kathie Harrop Speaker, New Zealand Army Band",{"_key":4998,"_type":754,"audioSize":4,"audioURL":4,"author":4999,"fileURL":4,"image":4,"markDefs":4,"poem":5000,"title":5161},"3179a8ad1e4f","Kit Powell",[5001,5009,5017,5025,5033,5041,5049,5057,5065,5073,5081,5089,5097,5105,5113,5121,5129,5137,5145,5153],{"_key":5002,"_type":9,"children":5003,"markDefs":5008,"style":18},"212d11a82f6b",[5004],{"_key":5005,"_type":13,"marks":5006,"text":5007},"b2691fbdcbcb",[],"Hubert the Clockmaker lives in a tiny house full of clocks.\nThere are small clocks, and large clocks,\nChiming clocks, and striking clocks,\nSkeleton clocks, and … cuckoo clocks-",[],{"_key":5010,"_type":9,"children":5011,"markDefs":5016,"style":18},"51906745d4ba",[5012],{"_key":5013,"_type":13,"marks":5014,"text":5015},"055e7354e2560",[],"Hubert has spent his whole life making these clocks,\nthey are his friends and they help him order his day.",[],{"_key":5018,"_type":9,"children":5019,"markDefs":5024,"style":18},"c7bcdfb2b0ed",[5020],{"_key":5021,"_type":13,"marks":5022,"text":5023},"f7ebc44182c40",[],"He wakes at six, dozes till seven,\nhas breakfast at seven fifteen and works till ten.»\nMorning tea is at ten … and then, back to work till twelve.\nJust imagine the sound at midday!",[],{"_key":5026,"_type":9,"children":5027,"markDefs":5032,"style":18},"a7e8fbb8cb06",[5028],{"_key":5029,"_type":13,"marks":5030,"text":5031},"e56ce05bc13c0",[],"Now one sad thing I‘ve forgotten to tell you:\nif ever Hubert opened his front door the noise of the traffic\nwould drown out the sound of all his beautiful clocks …\nAnd if a train went by on the nearby track it would even\nout-thunder the traffic.",[],{"_key":5034,"_type":9,"children":5035,"markDefs":5040,"style":18},"e6c628d86dcb",[5036],{"_key":5037,"_type":13,"marks":5038,"text":5039},"bb965f4dba440",[],"But to continue with Hubert‘s day;\nat twelve o‘clock he has lunch\nand at twelve thirty a siesta … until three.\nAnd at three o‘clock he has afternoon tea and at three fifteen\nhe pops the roast in the oven, and then back to work.",[],{"_key":5042,"_type":9,"children":5043,"markDefs":5048,"style":18},"9530c3497353",[5044],{"_key":5045,"_type":13,"marks":5046,"text":5047},"0f851013b0db0",[],"Today he is working on two new tunes for two new chiming clocks.",[],{"_key":5050,"_type":9,"children":5051,"markDefs":5056,"style":18},"a4c39c9bda03",[5052],{"_key":5053,"_type":13,"marks":5054,"text":5055},"8b197141eacc0",[],"Five o'clock is sherry-time.\nThis is Hubert's favourite time of the day.\nHe sets the table, carves the roast.\nand sits down to enjoy his meal –– and his clocks, of course.\nAt six o'clock he washes the dishes and dries the dishes,\npours a glass of port, and watches the news.\nThen he pours another drink, switches on his tape-recorder\nand relaxes with Brandy and Beethoven.\nThen tea and cake at eight thirty and into bed at nine.",[],{"_key":5058,"_type":9,"children":5059,"markDefs":5064,"style":18},"767f144bfce4",[5060],{"_key":5061,"_type":13,"marks":5062,"text":5063},"784a0b67f41b0",[],"But Hubert sleeps uneasily. Tomorrow his routine will be broken\nTomorrow arrive his son and wife and two children.",[],{"_key":5066,"_type":9,"children":5067,"markDefs":5072,"style":18},"f23c32476c6b",[5068],{"_key":5069,"_type":13,"marks":5070,"text":5071},"cef132f7448a0",[],"Of course he is so pleased to see them.\nAnd they are so pleased to see him.\nBut they don‘t understand his timetable at all:",[],{"_key":5074,"_type":9,"children":5075,"markDefs":5080,"style":18},"6181c63e87bb",[5076],{"_key":5077,"_type":13,"marks":5078,"text":5079},"98e977da748a0",[],"They get up late, sit in wrong chairs\ndrink coffee instead of tea.\nThey forget his siesta, leave clothes lying about\nand forget to close the door.",[],{"_key":5082,"_type":9,"children":5083,"markDefs":5088,"style":18},"b09a89534034",[5084],{"_key":5085,"_type":13,"marks":5086,"text":5087},"ad42511e398b0",[],"But they really try hard, they want to please him\nthey especially make him tea,\nbut he doesn‘t drink tea, when he's eating his lunch\nand never at twelve o'clock!",[],{"_key":5090,"_type":9,"children":5091,"markDefs":5096,"style":18},"2d338da2e18c",[5092],{"_key":5093,"_type":13,"marks":5094,"text":5095},"2191c9e499a90",[],"The jolt to his timetable is really quite awful,\nwhat should poor Hubert do?\nHe looks to Beethoven for some small comfort,\nbut that's not the same anymore.",[],{"_key":5098,"_type":9,"children":5099,"markDefs":5104,"style":18},"f58b78dc779f",[5100],{"_key":5101,"_type":13,"marks":5102,"text":5103},"8c31c49c15290",[],"He springs to his feet and staggers off balance,\nhe knows he is going to fall,\nhe grabs at the nearest thing to support him\nand tears his cuckoo clock right off the wall!",[],{"_key":5106,"_type":9,"children":5107,"markDefs":5112,"style":18},"94428d7eb7aa",[5108],{"_key":5109,"_type":13,"marks":5110,"text":5111},"43311a6b0a820",[],"What can he do but go to bed?\ntoo late to repair it now.’\nSo at eight o'clock he is asleep and dreaming\ndreaming of clocks.",[],{"_key":5114,"_type":9,"children":5115,"markDefs":5120,"style":18},"74f13c38c373",[5116],{"_key":5117,"_type":13,"marks":5118,"text":5119},"321415bc0fec0",[],"And a great parade of maddened clocks\ncome out of their places and march towards him:",[],{"_key":5122,"_type":9,"children":5123,"markDefs":5128,"style":18},"de13cef96c39",[5124],{"_key":5125,"_type":13,"marks":5126,"text":5127},"80ee9a0b61c30",[],"Big ones small ones, striking and chiming,\ngrandmothers, grandfathers, wall-clocks, skeletons,\nfriends of the cuckoo, wildly enraged\nare bearing down on him wanting revenge.",[],{"_key":5130,"_type":9,"children":5131,"markDefs":5136,"style":18},"ffd4a9b8d0a9",[5132],{"_key":5133,"_type":13,"marks":5134,"text":5135},"ec41e7f9ace60",[],"He can bear it no longer and in spite of his rule\nfor the right time to work,\ngoes straight to his bench … and still in pyjamas\nhe starts to mend his bent cuckoo clock.",[],{"_key":5138,"_type":9,"children":5139,"markDefs":5144,"style":18},"b20dfefd33da",[5140],{"_key":5141,"_type":13,"marks":5142,"text":5143},"b62ca97138e70",[],"He hammers and saws and straightens and oils\ntill his faithful friend is ticking,\nthen back to bed, exhausted and cold\nbut he sleeps his best sleep ever.",[],{"_key":5146,"_type":9,"children":5147,"markDefs":5152,"style":18},"878ba71ddad3",[5148],{"_key":5149,"_type":13,"marks":5150,"text":5151},"2d25eae1fec90",[],"And when he awakes it is already late,\nhis son and family are packing.\nthey wave him goodbye, he‘s sad they are going,\nbut strangely he feels so much lighter,",[],{"_key":5154,"_type":9,"children":5155,"markDefs":5160,"style":18},"cbb5d3f729e0",[5156],{"_key":5157,"_type":13,"marks":5158,"text":5159},"adf2e2e0d3cb0",[],"He walks back inside, and closes the door,\nsits down in his chair by the table.\nHe smiles at the clocks and they smile back,\nready to enjoy the old timetable.",[],[5162],{"_key":5163,"_type":9,"children":5164,"markDefs":5169,"style":18},"e60573a4cf01",[5165],{"_key":5166,"_type":13,"marks":5167,"text":5168},"bd5e890eb1c2",[15,73],"Hubert the Clockmaker",[],{"_key":5171,"_type":500,"alt":5172,"audioSize":4,"audioURL":4,"caption":5172,"fileURL":4,"image":5173,"markDefs":4},"56cc8e3e5bfa","Hubert Powell with one of his own clocks – 1980",{"caption":4,"id":5174,"meta":5175,"parentID":4,"parentType":510,"url":5179},"735fef4f04864331984c69f745bd6b611fb03a10",{"_type":506,"aspectRatio":5176,"height":5177,"width":5178},0.6875816993464052,1530,1052,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F735fef4f04864331984c69f745bd6b611fb03a10-1052x1530.jpg",{"_key":5181,"_type":9,"audioSize":4,"audioURL":4,"children":5182,"fileURL":4,"image":4,"markDefs":5186,"style":18},"e3ff7e037a14",[5183],{"_key":5184,"_type":13,"marks":5185,"text":25},"5164731e68d8",[],[],[5188,5190,5192,5194],{"caption":4,"id":4923,"meta":5189,"parentID":4909,"parentType":510,"url":4928},{"_type":506,"aspectRatio":4925,"height":4926,"width":4927},{"caption":4,"id":4973,"meta":5191,"parentID":4909,"parentType":510,"url":4978},{"_type":506,"aspectRatio":4975,"height":4976,"width":4977},{"caption":4971,"id":4982,"meta":5193,"parentID":4909,"parentType":510,"url":4987},{"_type":506,"aspectRatio":4984,"height":4985,"width":4986},{"caption":5172,"id":5174,"meta":5195,"parentID":4909,"parentType":510,"url":5179},{"_type":506,"aspectRatio":5176,"height":5177,"width":5178},"Hubert the Clockmaker lives in a tiny house full of clocks.\nThere are small clocks, and large clocks,\nChiming clocks, and striking clocks,\nSkeleton clocks, and … cuckoo clocks-\n\nHubert has spent his whole life making these clocks,\nthey are his friends and they help him order his day.\n\nHe wakes at six, dozes till seven,\nhas breakfast at seven fifteen and works till ten.»\nMorning tea is at ten … and then, back to work till twelve.\nJust imagine the sound at midday!\n\nNow one sad thing I‘ve forgotten to tell you:\nif ever Hubert opened his front door the noise of the traffic\nwould drown out the sound of all his beautiful clocks …\nAnd if a train went by on the nearby track it would even\nout-thunder the traffic.\n\nBut to continue with Hubert‘s day;\nat twelve o‘clock he has lunch\nand at twelve thirty a siesta … until three.\nAnd at three o‘clock he has afternoon tea and at three fifteen\nhe pops the roast in the oven, and then back to work.\n\nToday he is working on two new tunes for two new chiming clocks.\n\nFive o'clock is sherry-time.\nThis is Hubert's favourite time of the day.\nHe sets the table, carves the roast.\nand sits down to enjoy his meal –– and his clocks, of course.\nAt six o'clock he washes the dishes and dries the dishes,\npours a glass of port, and watches the news.\nThen he pours another drink, switches on his tape-recorder\nand relaxes with Brandy and Beethoven.\nThen tea and cake at eight thirty and into bed at nine.\n\nBut Hubert sleeps uneasily. Tomorrow his routine will be broken\nTomorrow arrive his son and wife and two children.\n\nOf course he is so pleased to see them.\nAnd they are so pleased to see him.\nBut they don‘t understand his timetable at all:\n\nThey get up late, sit in wrong chairs\ndrink coffee instead of tea.\nThey forget his siesta, leave clothes lying about\nand forget to close the door.\n\nBut they really try hard, they want to please him\nthey especially make him tea,\nbut he doesn‘t drink tea, when he's eating his lunch\nand never at twelve o'clock!\n\nThe jolt to his timetable is really quite awful,\nwhat should poor Hubert do?\nHe looks to Beethoven for some small comfort,\nbut that's not the same anymore.\n\nHe springs to his feet and staggers off balance,\nhe knows he is going to fall,\nhe grabs at the nearest thing to support him\nand tears his cuckoo clock right off the wall!\n\nWhat can he do but go to bed?\ntoo late to repair it now.’\nSo at eight o'clock he is asleep and dreaming\ndreaming of clocks.\n\nAnd a great parade of maddened clocks\ncome out of their places and march towards him:\n\nBig ones small ones, striking and chiming,\ngrandmothers, grandfathers, wall-clocks, skeletons,\nfriends of the cuckoo, wildly enraged\nare bearing down on him wanting revenge.\n\nHe can bear it no longer and in spite of his rule\nfor the right time to work,\ngoes straight to his bench … and still in pyjamas\nhe starts to mend his bent cuckoo clock.\n\nHe hammers and saws and straightens and oils\ntill his faithful friend is ticking,\nthen back to bed, exhausted and cold\nbut he sleeps his best sleep ever.\n\nAnd when he awakes it is already late,\nhis son and family are packing.\nthey wave him goodbye, he‘s sad they are going,\nbut strangely he feels so much lighter,\n\nHe walks back inside, and closes the door,\nsits down in his chair by the table.\nHe smiles at the clocks and they smile back,\nready to enjoy the old timetable.","\n\nIn 1979 I was approached by a representative of the NZ Army Band asking for a piece. l was reluctant to write an entertainment piece, but after a visit to my father (who had always been an amateur clockmaker) in January 1980, l realized that I could write a piece which would have both serious and light-hearted elements.\n\nExtra-musical Themes:\n\n• Old age is often regulated by the hours of the day. This is all the more obvious in Hubert's case because of all his clocks.\n\n• If this old-age world seems odd or unsatisfactory to us it is probably because we are seeing it only from our own point of view. Hubert (and all grandmothers and grandfathers) has achieved the ultimate. He has created a world, which really works for him. lf at times it seems to go wrong it is probably because we have entered it and disturbed it.\n\n• The clocks are amoral. Their job is to tell the time and they will do that with complete disregard for Beethoven or their colleagues. That's how they behave during the day anyway perhaps at night they behave differently?\n\n",{"_type":375,"current":5199},"hubert-the-clockmaker",{"commissioned":5201,"date":3031,"instrumentation":5202,"length":1596,"text":4999},"New Zealand Army Band","Brass Band or Orchestra and Speaker",40,{"_id":5205,"chapters":5206,"content":5207,"images":5272,"performances":5277,"rawPoem":4,"rawText":5284,"slug":5285,"title":5287,"workInfo":5288,"workNumber":5290},"bba32708-e5d8-46c4-bf0d-5ac45bd6fa38",[],[5208,5215,5225,5233,5241,5248,5258,5265],{"_key":5209,"_type":9,"audioSize":4,"audioURL":4,"children":5210,"fileURL":4,"image":4,"markDefs":5214,"style":18},"6b45e4a1d711",[5211],{"_key":5212,"_type":13,"marks":5213,"text":25},"b8b047639006",[],[],{"_key":5216,"_type":500,"audioSize":4,"audioURL":4,"caption":5217,"fileURL":4,"image":5218,"markDefs":4},"c77fe5669063","Score cover as published by Philip Norman's \"Nota Bene\"",{"caption":4,"id":5219,"meta":5220,"parentID":4,"parentType":510,"url":5224},"0bc75404cf2b66ed5440dbfa10ae53deb74cdb66",{"_type":506,"aspectRatio":5221,"height":5222,"width":5223},0.7068719703450242,3507,2479,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F0bc75404cf2b66ed5440dbfa10ae53deb74cdb66-2479x3507.jpg",{"_key":5226,"_type":9,"audioSize":4,"audioURL":4,"children":5227,"fileURL":4,"image":4,"markDefs":5232,"style":18},"3db19d64cd57",[5228],{"_key":5229,"_type":13,"marks":5230,"text":5231},"e3cb3605c53e",[],"Written at the request of a Swiss cello teacher for pieces of medium difficulty, where the main problems are rhythmic, rather than intonational.",[],{"_key":5234,"_type":9,"audioSize":4,"audioURL":4,"children":5235,"fileURL":4,"image":4,"markDefs":5240,"style":18},"2e73401de596",[5236],{"_key":5237,"_type":13,"marks":5238,"text":5239},"9b8bd876321e0",[],"In all 10 pieces the second cello always plays an ostinato. Published by Nota Bene 1983.",[],{"_key":5242,"_type":9,"audioSize":4,"audioURL":4,"children":5243,"fileURL":4,"image":4,"markDefs":5247,"style":18},"ffbfb01e3d87",[5244],{"_key":5245,"_type":13,"marks":5246,"text":25},"bb3195ed2930",[],[],{"_key":5249,"_type":500,"audioSize":4,"audioURL":4,"caption":5250,"fileURL":4,"image":5251,"markDefs":4},"532d50ad128f","First Duo",{"caption":4,"id":5252,"meta":5253,"parentID":4,"parentType":510,"url":5257},"18ca263cab5edb67486e9bd9a69135628d42936c",{"_type":506,"aspectRatio":5254,"height":5255,"width":5256},0.7103546099290781,3525,2504,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F18ca263cab5edb67486e9bd9a69135628d42936c-2504x3525.jpg",{"_key":5259,"_type":9,"audioSize":4,"audioURL":4,"children":5260,"fileURL":4,"image":4,"markDefs":5264,"style":18},"9de2679e8ff8",[5261],{"_key":5262,"_type":13,"marks":5263,"text":25},"edb9f631b9f1",[],[],{"_key":5266,"_type":413,"audioSize":4,"audioURL":4,"description":5267,"file":5268,"fileURL":5271,"image":4,"markDefs":4},"d332099353c1","10 Duos for 2 Celli — Score",{"_type":416,"asset":5269},{"_ref":5270,"_type":324},"file-27eb3426b1802d907068d246879078253482e311-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F27eb3426b1802d907068d246879078253482e311.pdf",[5273,5275],{"caption":5217,"id":5219,"meta":5274,"parentID":5205,"parentType":510,"url":5224},{"_type":506,"aspectRatio":5221,"height":5222,"width":5223},{"caption":5250,"id":5252,"meta":5276,"parentID":5205,"parentType":510,"url":5257},{"_type":506,"aspectRatio":5254,"height":5255,"width":5256},[5278,5282],{"_key":5279,"_type":366,"date":5280,"location":5281},"ffdf1881cec6","1981-01-01","Bülach, Switzerland",{"_key":5283,"_type":366,"date":3345,"location":3032},"f9ffef1a39eb","\n\nWritten at the request of a Swiss cello teacher for pieces of medium difficulty, where the main problems are rhythmic, rather than intonational.\n\nIn all 10 pieces the second cello always plays an ostinato. Published by Nota Bene 1983.\n\n\n\n",{"_type":375,"current":5286},"10-duos-for-2-celli","10 Duos for 2 Celli",{"date":3031,"instrumentation":5289,"length":1596},"a young cellist and teacher",42,{"_id":5292,"chapters":5293,"content":5294,"images":5388,"performances":5391,"rawPoem":4,"rawText":5394,"slug":5395,"title":5336,"workInfo":5397,"workNumber":5401},"346d5859-cbfa-4f6f-b8eb-f878aa0f15a3",[],[5295,5325,5344,5353,5374,5381],{"_key":5296,"_type":9,"audioSize":4,"audioURL":4,"children":5297,"fileURL":4,"image":4,"markDefs":5320,"style":18},"e7a2a6150346",[5298,5302,5307,5311,5316],{"_key":5299,"_type":13,"marks":5300,"text":5301},"0f0b21cb20e7",[],"Commissioned by Hans Egli at the ",{"_key":5303,"_type":13,"marks":5304,"text":5306},"955dc2d33c55",[5305],"27e79af0514e","Kantonsschule Zürcherunterland",{"_key":5308,"_type":13,"marks":5309,"text":5310},"22252e6c78c5",[],", where it was performed twice in 1981 and again in 1982 for a recording by ",{"_key":5312,"_type":13,"marks":5313,"text":5315},"1fa914f44551",[5314],"86078e8c38e9","Pan Verlag",{"_key":5317,"_type":13,"marks":5318,"text":5319},"de5590485469",[],", who also published the score.",[5321,5323],{"_key":5305,"_type":316,"href":5322},"http:\u002F\u002Fwww.kzu.ch\u002F",{"_key":5314,"_type":316,"href":5324},"https:\u002F\u002Fpan-verlag.com\u002F",{"_key":5326,"_type":9,"audioSize":4,"audioURL":4,"children":5327,"fileURL":4,"image":4,"markDefs":5341,"style":18},"867e2f9f631f",[5328,5332,5337],{"_key":5329,"_type":13,"marks":5330,"text":5331},"f4989231cc2c0",[],"It is a setting for sung and spoken chorus of 10 of Christian Morgenstern's ",{"_key":5333,"_type":13,"marks":5334,"text":5336},"f4989231cc2c1",[5335,73],"71bf26407213","Galgenlieder",{"_key":5338,"_type":13,"marks":5339,"text":5340},"f4989231cc2c2",[],". There is also a part for a solo spoken voice, clarinet, piano and percussion. The soloist is dressed as a hangman.",[5342],{"_key":5335,"_type":316,"href":5343},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FGalgenlieder",{"_key":5345,"_type":500,"audioSize":4,"audioURL":4,"fileURL":4,"image":5346,"markDefs":4},"a2a3a932782b",{"caption":4,"id":5347,"meta":5348,"parentID":4,"parentType":510,"url":5352},"b21f1f20502ef037ad37b1017d97cc036bf7a905",{"_type":506,"aspectRatio":5349,"height":5350,"width":5351},0.7163252638112974,1611,1154,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fb21f1f20502ef037ad37b1017d97cc036bf7a905-1154x1611.jpg",{"_key":5354,"_type":9,"audioSize":4,"audioURL":4,"children":5355,"fileURL":4,"image":4,"markDefs":5369,"style":18},"2b95f2b9b441",[5356,5360,5365],{"_key":5357,"_type":13,"marks":5358,"text":5359},"d4e3c58f25ca",[],"Hans Egli arranged a meeting for me with Walter Keller, the owner of Pan Verlag which also published my ",{"_key":5361,"_type":13,"marks":5362,"text":5364},"f0c9e8915638",[5363],"a20744573adf","Musik mit gefundenen Gegenständen",{"_key":5366,"_type":13,"marks":5367,"text":5368},"dca6cd2c09e9",[],". Since the death of Herr Keller the publishing house has moved to Kassel in Germany.",[5370],{"_key":5363,"_type":321,"reference":5371,"slug":5373,"type":3456},{"_ref":5372,"_type":324},"e3143afc-43be-4d12-ab2b-ea642fc041f1","found-objects",{"_key":5375,"_type":9,"audioSize":4,"audioURL":4,"children":5376,"fileURL":4,"image":4,"markDefs":5380,"style":18},"d3ab500b5623",[5377],{"_key":5378,"_type":13,"marks":5379,"text":25},"db035467d9b3",[],[],{"_key":5382,"_type":413,"audioSize":4,"audioURL":4,"description":5383,"file":5384,"fileURL":5387,"image":4,"markDefs":4},"c831192216ac","Galgenlieder, Score",{"_type":416,"asset":5385},{"_ref":5386,"_type":324},"file-7cc62a76418923009c54112f398167af76b50693-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F7cc62a76418923009c54112f398167af76b50693.pdf",[5389],{"caption":4,"id":5347,"meta":5390,"parentID":5292,"parentType":510,"url":5352},{"_type":506,"aspectRatio":5349,"height":5350,"width":5351},[5392],{"_key":5393,"_type":366,"date":5280,"location":5281},"2d52af6f2dd3","Commissioned by Hans Egli at the Kantonsschule Zürcherunterland, where it was performed twice in 1981 and again in 1982 for a recording by Pan Verlag, who also published the score.\n\nIt is a setting for sung and spoken chorus of 10 of Christian Morgenstern's Galgenlieder. There is also a part for a solo spoken voice, clarinet, piano and percussion. The soloist is dressed as a hangman.\n\nHans Egli arranged a meeting for me with Walter Keller, the owner of Pan Verlag which also published my Musik mit gefundenen Gegenständen. Since the death of Herr Keller the publishing house has moved to Kassel in Germany.\n\n",{"_type":375,"current":5396},"galgenlieder",{"commissioned":5398,"date":5280,"instrumentation":5399,"text":5400},"Hans Egli","spoken chorus, clarinet, piano and percussion","Christian Morgenstern",43,{"_id":5403,"chapters":5404,"content":5405,"images":5549,"performances":5552,"rawPoem":4,"rawText":5559,"slug":5560,"title":5562,"workInfo":5563,"workNumber":5565},"1c866eac-bc72-4d06-bd53-74d1f1c84ed5",[],[5406,5416,5425,5469,5477,5485,5493,5501,5509,5517,5525,5533,5541],{"_key":5407,"_type":9,"audioSize":4,"audioURL":4,"children":5408,"fileURL":4,"image":4,"markDefs":5412,"style":18},"1a1f4fc63ff1",[5409],{"_key":5410,"_type":13,"marks":5411,"text":25},"105fe5376e1e",[],[5413],{"_key":5414,"_type":316,"href":5415},"b7a5f80a0da2","http:\u002F\u002Fkitpowell.net\u002Fpeople\u002Fandrefischer\u002F",{"_key":5417,"_type":500,"audioSize":4,"audioURL":4,"fileURL":4,"image":5418,"markDefs":4},"6541bca47771",{"caption":4,"id":5419,"meta":5420,"parentID":4,"parentType":510,"url":5424},"403e5d92790d9c705df98cdf07029fd62f6541fe",{"_type":506,"aspectRatio":5421,"height":5422,"width":5423},0.7092907092907093,1001,710,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F403e5d92790d9c705df98cdf07029fd62f6541fe-710x1001.jpg",{"_key":5426,"_type":9,"audioSize":4,"audioURL":4,"children":5427,"fileURL":4,"image":4,"markDefs":5464,"style":18},"1270c8c9ead6",[5428,5432,5437,5441,5445,5449,5453,5457,5460],{"_key":5429,"_type":13,"marks":5430,"text":5431},"c3527e5aa291",[],"The first version was written in 1981 collectively with ",{"_key":5433,"_type":13,"marks":5434,"text":5436},"f45a4e81f0ff",[5435],"5998017cd05c","André Fischer",{"_key":5438,"_type":13,"marks":5439,"text":5440},"5214a9d23502",[],", then a pupil at the ",{"_key":5442,"_type":13,"marks":5443,"text":5444},"f7ace7c24eef",[73],"Kantonsschule Zürcher Unterland",{"_key":5446,"_type":13,"marks":5447,"text":5448},"859a837fb1b7",[]," in Bülach. It is a setting of words from an advent calendar by ",{"_key":5450,"_type":13,"marks":5451,"text":5452},"c9e038cce93f",[73],"Max Bolliger",{"_key":5454,"_type":13,"marks":5455,"text":5456},"a3915ca5e906",[],". It is scored for baritone soloist (Christophorus), children's chorus and wind orchestra and percussion. The work was performed twice at the ",{"_key":5458,"_type":13,"marks":5459,"text":5444},"2bbe655a3cd8",[73],{"_key":5461,"_type":13,"marks":5462,"text":5463},"db2a480dc4fe",[]," in December 1981.",[5465],{"_key":5435,"_type":321,"reference":5466,"slug":5468,"type":326},{"_ref":5467,"_type":324},"1ccc405c-3897-4671-bb26-da205736e072","andre-fischer",{"_key":5470,"_type":9,"audioSize":4,"audioURL":4,"children":5471,"fileURL":4,"image":4,"markDefs":5476,"style":18},"e8a55007ed5e",[5472],{"_key":5473,"_type":13,"marks":5474,"text":5475},"f59fae296fa30",[],"It tells the story of St. Christopher, a very strong man, who is searching for an ogre who rules the world. Each year, instead of finding the ogre, he finds a child in distress. In the eighth year, still searching, he meets Mary and Joseph in Bethlehem. During the night, when Jesus is born, the child speaks to him and tells him he has met the ogre seven times already. Christophorus now knows what the ogre is, but is much less sure of his ability to conquer it.",[],{"_key":5478,"_type":9,"audioSize":4,"audioURL":4,"children":5479,"fileURL":4,"image":4,"markDefs":5484,"style":18},"468e709d089a",[5480],{"_key":5481,"_type":13,"marks":5482,"text":5483},"78226e52f99c0",[],"The characters of Christophorus and the children whom he meets are dressed in costume, but do not act. The Cantata is, however, illustrated by a series of slides which are shown during the whole performance.",[],{"_key":5486,"_type":9,"audioSize":4,"audioURL":4,"children":5487,"fileURL":4,"image":4,"markDefs":5492,"style":18},"6ba57d342e39",[5488],{"_key":5489,"_type":13,"marks":5490,"text":5491},"f04d0fcff33b0",[],"In 1982 in Christchurch I revised “Christophorus” and translated the text into English. It was performed for a season before Christmas of that year at the Teachers Training College and a choir of primary school children and college students in the orchestra.",[],{"_key":5494,"_type":9,"audioSize":4,"audioURL":4,"children":5495,"fileURL":4,"image":4,"markDefs":5500,"style":18},"a635d21581a5",[5496],{"_key":5497,"_type":13,"marks":5498,"text":5499},"f2483e802f8d0",[],"This revised version has double wind, piano, organ and three percussionists, plus the children's chorus.",[],{"_key":5502,"_type":9,"audioSize":4,"audioURL":4,"children":5503,"fileURL":4,"image":4,"markDefs":5508,"style":18},"c01db4c7c57b",[5504],{"_key":5505,"_type":13,"marks":5506,"text":5507},"c94d23b275270",[],"‘Newspaper Review’",[],{"_key":5510,"_type":9,"audioSize":4,"audioURL":4,"children":5511,"fileURL":4,"image":4,"markDefs":5516,"style":634},"30c9e87279a9",[5512],{"_key":5513,"_type":13,"marks":5514,"text":5515},"ad7a20e062730",[],"Premiere: “Christophorus,” composed and conducted by Kit Powell, Teachers College Auditorium, December 8, 8 p.m. to 9 p.m. Reviewed by Philip Norman.",[],{"_key":5518,"_type":9,"audioSize":4,"audioURL":4,"children":5519,"fileURL":4,"image":4,"markDefs":5524,"style":634},"786cf9d3b910",[5520],{"_key":5521,"_type":13,"marks":5522,"text":5523},"5479c89bb5590",[],"The results of Kit Powell's spectacularly productive stay in Switzerland during 1981 have been gradually unfolded in Christchurch during the course of this year. ‘Christophorus’ a cantata for soloists, small orchestra, and primary school choir, is the latest in a long line of first performances of Powell's ‘Swiss’ compositions.",[],{"_key":5526,"_type":9,"audioSize":4,"audioURL":4,"children":5527,"fileURL":4,"image":4,"markDefs":5532,"style":634},"9d8651d828f5",[5528],{"_key":5529,"_type":13,"marks":5530,"text":5531},"26782a2874a30",[],"The text for “Christophorus” is based on a legend concerning St Christopher. It is an allegorical tale about St Christopher’s eight-year search to find and kill an ogre he saw in his dreams. Each year in his travels he meets a child in need: seven children with fears of snow, water, darkness, earthquakes, sickness, war, and hunger. St Christopher's search for the ogre is all-consuming. He has no time to stop and help each child. In the eighth year the infant Jesus appears to him in a vision. He realises that the ogre he seeks is the fear of the children.",[],{"_key":5534,"_type":9,"audioSize":4,"audioURL":4,"children":5535,"fileURL":4,"image":4,"markDefs":5540,"style":634},"6e75e7e48811",[5536],{"_key":5537,"_type":13,"marks":5538,"text":5539},"430cb937ad220",[],"Kit Powell's realisation of this simple and beautiful story is a powerful and dramatic one. “Christophorus” contains some of the most finely crafted and expressive music of Powell's I have heard. The strength of this composition lies in his depictive orchestral writing. He has an uncanny ear for capturing the sounds and ambience of the natural world in a kaleidoscope of changing textures and timbres. Cascades of woodwind suggest floods of water, organum brass suggest the darkness of the beginning of time, and no facile use of bass drum and timpani suggest the trembles of the Earth. Another strength lies in the passages that overlay vocal textures. A most striking example of this was in the sickness sequence where St Christopher wove a narrative thread in free counterpoint to an incanted prayer in the choir. There were weaknesses in the work, however. The exchanges of recitative between St Christopher and the children captured none of the urgency of the quest for the ogre, while the sequential nature of the text led to a predictable symmetry of design within each of the seven sections. The final eighth section was all the more satisfying for breaking away from this pattern of description- exchange commentary.",[],{"_key":5542,"_type":9,"audioSize":4,"audioURL":4,"children":5543,"fileURL":4,"image":4,"markDefs":5548,"style":634},"fded7c8eef52",[5544],{"_key":5545,"_type":13,"marks":5546,"text":5547},"c244d3b0473b0",[],"The role of St Christopher that Kit Powell has created is a magnificent one — a singer's dream. It is extremely demanding, however, in that it calls for a wide baritone range. Deep, forbidding tones are scored alongside high lyrical passages. The choice of James Baines for this role was indeed fortunate. He has the range. the flexibility, and above all he has the commanding presence needed to dominate the performance of this most exciting cantata.",[],[5550],{"caption":4,"id":5419,"meta":5551,"parentID":5403,"parentType":510,"url":5424},{"_type":506,"aspectRatio":5421,"height":5422,"width":5423},[5553,5556],{"_key":5554,"_type":366,"date":5280,"location":5555},"26cf3bb1f097","Bülach, Switzerland—German version",{"_key":5557,"_type":366,"date":3345,"location":5558},"49884a91f2e4","Christchurch, New Zealand—English version","\n\nThe first version was written in 1981 collectively with André Fischer, then a pupil at the Kantonsschule Zürcher Unterland in Bülach. It is a setting of words from an advent calendar by Max Bolliger. It is scored for baritone soloist (Christophorus), children's chorus and wind orchestra and percussion. The work was performed twice at the Kantonsschule Zürcher Unterland in December 1981.\n\nIt tells the story of St. Christopher, a very strong man, who is searching for an ogre who rules the world. Each year, instead of finding the ogre, he finds a child in distress. In the eighth year, still searching, he meets Mary and Joseph in Bethlehem. During the night, when Jesus is born, the child speaks to him and tells him he has met the ogre seven times already. Christophorus now knows what the ogre is, but is much less sure of his ability to conquer it.\n\nThe characters of Christophorus and the children whom he meets are dressed in costume, but do not act. The Cantata is, however, illustrated by a series of slides which are shown during the whole performance.\n\nIn 1982 in Christchurch I revised “Christophorus” and translated the text into English. It was performed for a season before Christmas of that year at the Teachers Training College and a choir of primary school children and college students in the orchestra.\n\nThis revised version has double wind, piano, organ and three percussionists, plus the children's chorus.\n\n‘Newspaper Review’\n\nPremiere: “Christophorus,” composed and conducted by Kit Powell, Teachers College Auditorium, December 8, 8 p.m. to 9 p.m. Reviewed by Philip Norman.\n\nThe results of Kit Powell's spectacularly productive stay in Switzerland during 1981 have been gradually unfolded in Christchurch during the course of this year. ‘Christophorus’ a cantata for soloists, small orchestra, and primary school choir, is the latest in a long line of first performances of Powell's ‘Swiss’ compositions.\n\nThe text for “Christophorus” is based on a legend concerning St Christopher. It is an allegorical tale about St Christopher’s eight-year search to find and kill an ogre he saw in his dreams. Each year in his travels he meets a child in need: seven children with fears of snow, water, darkness, earthquakes, sickness, war, and hunger. St Christopher's search for the ogre is all-consuming. He has no time to stop and help each child. In the eighth year the infant Jesus appears to him in a vision. He realises that the ogre he seeks is the fear of the children.\n\nKit Powell's realisation of this simple and beautiful story is a powerful and dramatic one. “Christophorus” contains some of the most finely crafted and expressive music of Powell's I have heard. The strength of this composition lies in his depictive orchestral writing. He has an uncanny ear for capturing the sounds and ambience of the natural world in a kaleidoscope of changing textures and timbres. Cascades of woodwind suggest floods of water, organum brass suggest the darkness of the beginning of time, and no facile use of bass drum and timpani suggest the trembles of the Earth. Another strength lies in the passages that overlay vocal textures. A most striking example of this was in the sickness sequence where St Christopher wove a narrative thread in free counterpoint to an incanted prayer in the choir. There were weaknesses in the work, however. The exchanges of recitative between St Christopher and the children captured none of the urgency of the quest for the ogre, while the sequential nature of the text led to a predictable symmetry of design within each of the seven sections. The final eighth section was all the more satisfying for breaking away from this pattern of description- exchange commentary.\n\nThe role of St Christopher that Kit Powell has created is a magnificent one — a singer's dream. It is extremely demanding, however, in that it calls for a wide baritone range. Deep, forbidding tones are scored alongside high lyrical passages. The choice of James Baines for this role was indeed fortunate. He has the range. the flexibility, and above all he has the commanding presence needed to dominate the performance of this most exciting cantata.",{"_type":375,"current":5561},"christophorus","Christophorus",{"date":5280,"instrumentation":5564,"length":4010,"text":5452},"baritone, children’s chorus and wind orchestra",44,{"_id":5567,"chapters":5568,"content":5569,"images":5721,"performances":5728,"rawPoem":5733,"rawText":5734,"slug":5735,"title":5639,"workInfo":5737,"workNumber":4010},"4241c199-f161-49cc-9883-6cfc59a221a7",[],[5570,5589,5641,5649,5665,5673,5680,5690,5697,5707,5714],{"_key":5571,"_type":9,"audioSize":4,"audioURL":4,"children":5572,"fileURL":4,"image":4,"markDefs":5586,"style":18},"4fa7831a4c0c",[5573,5577,5582],{"_key":5574,"_type":13,"marks":5575,"text":5576},"1e221bcdfcce",[],"A setting of five prose poems from ",{"_key":5578,"_type":13,"marks":5579,"text":5581},"ffb8485c3c62",[5580],"a091a176aefb","Michael Harlow's",{"_key":5583,"_type":13,"marks":5584,"text":5585},"0f65b662101c",[]," book of the same name.",[5587],{"_key":5580,"_type":321,"reference":5588,"slug":3414,"type":326},{"_ref":3413,"_type":324},{"_key":5590,"_type":754,"audioSize":4,"audioURL":4,"author":3405,"fileURL":4,"hideTitle":3086,"image":4,"markDefs":4,"poem":5591,"title":5632},"5b88cd079a03",[5592,5600,5608,5616,5624],{"_key":5593,"_type":9,"children":5594,"markDefs":5599,"style":18},"903081ce6084",[5595],{"_key":5596,"_type":13,"marks":5597,"text":5598},"26946024c953",[],"Cézanne's mistress is in Switzerland drinking lemonade.\nThe mountains are white with snow.\nA waiter appears bearing two glasses on a red tray.\nBending to the table he considers the remote possibility of her breasts.",[],{"_key":5601,"_type":9,"children":5602,"markDefs":5607,"style":18},"eefff0580ebf",[5603],{"_key":5604,"_type":13,"marks":5605,"text":5606},"c9ddc5363f970",[],"He is thinking: “Green grape and you refused me, red\ngrape and you sent me packing. May I have a bite of your\nraisin?”",[],{"_key":5609,"_type":9,"children":5610,"markDefs":5615,"style":18},"746fc630de97",[5611],{"_key":5612,"_type":13,"marks":5613,"text":5614},"a6774edc512e0",[],"She winks discreetly at her gentleman friend in his fawn\nwaistcoat and lemon gloves.",[],{"_key":5617,"_type":9,"children":5618,"markDefs":5623,"style":18},"0b3029eaa659",[5619],{"_key":5620,"_type":13,"marks":5621,"text":5622},"334411db12fb0",[],"A glass falls shattering on the stone floor.",[],{"_key":5625,"_type":9,"children":5626,"markDefs":5631,"style":18},"5884f6298aa6",[5627],{"_key":5628,"_type":13,"marks":5629,"text":5630},"bc8a42baa3860",[],"From across the terrace a peddlar smiles, flashing a fan\nof postcard scenes from Provence…",[],[5633],{"_key":5634,"_type":9,"children":5635,"markDefs":5640,"style":18},"d4e15147632c",[5636],{"_key":5637,"_type":13,"marks":5638,"text":5639},"841ece1cfb7a",[15,73],"Nothing but Switzerland and Lemonade",[],{"_key":5642,"_type":9,"audioSize":4,"audioURL":4,"children":5643,"fileURL":4,"image":4,"markDefs":5648,"style":18},"b9e1d8bd7f07",[5644],{"_key":5645,"_type":13,"marks":5646,"text":5647},"f1e821226fbe0",[],"It is scored for singer, flute, violin and cello. An earlier version, which was also performed in Zürich, was for speaker, flute, violin and cello.",[],{"_key":5650,"_type":9,"audioSize":4,"audioURL":4,"children":5651,"fileURL":4,"image":4,"markDefs":5664,"style":18},"6f7b3bd4aba7",[5652,5656,5660],{"_key":5653,"_type":13,"marks":5654,"text":5655},"0948d418ae720",[],"The singer's part in the newer version is, with the exception of the last movement, written in graphic notation. But the instrumental parts are in conventional notation. Nevertheless, a number of modern techniques are called for in the instrumental parts, such as simultaneous singing and playing for the flautist, ",{"_key":5657,"_type":13,"marks":5658,"text":5659},"0948d418ae721",[73],"legno battuto",{"_key":5661,"_type":13,"marks":5662,"text":5663},"0948d418ae722",[]," for the string players and durations which are measured in seconds, rather than beats.",[],{"_key":5666,"_type":9,"audioSize":4,"audioURL":4,"children":5667,"fileURL":4,"image":4,"markDefs":5672,"style":18},"a1b3d01516ff",[5668],{"_key":5669,"_type":13,"marks":5670,"text":5671},"a591614eca77",[],"Here are three pages from the score:",[],{"_key":5674,"_type":9,"audioSize":4,"audioURL":4,"children":5675,"fileURL":4,"image":4,"markDefs":5679,"style":18},"89e6af940b2e",[5676],{"_key":5677,"_type":13,"marks":5678,"text":25},"056f5461518b",[],[],{"_key":5681,"_type":500,"audioSize":4,"audioURL":4,"caption":5682,"fileURL":4,"image":5683,"markDefs":4},"dd83a2785000","Explanation of the notation",{"caption":4,"id":5684,"meta":5685,"parentID":4,"parentType":510,"url":5689},"d29f50bdb04804a6ab3a57c89a5a8b9c73f643f2",{"_type":506,"aspectRatio":5686,"height":5687,"width":5688},0.6616090331686661,2834,1875,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fd29f50bdb04804a6ab3a57c89a5a8b9c73f643f2-1875x2834.jpg",{"_key":5691,"_type":9,"audioSize":4,"audioURL":4,"children":5692,"fileURL":4,"image":4,"markDefs":5696,"style":18},"ca12b95cf817",[5693],{"_key":5694,"_type":13,"marks":5695,"text":25},"f11b87af4adc",[],[],{"_key":5698,"_type":500,"audioSize":4,"audioURL":4,"caption":5699,"fileURL":4,"image":5700,"markDefs":4},"e646c0940af1","Beginning of the first movement (\"The Identikit\")",{"caption":4,"id":5701,"meta":5702,"parentID":4,"parentType":510,"url":5706},"8263564aa163385cf51ac6bca38e293295be6e87",{"_type":506,"aspectRatio":5703,"height":5704,"width":5705},0.7140266021765417,1654,1181,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F8263564aa163385cf51ac6bca38e293295be6e87-1181x1654.jpg",{"_key":5708,"_type":9,"audioSize":4,"audioURL":4,"children":5709,"fileURL":4,"image":4,"markDefs":5713,"style":18},"50bec8286e53",[5710],{"_key":5711,"_type":13,"marks":5712,"text":25},"d1d71835a7bb",[],[],{"_key":5715,"_type":500,"audioSize":4,"audioURL":4,"caption":5716,"fileURL":4,"image":5717,"markDefs":4},"60cf45e31934","Beginning of the fourth movement (\"The Elephant's Necessary Reply\")",{"caption":4,"id":5718,"meta":5719,"parentID":4,"parentType":510,"url":5720},"c6a7eea441f577318f74967558aa9cdbbe1fb5d6",{"_type":506,"aspectRatio":5703,"height":5704,"width":5705},"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fc6a7eea441f577318f74967558aa9cdbbe1fb5d6-1181x1654.jpg",[5722,5724,5726],{"caption":5682,"id":5684,"meta":5723,"parentID":5567,"parentType":510,"url":5689},{"_type":506,"aspectRatio":5686,"height":5687,"width":5688},{"caption":5699,"id":5701,"meta":5725,"parentID":5567,"parentType":510,"url":5706},{"_type":506,"aspectRatio":5703,"height":5704,"width":5705},{"caption":5716,"id":5718,"meta":5727,"parentID":5567,"parentType":510,"url":5720},{"_type":506,"aspectRatio":5703,"height":5704,"width":5705},[5729],{"_key":5730,"_type":366,"date":5731,"location":5732},"ac3f71ac7bdc","1984-01-01","Winterthur, Switzerland","Cézanne's mistress is in Switzerland drinking lemonade.\nThe mountains are white with snow.\nA waiter appears bearing two glasses on a red tray.\nBending to the table he considers the remote possibility of her breasts.\n\nHe is thinking: “Green grape and you refused me, red\ngrape and you sent me packing. May I have a bite of your\nraisin?”\n\nShe winks discreetly at her gentleman friend in his fawn\nwaistcoat and lemon gloves.\n\nA glass falls shattering on the stone floor.\n\nFrom across the terrace a peddlar smiles, flashing a fan\nof postcard scenes from Provence…","A setting of five prose poems from Michael Harlow's book of the same name.\n\nIt is scored for singer, flute, violin and cello. An earlier version, which was also performed in Zürich, was for speaker, flute, violin and cello.\n\nThe singer's part in the newer version is, with the exception of the last movement, written in graphic notation. But the instrumental parts are in conventional notation. Nevertheless, a number of modern techniques are called for in the instrumental parts, such as simultaneous singing and playing for the flautist, legno battuto for the string players and durations which are measured in seconds, rather than beats.\n\nHere are three pages from the score:\n\n\n\n\n\n",{"_type":375,"current":5736},"nothing-but-switzerland-and-lemonade",{"date":5731,"instrumentation":5738,"text":3405},"soprano and instrumental trio",{"_id":5740,"chapters":5741,"content":5742,"images":5857,"performances":5864,"rawPoem":4,"rawText":5872,"slug":5873,"title":5759,"workInfo":5875,"workNumber":5877},"05c09cc6-47b4-4f4b-a946-08a7b5d98662",[],[5743,5753,5778,5786,5796,5804,5814,5822,5843,5850],{"_key":5744,"_type":500,"alt":5745,"audioSize":4,"audioURL":4,"caption":5746,"fileURL":4,"image":5747,"markDefs":4},"364fa19d9e25","Performance of ‘Piece of 4’","Performance of ‘Piece of 4’ in the Robert McDougal Art Gallery, Christchurch, July, 1982",{"caption":4,"id":5748,"meta":5749,"parentID":4,"parentType":510,"url":5752},"73b7b97fb81726ad852176b6e933c73f48741135",{"_type":506,"aspectRatio":5750,"height":5751,"width":2123},0.8008474576271186,708,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F73b7b97fb81726ad852176b6e933c73f48741135-567x708.jpg",{"_key":5754,"_type":9,"audioSize":4,"audioURL":4,"children":5755,"fileURL":4,"image":4,"markDefs":5773,"style":18},"d9a75b0b800e",[5756,5760,5764,5769],{"_key":5757,"_type":13,"marks":5758,"text":5759},"716ef2650182",[73],"Piece of 4",{"_key":5761,"_type":13,"marks":5762,"text":5763},"305de03bf322",[]," was composed in Europe Sep\u002FOct 1980 for the Bourges Experimental Music Festival June 1982. It was, however, not used because it would have demanded far more rehearsal time than was available, instead I arranged ",{"_key":5765,"_type":13,"marks":5766,"text":5768},"214705c409e2",[5767],"2db70bdbdb97","Krähenalles",{"_key":5770,"_type":13,"marks":5771,"text":5772},"f9f320c62322",[]," for clarinet and the first performance of “Piece of 4” was in Christchurch, New Zealand.",[5774],{"_key":5767,"_type":321,"reference":5775,"slug":5777,"type":510},{"_ref":5776,"_type":324},"e9d5a129-a51d-4499-a7d7-508fe60f917a","kraehenalles",{"_key":5779,"_type":9,"audioSize":4,"audioURL":4,"children":5780,"fileURL":4,"image":4,"markDefs":5785,"style":18},"339299372fe5",[5781],{"_key":5782,"_type":13,"marks":5783,"text":5784},"8b4a6a9b6c7f0",[],"The work combines my thoughts on music from found objects and on chance music, while also exploring the theme of “4”. Thus there are 4 players, each with 4 found instruments, stationed at the corners of a square. A microphone leads the sounds each player makes to a mixer and synthesizer, which modifies the sound and delivers it to a tape recorder. The taped sound then travels round the edge of the square on an enormous tape-loop. Each player is responsible for switching on and off a tape recorder in his corner which plays back the sounds on the loop. Here is a diagram of the layout from the score:",[],{"_key":5787,"_type":500,"alt":5788,"audioSize":4,"audioURL":4,"caption":5789,"fileURL":4,"image":5790,"markDefs":4},"3f457e13a5c3","Piece of Four layout","Big numbers 1–4 are the players. ‘I’ with subscript numbers are the instruments. M = microphone and T.R. = tape recorder",{"caption":4,"id":5791,"meta":5792,"parentID":4,"parentType":510,"url":255},"7eb8aeb4573b6ff5e62a7237ac0ab523c0f30a72",{"_type":506,"aspectRatio":5793,"height":5794,"width":5795},0.8331015299026425,719,599,{"_key":5797,"_type":9,"audioSize":4,"audioURL":4,"children":5798,"fileURL":4,"image":4,"markDefs":5803,"style":18},"0c6854f8d8b9",[5799],{"_key":5800,"_type":13,"marks":5801,"text":5802},"ffddf3aa3f11",[],"The piece is controlled by 4 independent chance systems: Rods (used as dice). 2 sets of cards, and the players themselves. Each player has 4 square rods which tell him: Which instrument to play, how to set the controls of his tape recorder, which other player to “adjust” to, and what sort of “adjustment” to make.",[],{"_key":5805,"_type":500,"alt":5806,"audioSize":4,"audioURL":4,"caption":5806,"fileURL":4,"image":5807,"markDefs":4},"bb19d5697cec","Piece of 4 rods",{"caption":4,"id":5808,"meta":5809,"parentID":4,"parentType":510,"url":5813},"41ab95ba71f922c39ea95ce52de5f0708848482b",{"_type":506,"aspectRatio":5810,"height":5811,"width":5812},1.488888888888889,225,335,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F41ab95ba71f922c39ea95ce52de5f0708848482b-335x225.jpg",{"_key":5815,"_type":9,"audioSize":4,"audioURL":4,"children":5816,"fileURL":4,"image":4,"markDefs":5821,"style":18},"3610fa726cfb",[5817],{"_key":5818,"_type":13,"marks":5819,"text":5820},"943b806aee3a",[],"He or she also has 16 (4x4) Music Example Cards which tell him\u002Fher how to start playing in each section of the piece.The piece has 16 sections whose durations are dictated by square Duration Cards in the centre of the large square. The most important musical idea is that of “adjustment”. After a player has started playing at the beginning of a section, he is required to alter his manner of playing to imitate one or more of 4 parameters: Pitch, duration, loudness, and the physical movement of the other players. Adjustment patterns among the players can be very complex. For example, one player can be adjusting to a second player, and a third player can also he adjusting to the second player, who is adjusting to the fourth player, who in turn is adjusting to a tape sound. This is one of 250 different adjustment patterns.",[],{"_key":5823,"_type":9,"audioSize":4,"audioURL":4,"children":5824,"fileURL":4,"image":4,"markDefs":5838,"style":18},"1df006526d3e",[5825,5829,5834],{"_key":5826,"_type":13,"marks":5827,"text":5828},"a0b3cde1cf740",[],"For my 70th birthday ",{"_key":5830,"_type":13,"marks":5831,"text":5833},"766c79e58f17",[5832],"60e174d71d64","Gerald Bennett",{"_key":5835,"_type":13,"marks":5836,"text":5837},"1744fec18ab1",[]," and his staff arranged for a performance of this piece at the Zurich Conservatory.",[5839],{"_key":5832,"_type":321,"reference":5840,"slug":5842,"type":326},{"_ref":5841,"_type":324},"b4d82770-938f-418c-9d39-f1e924e8e6b5","gerald-bennett",{"_key":5844,"_type":9,"audioSize":4,"audioURL":4,"children":5845,"fileURL":4,"image":4,"markDefs":5849,"style":18},"6c3707a16df4",[5846],{"_key":5847,"_type":13,"marks":5848,"text":25},"e31766d6b5ee",[],[],{"_key":5851,"_type":413,"audioSize":4,"audioURL":4,"description":5852,"file":5853,"fileURL":5856,"image":4,"markDefs":4},"d82c7917d9b1","Piece of 4 – Score",{"_type":416,"asset":5854},{"_ref":5855,"_type":324},"file-4c274dad0ec0227d4404eed158e7515a07a4e3a3-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F4c274dad0ec0227d4404eed158e7515a07a4e3a3.pdf",[5858,5860,5862],{"caption":5746,"id":5748,"meta":5859,"parentID":5740,"parentType":510,"url":5752},{"_type":506,"aspectRatio":5750,"height":5751,"width":2123},{"caption":5789,"id":5791,"meta":5861,"parentID":5740,"parentType":510,"url":255},{"_type":506,"aspectRatio":5793,"height":5794,"width":5795},{"caption":5806,"id":5808,"meta":5863,"parentID":5740,"parentType":510,"url":5813},{"_type":506,"aspectRatio":5810,"height":5811,"width":5812},[5865,5867,5870],{"_key":5866,"_type":366,"date":3345,"location":3032},"611d3e41b12b",{"_key":5868,"_type":366,"date":1283,"location":5869},"374f44a64389","Wellington, New Zealand",{"_key":5871,"_type":366,"date":4002,"location":2558},"5f520a867563","Piece of 4 was composed in Europe Sep\u002FOct 1980 for the Bourges Experimental Music Festival June 1982. It was, however, not used because it would have demanded far more rehearsal time than was available, instead I arranged Krähenalles for clarinet and the first performance of “Piece of 4” was in Christchurch, New Zealand.\n\nThe work combines my thoughts on music from found objects and on chance music, while also exploring the theme of “4”. Thus there are 4 players, each with 4 found instruments, stationed at the corners of a square. A microphone leads the sounds each player makes to a mixer and synthesizer, which modifies the sound and delivers it to a tape recorder. The taped sound then travels round the edge of the square on an enormous tape-loop. Each player is responsible for switching on and off a tape recorder in his corner which plays back the sounds on the loop. Here is a diagram of the layout from the score:\n\nThe piece is controlled by 4 independent chance systems: Rods (used as dice). 2 sets of cards, and the players themselves. Each player has 4 square rods which tell him: Which instrument to play, how to set the controls of his tape recorder, which other player to “adjust” to, and what sort of “adjustment” to make.\n\nHe or she also has 16 (4x4) Music Example Cards which tell him\u002Fher how to start playing in each section of the piece.The piece has 16 sections whose durations are dictated by square Duration Cards in the centre of the large square. The most important musical idea is that of “adjustment”. After a player has started playing at the beginning of a section, he is required to alter his manner of playing to imitate one or more of 4 parameters: Pitch, duration, loudness, and the physical movement of the other players. Adjustment patterns among the players can be very complex. For example, one player can be adjusting to a second player, and a third player can also he adjusting to the second player, who is adjusting to the fourth player, who in turn is adjusting to a tape sound. This is one of 250 different adjustment patterns.\n\nFor my 70th birthday Gerald Bennett and his staff arranged for a performance of this piece at the Zurich Conservatory.\n\n",{"_type":375,"current":5874},"piece-of-4",{"date":5280,"instrumentation":5876,"length":4010},"4 actors and tape",46,{"_id":5879,"chapters":5880,"content":5881,"images":5996,"performances":4,"rawPoem":4,"rawText":5999,"slug":6000,"title":6002,"workInfo":6003,"workNumber":6005},"a6a4b5d1-0f83-4683-b6c2-a3e05519b0e2",[],[5882,5892,5911,5932,5949,5958,5966,5974,5982,5989],{"_key":5883,"_type":500,"alt":5884,"audioSize":4,"audioURL":4,"caption":5884,"fileURL":4,"image":5885,"markDefs":4},"d7054b45db0e","Kit greeting Dominik after a performance of Three Chance Pieces Plus One, 2007",{"caption":4,"id":5886,"meta":5887,"parentID":4,"parentType":510,"url":5891},"b9f8d17a190902d8dd0b6a4b3b71da4f5cde956b",{"_type":506,"aspectRatio":5888,"height":5889,"width":5890},1.492537313432836,536,800,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fb9f8d17a190902d8dd0b6a4b3b71da4f5cde956b-800x536.jpg",{"_key":5893,"_type":9,"audioSize":4,"audioURL":4,"children":5894,"fileURL":4,"image":4,"markDefs":5910,"style":18},"af7d7764471d",[5895,5899,5903,5906],{"_key":5896,"_type":13,"marks":5897,"text":5898},"d8d22a3acc81",[73],"Three Chance Pieces for Piano",{"_key":5900,"_type":13,"marks":5901,"text":5902},"9862d7b276e6",[]," were written in Bülach, in January 1981 but lay fallow until performed for ",{"_key":5904,"_type":13,"marks":5905,"text":3476},"ed0f860acee9",[73],{"_key":5907,"_type":13,"marks":5908,"text":5909},"7c72aea2a49a",[]," by Hugh Stevenson in December 1983. At that time I was struck by the necessity for a fourth piece—a piece which would be as long as the other three together and which would function as a synthesis of the first three and as a finale to the whole set.",[],{"_key":5912,"_type":9,"audioSize":4,"audioURL":4,"children":5913,"fileURL":4,"image":4,"markDefs":5927,"style":18},"d1dd5ed0f3f7",[5914,5918,5923],{"_key":5915,"_type":13,"marks":5916,"text":5917},"73e91e6eb4ae0",[],"These pieces were played by ",{"_key":5919,"_type":13,"marks":5920,"text":5922},"236e672cf059",[5921],"0c692b60931e","Dominik Blum",{"_key":5924,"_type":13,"marks":5925,"text":5926},"c7e5eb3a1fc9",[]," several times, in particular for the concert of my works in Pushkin, near St. Petersburg in 1995.",[5928],{"_key":5921,"_type":321,"reference":5929,"slug":5931,"type":326},{"_ref":5930,"_type":324},"c8b76fe5-14fd-4431-8595-d9cbf89392c2","dominik-blum",{"_key":5933,"_type":9,"audioSize":4,"audioURL":4,"children":5934,"fileURL":4,"image":4,"markDefs":5944,"style":18},"d4203c410588",[5935,5939],{"_key":5936,"_type":13,"marks":5937,"text":5938},"9cd8c86564670",[],"The details of the chance procedures are treated in some detail in ",{"_key":5940,"_type":13,"marks":5941,"text":5943},"c5e9b6f4f808",[5942],"64ec10513109","Themes\u002FChance",[5945],{"_key":5942,"_type":321,"reference":5946,"slug":5948,"type":528},{"_ref":5947,"_type":324},"55704996-5ad2-45c8-9be4-b9f4926f858a","chance",{"_key":5950,"_type":423,"audio":5951,"audioSize":5954,"audioURL":5955,"caption":5956,"fileURL":4,"image":4,"markDefs":4,"musicians":5957},"80cb2674b7db",{"_type":416,"asset":5952},{"_ref":5953,"_type":324},"file-b093c065426b2effe1a146fa3c14c46c9a522b83-mp3",1352932,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fb093c065426b2effe1a146fa3c14c46c9a522b83.mp3","Chance Piece 1","Dominik Blum piano",{"_key":5959,"_type":423,"audio":5960,"audioSize":5963,"audioURL":5964,"caption":5965,"fileURL":4,"image":4,"markDefs":4,"musicians":5957},"6fe84ffa044d",{"_type":416,"asset":5961},{"_ref":5962,"_type":324},"file-de9ca12b79cd7943b18d990cc3a8215a019d4b9b-mp3",1587408,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fde9ca12b79cd7943b18d990cc3a8215a019d4b9b.mp3","Chance Piece 2",{"_key":5967,"_type":423,"audio":5968,"audioSize":5971,"audioURL":5972,"caption":5973,"fileURL":4,"image":4,"markDefs":4,"musicians":5957},"eb19f50cf617",{"_type":416,"asset":5969},{"_ref":5970,"_type":324},"file-5131ee04e93de399cd033ecf0ac785f69566c7c6-mp3",772805,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F5131ee04e93de399cd033ecf0ac785f69566c7c6.mp3","Chance Piece 3",{"_key":5975,"_type":423,"audio":5976,"audioSize":5979,"audioURL":5980,"caption":5981,"fileURL":4,"image":4,"markDefs":4,"musicians":5957},"36bf224631f6",{"_type":416,"asset":5977},{"_ref":5978,"_type":324},"file-d5a43944a26f0686f03ca6f9ce06e8faf4e16251-mp3",3869465,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fd5a43944a26f0686f03ca6f9ce06e8faf4e16251.mp3","Chance piece 4 (plus one)",{"_key":5983,"_type":9,"audioSize":4,"audioURL":4,"children":5984,"fileURL":4,"image":4,"markDefs":5988,"style":18},"b01930ae06a4",[5985],{"_key":5986,"_type":13,"marks":5987,"text":25},"f7b83c99db9d",[],[],{"_key":5990,"_type":413,"audioSize":4,"audioURL":4,"description":5991,"file":5992,"fileURL":5995,"image":4,"markDefs":4},"957ad4824332","3 Chance Pieces Plus One, Score",{"_type":416,"asset":5993},{"_ref":5994,"_type":324},"file-2c8019cdc9e0493874add6682278e2619bdd9795-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F2c8019cdc9e0493874add6682278e2619bdd9795.pdf",[5997],{"caption":5884,"id":5886,"meta":5998,"parentID":5879,"parentType":510,"url":5891},{"_type":506,"aspectRatio":5888,"height":5889,"width":5890},"Three Chance Pieces for Piano were written in Bülach, in January 1981 but lay fallow until performed for Radio New Zealand by Hugh Stevenson in December 1983. At that time I was struck by the necessity for a fourth piece—a piece which would be as long as the other three together and which would function as a synthesis of the first three and as a finale to the whole set.\n\nThese pieces were played by Dominik Blum several times, in particular for the concert of my works in Pushkin, near St. Petersburg in 1995.\n\nThe details of the chance procedures are treated in some detail in Themes\u002FChance\n\n",{"_type":375,"current":6001},"three-chance-pieces-plus-one","Three Chance Pieces Plus One",{"date":5280,"instrumentation":6004},"piano solo",47,{"_id":5776,"chapters":6007,"content":6008,"images":6251,"performances":4,"rawPoem":6258,"rawText":6259,"slug":6260,"title":5768,"workInfo":6261,"workNumber":6264},[],[6009,6040,6059,6067,6074,6081,6090,6110,6131,6139,6147,6154,6161,6211,6220,6229,6237,6244],{"_key":6010,"_type":9,"audioSize":4,"audioURL":4,"children":6011,"fileURL":4,"image":4,"markDefs":6033,"style":18},"680d16280984",[6012,6016,6020,6024,6029],{"_key":6013,"_type":13,"marks":6014,"text":6015},"31dce05ee6e5",[],"Piece for solo flute (or solo clarinet) and tape. It was written for Gudrun Racine and inspired by a poem by her son, Renaud, in which he writes about the time of waking when he is transported from one world to another by a crow. The tape uses Renaud's voice reading his own poem, flute sounds and crow sounds, and was realised together with ",{"_key":6017,"_type":13,"marks":6018,"text":5833},"c83d7b06327a",[6019],"832bcdd6ecf9",{"_key":6021,"_type":13,"marks":6022,"text":6023},"42bd163fecc4",[]," at the Bourges Studio for Experimental Music. The proportions of the piece are derived from the proportions of the poem. While working on the formal aspects of this piece I discovered what I call ",{"_key":6025,"_type":13,"marks":6026,"text":6028},"f7197b3e5ef4",[6027],"c4d2058a8e77","Abelian Form",{"_key":6030,"_type":13,"marks":6031,"text":6032},"992fe7b2a995",[]," (see below).",[6034,6036],{"_key":6019,"_type":321,"reference":6035,"slug":5842,"type":326},{"_ref":5841,"_type":324},{"_key":6027,"_type":321,"reference":6037,"slug":6039,"type":528},{"_ref":6038,"_type":324},"539d4774-a8d0-4fbd-8beb-9e90b63080c9","abelian-form",{"_key":6041,"_type":9,"audioSize":4,"audioURL":4,"children":6042,"fileURL":4,"image":4,"markDefs":6058,"style":18},"240b8f034268",[6043,6046,6050,6054],{"_key":6044,"_type":13,"marks":6045,"text":5768},"0a6f8779b16a0",[73],{"_key":6047,"_type":13,"marks":6048,"text":6049},"0a6f8779b16a1",[]," has been performed a number of times: as part of the collective piece ",{"_key":6051,"_type":13,"marks":6052,"text":6053},"0a6f8779b16a2",[73],"Das Durchbeissen",{"_key":6055,"_type":13,"marks":6056,"text":6057},"0a6f8779b16a3",[]," by Gerald Bennett and his associates, and also as a piece in its own right by Gudrun Racine at the Zurich Conservatory and in Christchurch by Susan Hayes, clarinet.",[],{"_key":6060,"_type":9,"audioSize":4,"audioURL":4,"children":6061,"fileURL":4,"image":4,"markDefs":6066,"style":18},"39644db0c88a",[6062],{"_key":6063,"_type":13,"marks":6064,"text":6065},"01d416a7cb35",[],"I considered briefly the possibility of having it performed as a \"Music-Theatre\" piece:",[],{"_key":6068,"_type":9,"audioSize":4,"audioURL":4,"children":6069,"fileURL":4,"image":4,"markDefs":6073,"style":18},"712c963324da",[6070],{"_key":6071,"_type":13,"marks":6072,"text":25},"d5bd79c5c6da",[],[],{"_key":6075,"_type":9,"audioSize":4,"audioURL":4,"children":6076,"fileURL":4,"image":4,"markDefs":6080,"style":18},"1eafb77fb775",[6077],{"_key":6078,"_type":13,"marks":6079,"text":25},"3c22ed2deafa",[],[],{"_key":6082,"_type":500,"audioSize":4,"audioURL":4,"fileURL":4,"image":6083,"markDefs":4},"aa7c311a742f",{"caption":4,"id":6084,"meta":6085,"parentID":4,"parentType":510,"url":6089},"ec9006d240d00bb3833e6408d16975da6b705b91",{"_type":506,"aspectRatio":6086,"height":6087,"width":6088},0.7732683982683982,1848,1429,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fec9006d240d00bb3833e6408d16975da6b705b91-1429x1848.jpg",{"_key":6091,"_type":754,"audioSize":4,"audioURL":4,"author":6092,"fileURL":4,"hideTitle":3086,"image":4,"markDefs":4,"poem":6093,"title":6102},"7538dd9e0d06","Renaud Racine",[6094],{"_key":6095,"_type":9,"children":6096,"markDefs":6101,"style":18},"340fdaf52025",[6097],{"_key":6098,"_type":13,"marks":6099,"text":6100},"9d7a4763b16b0",[],"Was macht die Krähe, die\nich in das obere Ende meines Schlafturms hineinragen sehe?\nSie holt mich aus der Welt in\ndie Welt in die Welt aus\nder Welt.\nIch bin wo und niergends.\nDie Krähe ist dort und sitzt oder fliegt und kräht.\nIch krähe.",[],[6103],{"_key":6104,"_type":9,"children":6105,"markDefs":6109,"style":18},"a20d86016ee8",[6106],{"_key":6107,"_type":13,"marks":6108,"text":5768},"489432e94b82",[15,73],[],{"_key":6111,"_type":754,"audioSize":4,"audioURL":4,"author":6112,"fileURL":4,"image":4,"markDefs":4,"poem":6113,"title":6122},"6b8d4ef4142c","Translation Kit Powell",[6114],{"_key":6115,"_type":9,"children":6116,"markDefs":6121,"style":18},"8ed9024b008c",[6117],{"_key":6118,"_type":13,"marks":6119,"text":6120},"24c9ce063c75",[],"What is the crow doing, which\nI see at the top end of my sleep-tower looming in?\nIt fetches me out of the world\ninto the world into the world\nout of the world.\nI am somewhere and nowhere.\nThe crow is there and sits or flies and crows.\nI crow.",[],[6123],{"_key":6124,"_type":9,"children":6125,"markDefs":6130,"style":18},"8ad2baf5433a",[6126],{"_key":6127,"_type":13,"marks":6128,"text":6129},"5ca915b376d3",[15,73],"Crow-all",[],{"_key":6132,"_type":9,"audioSize":4,"audioURL":4,"children":6133,"fileURL":4,"image":4,"markDefs":6138,"style":634},"d7d8e6dbcd23",[6134],{"_key":6135,"_type":13,"marks":6136,"text":6137},"1d4a142da5ee",[],"Kit wrote a perfectly marvelous piece Krähenalles … for clarinet and tape accompaniment, full of crow noises and beautiful, long streaks of sound holding them together. We performed [it] at 11 PM on a summer evening that June (1982) in the large park behind the famous Bourges cathedral…",[],{"_key":6140,"_type":9,"audioSize":4,"audioURL":4,"children":6141,"fileURL":4,"image":4,"markDefs":6146,"style":634},"b0f276e5c8b2",[6142],{"_key":6143,"_type":13,"marks":6144,"text":6145},"0129842d27530",[],"It was magic: Andres Müller played the clarinet wonderfully from a brightly lit white bandstand, while the accompaniment of crows and exquisite sounds derived from flute and clarinet came from loudspeakers placed near and far all through the pitch-black woods of the park.",[],{"_key":6148,"_type":9,"audioSize":4,"audioURL":4,"children":6149,"fileURL":4,"image":4,"markDefs":6153,"style":634},"dd28e8038bfd",[6150],{"_key":6151,"_type":13,"marks":6152,"text":5833},"4592b57d6a080",[],[],{"_key":6155,"_type":9,"audioSize":4,"audioURL":4,"children":6156,"fileURL":4,"image":4,"markDefs":6160,"style":18},"0751dfb4dd88",[6157],{"_key":6158,"_type":13,"marks":6159,"text":25},"86daaf4357b6",[],[],{"_key":6162,"_type":9,"audioSize":4,"audioURL":4,"children":6163,"fileURL":4,"image":4,"markDefs":6210,"style":18},"6bd69b672256",[6164,6167,6171,6175,6179,6183,6187,6191,6195,6199,6203,6207],{"_key":6165,"_type":13,"marks":6166,"text":5768},"d713a801d736",[15],{"_key":6168,"_type":13,"marks":6169,"text":6170},"cecb85eead85",[]," has seven sections whose durations are derived from proportions in the poem. Each section is divided into seven subsections in the same proportions as those of the whole piece. The large sections are labeled in the score with roman numerals and the subsections with arabic. In general the material of, say, subsection ",{"_key":6172,"_type":13,"marks":6173,"text":6174},"a3df2c9abf05",[15],"II 7",{"_key":6176,"_type":13,"marks":6177,"text":6178},"15c26fe007a8",[]," is the same as that of ",{"_key":6180,"_type":13,"marks":6181,"text":6182},"095ebe9c33b7",[15],"VII 2",{"_key":6184,"_type":13,"marks":6185,"text":6186},"99739087b22b",[],". That this is not always the case is due in large part to the overlapping of some sections; e.g. section ",{"_key":6188,"_type":13,"marks":6189,"text":6190},"7647c629dd8c",[73],"III",{"_key":6192,"_type":13,"marks":6193,"text":6194},"de3e96215a88",[]," overlaps section ",{"_key":6196,"_type":13,"marks":6197,"text":6198},"8f22e8be9fbd",[15],"IV",{"_key":6200,"_type":13,"marks":6201,"text":6202},"5744a78857e6",[]," and part of section ",{"_key":6204,"_type":13,"marks":6205,"text":6206},"2c571dd5c7b1",[15],"V",{"_key":6208,"_type":13,"marks":6209,"text":2020},"a00b19410de1",[],[],{"_key":6212,"_type":500,"audioSize":4,"audioURL":4,"fileURL":4,"image":6213,"markDefs":4},"3fbefa187951",{"caption":4,"id":6214,"meta":6215,"parentID":4,"parentType":510,"url":6219},"fa7401d35a47eb6d8c5af9ca4e497765a0f8459d",{"_type":506,"aspectRatio":6216,"height":6217,"width":6218},3.1288659793814433,194,607,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Ffa7401d35a47eb6d8c5af9ca4e497765a0f8459d-607x194.png",{"_key":6221,"_type":500,"audioSize":4,"audioURL":4,"fileURL":4,"image":6222,"markDefs":4},"ec00dbe4bb20",{"caption":4,"id":6223,"meta":6224,"parentID":4,"parentType":510,"url":6228},"799ece94b816a767b5e40955a04902df751d7fe4",{"_type":506,"aspectRatio":6225,"height":6226,"width":6227},1.9747292418772564,277,547,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F799ece94b816a767b5e40955a04902df751d7fe4-547x277.png",{"_key":6230,"_type":9,"audioSize":4,"audioURL":4,"children":6231,"fileURL":4,"image":4,"markDefs":6236,"style":18},"133319927b20",[6232],{"_key":6233,"_type":13,"marks":6234,"text":6235},"76aa5fd0795c",[],"If one calls these numbers seconds it makes for a very long piece—much longer than I felt I wanted. I therefore decided to allow the very long sections to overlap with one another.",[],{"_key":6238,"_type":9,"audioSize":4,"audioURL":4,"children":6239,"fileURL":4,"image":4,"markDefs":6243,"style":18},"821eba3914d9",[6240],{"_key":6241,"_type":13,"marks":6242,"text":25},"d5932f595d29",[],[],{"_key":6245,"_type":413,"audioSize":4,"audioURL":4,"description":6246,"file":6247,"fileURL":6250,"image":4,"markDefs":4},"a53aa96ed63b","Krähenalles (Flute)",{"_type":416,"asset":6248},{"_ref":6249,"_type":324},"file-f644b86f82be4acce2acb4e8c4a64c0f8caa2f0e-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Ff644b86f82be4acce2acb4e8c4a64c0f8caa2f0e.pdf",[6252,6254,6256],{"caption":4,"id":6084,"meta":6253,"parentID":5776,"parentType":510,"url":6089},{"_type":506,"aspectRatio":6086,"height":6087,"width":6088},{"caption":4,"id":6214,"meta":6255,"parentID":5776,"parentType":510,"url":6219},{"_type":506,"aspectRatio":6216,"height":6217,"width":6218},{"caption":4,"id":6223,"meta":6257,"parentID":5776,"parentType":510,"url":6228},{"_type":506,"aspectRatio":6225,"height":6226,"width":6227},"Was macht die Krähe, die\nich in das obere Ende meines Schlafturms hineinragen sehe?\nSie holt mich aus der Welt in\ndie Welt in die Welt aus\nder Welt.\nIch bin wo und niergends.\nDie Krähe ist dort und sitzt oder fliegt und kräht.\nIch krähe.\n\nWhat is the crow doing, which\nI see at the top end of my sleep-tower looming in?\nIt fetches me out of the world\ninto the world into the world\nout of the world.\nI am somewhere and nowhere.\nThe crow is there and sits or flies and crows.\nI crow.","Piece for solo flute (or solo clarinet) and tape. It was written for Gudrun Racine and inspired by a poem by her son, Renaud, in which he writes about the time of waking when he is transported from one world to another by a crow. The tape uses Renaud's voice reading his own poem, flute sounds and crow sounds, and was realised together with Gerald Bennett at the Bourges Studio for Experimental Music. The proportions of the piece are derived from the proportions of the poem. While working on the formal aspects of this piece I discovered what I call Abelian Form (see below).\n\nKrähenalles has been performed a number of times: as part of the collective piece Das Durchbeissen by Gerald Bennett and his associates, and also as a piece in its own right by Gudrun Racine at the Zurich Conservatory and in Christchurch by Susan Hayes, clarinet.\n\nI considered briefly the possibility of having it performed as a \"Music-Theatre\" piece:\n\n\n\n\n\nKit wrote a perfectly marvelous piece Krähenalles … for clarinet and tape accompaniment, full of crow noises and beautiful, long streaks of sound holding them together. We performed [it] at 11 PM on a summer evening that June (1982) in the large park behind the famous Bourges cathedral…\n\nIt was magic: Andres Müller played the clarinet wonderfully from a brightly lit white bandstand, while the accompaniment of crows and exquisite sounds derived from flute and clarinet came from loudspeakers placed near and far all through the pitch-black woods of the park.\n\nGerald Bennett\n\n\n\nKrähenalles has seven sections whose durations are derived from proportions in the poem. Each section is divided into seven subsections in the same proportions as those of the whole piece. The large sections are labeled in the score with roman numerals and the subsections with arabic. In general the material of, say, subsection II 7 is the same as that of VII 2. That this is not always the case is due in large part to the overlapping of some sections; e.g. section III overlaps section IV and part of section V.\n\nIf one calls these numbers seconds it makes for a very long piece—much longer than I felt I wanted. I therefore decided to allow the very long sections to overlap with one another.\n\n",{"_type":375,"current":5777},{"date":5280,"instrumentation":6262,"length":6263,"text":6092},"Flute or Clarinet, Tape",14,48,{"_id":6266,"chapters":6267,"content":6268,"images":6322,"performances":6323,"rawPoem":4,"rawText":6329,"slug":6330,"title":6317,"workInfo":6332,"workNumber":6335},"e393c0c7-dc28-4448-8073-e8784dff4488",[],[6269,6277,6285,6293,6308,6315],{"_key":6270,"_type":9,"audioSize":4,"audioURL":4,"children":6271,"fileURL":4,"image":4,"markDefs":6276,"style":18},"46f8bfc79d11",[6272],{"_key":6273,"_type":13,"marks":6274,"text":6275},"13a1fbb75941",[],"This was originally written for the 1983 Graduation Ceremony of the Christchurch Teachers College and my farewell from that institution.",[],{"_key":6278,"_type":9,"audioSize":4,"audioURL":4,"children":6279,"fileURL":4,"image":4,"markDefs":6284,"style":18},"e1e3047408c5",[6280],{"_key":6281,"_type":13,"marks":6282,"text":6283},"7f08f89c25ad0",[],"I intended writing a cycle of settings of Hopkins’ texts in the same style and with the same instrumentation but so far this has not happended.",[],{"_key":6286,"_type":9,"audioSize":4,"audioURL":4,"children":6287,"fileURL":4,"image":4,"markDefs":6292,"style":18},"3df94abc7f11",[6288],{"_key":6289,"_type":13,"marks":6290,"text":6291},"b6bd312a13e60",[],"Scored for SATB plus solo soprano, piano and percussion ensemble (4 timpani, xylophone, wood drums, bass drum, triangle, suspended cymbal and sandpaper blocks). The setting uses only 4 notes: C, D, F and G. The meter of the quaver pulses is 3 + 3 + 2. The duration is about 3 minutes.",[],{"_key":6294,"_type":9,"audioSize":4,"audioURL":4,"children":6295,"fileURL":4,"image":4,"markDefs":6307,"style":18},"98be7379e84b",[6296,6300,6304],{"_key":6297,"_type":13,"marks":6298,"text":6299},"cd020907c7060",[],"It was very well performed by the College choir under the baton of my colleague Frank Dennis and solo soprano Christine Argyle. Later it was performed in Switzerland by Willi Gohl and his ",{"_key":6301,"_type":13,"marks":6302,"text":6303},"cd020907c7061",[73],"Singkreis",{"_key":6305,"_type":13,"marks":6306,"text":2020},"cd020907c7062",[],[],{"_key":6309,"_type":9,"audioSize":4,"audioURL":4,"children":6310,"fileURL":4,"image":4,"markDefs":6314,"style":18},"cb369072008c",[6311],{"_key":6312,"_type":13,"marks":6313,"text":25},"3ac6ca039ecd",[],[],{"_key":6316,"_type":413,"audioSize":4,"audioURL":4,"description":6317,"file":6318,"fileURL":6321,"image":4,"markDefs":4},"391e76e14b57","Pied Beauty",{"_type":416,"asset":6319},{"_ref":6320,"_type":324},"file-35a880dd44762f2a8508454cddce8f13c5c38dd3-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F35a880dd44762f2a8508454cddce8f13c5c38dd3.pdf",[],[6324,6326],{"_key":6325,"_type":366,"date":1283,"location":3032},"aeaed3f21b0b",{"_key":6327,"_type":366,"date":6328,"location":5732},"b93b17e844cc","1985-01-01","This was originally written for the 1983 Graduation Ceremony of the Christchurch Teachers College and my farewell from that institution.\n\nI intended writing a cycle of settings of Hopkins’ texts in the same style and with the same instrumentation but so far this has not happended.\n\nScored for SATB plus solo soprano, piano and percussion ensemble (4 timpani, xylophone, wood drums, bass drum, triangle, suspended cymbal and sandpaper blocks). The setting uses only 4 notes: C, D, F and G. The meter of the quaver pulses is 3 + 3 + 2. The duration is about 3 minutes.\n\nIt was very well performed by the College choir under the baton of my colleague Frank Dennis and solo soprano Christine Argyle. Later it was performed in Switzerland by Willi Gohl and his Singkreis.\n\n",{"_type":375,"current":6331},"pied-beauty",{"date":1283,"instrumentation":6333,"length":537,"text":6334},"Soprano, choir SATB, piano and percussion","Gerard Manly Hopkins",50,{"_id":6337,"chapters":6338,"content":6339,"images":6546,"performances":6549,"rawPoem":6553,"rawText":6554,"slug":6555,"title":6508,"workInfo":6557,"workNumber":6559},"0e25e10c-3d3a-451e-aeb6-a72dec247225",[],[6340,6357,6365,6380,6388,6404,6411,6444,6454,6462,6470,6502,6514,6525,6532,6539],{"_key":6341,"_type":9,"audioSize":4,"audioURL":4,"children":6342,"fileURL":4,"image":4,"markDefs":6354,"style":18},"b38b8c1b9af1",[6343,6347,6351],{"_key":6344,"_type":13,"marks":6345,"text":6346},"31529ba7b6b6",[],"This is the third song cycle of settings of poems by ",{"_key":6348,"_type":13,"marks":6349,"text":3405},"65b0582ba0e2",[6350],"4c6082b9c305",{"_key":6352,"_type":13,"marks":6353,"text":2020},"d69dd159d1b6",[],[6355],{"_key":6350,"_type":321,"reference":6356,"slug":3414,"type":326},{"_ref":3413,"_type":324},{"_key":6358,"_type":9,"audioSize":4,"audioURL":4,"children":6359,"fileURL":4,"image":4,"markDefs":6364,"style":18},"20436e7fa6bb",[6360],{"_key":6361,"_type":13,"marks":6362,"text":6363},"a08cbc9f7b4d0",[],"The five poems deal with the ambiguities of life as seen through love relationships.",[],{"_key":6366,"_type":9,"audioSize":4,"audioURL":4,"children":6367,"fileURL":4,"image":4,"markDefs":6379,"style":18},"c6105a5d346f",[6368,6372,6376],{"_key":6369,"_type":13,"marks":6370,"text":6371},"934658553ee40",[],"There are two singers whose music is written in graphic notation and who represent the male psyche and its ",{"_key":6373,"_type":13,"marks":6374,"text":6375},"6dc81fdb14f4",[73],"anima",{"_key":6377,"_type":13,"marks":6378,"text":2020},"f1e9199a5de7",[],[],{"_key":6381,"_type":9,"audioSize":4,"audioURL":4,"children":6382,"fileURL":4,"image":4,"markDefs":6387,"style":18},"ced715386f2c",[6383],{"_key":6384,"_type":13,"marks":6385,"text":6386},"d67a1a3f1b0f0",[],"The accompaniment is by a solo percussionist, using mainly untuned percussion (with the exception of the xylophone). All the percussion entries, timbres and durations were determined by chance.",[],{"_key":6389,"_type":9,"audioSize":4,"audioURL":4,"children":6390,"fileURL":4,"image":4,"markDefs":6403,"style":18},"27fcba360933",[6391,6395,6399],{"_key":6392,"_type":13,"marks":6393,"text":6394},"528ab263dfc60",[],"The image of a mirror in the fourth poem: ",{"_key":6396,"_type":13,"marks":6397,"text":6398},"528ab263dfc61",[73],"The right touch",{"_key":6400,"_type":13,"marks":6401,"text":6402},"528ab263dfc62",[]," gave rise to the use of mirror forms in all movements. Thus each movement is a palindrome and the fourth movement takes the mirror image further, in that the singers mirror one another pitch-wise.",[],{"_key":6405,"_type":9,"audioSize":4,"audioURL":4,"children":6406,"fileURL":4,"image":4,"markDefs":6410,"style":18},"8573cea7b337",[6407],{"_key":6408,"_type":13,"marks":6409,"text":25},"112bde42c90f",[],[],{"_key":6412,"_type":754,"audioSize":4,"audioURL":4,"author":3405,"fileURL":4,"hideTitle":3086,"image":4,"markDefs":4,"poem":6413,"title":6436},"377116c3f9bb",[6414,6422,6429],{"_key":6415,"_type":9,"children":6416,"markDefs":6421,"style":18},"138815fedc8f",[6417],{"_key":6418,"_type":13,"marks":6419,"text":6420},"d784fd8cc3620",[],"You undress\nby moonlight; your body is an adventure.\nThe mirror goes on\nforever. I begin to suspect\nyou are leaving the story\nI have been holding in my arms\nall these years, or almost. ",[],{"_key":6423,"_type":9,"children":6424,"markDefs":6428,"style":18},"4fdcb3d32597",[6425],{"_key":6418,"_type":13,"marks":6426,"text":6427},[],"If I walk\nfrom the room, return with a\nsmall song for company\nand the right touch to write in\nthe ending, will I find\nthe mirror may be taking you\naway; the moon\na perfect accomplice? ",[],{"_key":6430,"_type":9,"children":6431,"markDefs":6435,"style":18},"2e150f9c68ce",[6432],{"_key":6418,"_type":13,"marks":6433,"text":6434},[],"Will I hear that cry\nin the dark space\nbehind you?",[],[6437],{"_key":6438,"_type":9,"children":6439,"markDefs":6443,"style":18},"1246815470a7",[6440],{"_key":6441,"_type":13,"marks":6442,"text":6398},"d12da05f441e",[15,73],[],{"_key":6445,"_type":500,"audioSize":4,"audioURL":4,"caption":6446,"fileURL":4,"image":6447,"markDefs":4},"20bce3b4d49a","The mirror-point in the centre of \"The right touch\". The two singers stood (touching!) back to back so that each could feel the other breathing so that this section could be precisely performed.",{"caption":4,"id":6448,"meta":6449,"parentID":4,"parentType":510,"url":6453},"0449e9923abe2a92852a6363dd2c70d38ef7606e",{"_type":506,"aspectRatio":6450,"height":6451,"width":6452},3.688311688311688,616,2272,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F0449e9923abe2a92852a6363dd2c70d38ef7606e-2272x616.jpg",{"_key":6455,"_type":423,"audio":6456,"audioSize":6459,"audioURL":6460,"caption":6461,"fileURL":4,"image":4,"markDefs":4},"ab0a3732706e",{"_type":416,"asset":6457},{"_ref":6458,"_type":324},"file-aada1d2a0ec1b6590051762740386fdb2f697744-mp3",5060963,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Faada1d2a0ec1b6590051762740386fdb2f697744.mp3","Poem then, for love, 4th movement: \"The right touch\" Franziska Stähelin (S), David Thormer (B), Christoph Caskel (Percussion)",{"_key":6463,"_type":9,"audioSize":4,"audioURL":4,"children":6464,"fileURL":4,"image":4,"markDefs":6469,"style":18},"d32232d781e6",[6465],{"_key":6466,"_type":13,"marks":6467,"text":6468},"29bece2276210",[],"The third movement “The arrangement” is also a canon and the fifth movement “My love in bed I will not lie” has a strong Jazz feeling.",[],{"_key":6471,"_type":9,"audioSize":4,"audioURL":4,"children":6472,"fileURL":4,"image":4,"markDefs":6495,"style":18},"5df2e635fa2f",[6473,6477,6482,6486,6491],{"_key":6474,"_type":13,"marks":6475,"text":6476},"7acd769d4b890",[],"The work was brilliantly performed in 1989 in Zurich with Franziska Stähelin (soprano) and ",{"_key":6478,"_type":13,"marks":6479,"text":6481},"b80af87a09c1",[6480],"d9f07aa10976","David Thorner",{"_key":6483,"_type":13,"marks":6484,"text":6485},"3559207a5bf2",[]," (baritone) and ",{"_key":6487,"_type":13,"marks":6488,"text":6490},"7acd769d4b893",[6489],"d191e4e23aca","Christoph Caskel",{"_key":6492,"_type":13,"marks":6493,"text":6494},"7acd769d4b894",[]," (percussion).",[6496,6498],{"_key":6489,"_type":316,"href":6497},"https:\u002F\u002Fde.wikipedia.org\u002Fwiki\u002FChristoph_Caskel",{"_key":6480,"_type":321,"reference":6499,"slug":6501,"type":326},{"_ref":6500,"_type":324},"3fc04b6e-b7b9-42ca-a568-038b2c047193","david-thorner",{"_key":6503,"_type":9,"audioSize":4,"audioURL":4,"children":6504,"fileURL":4,"image":4,"markDefs":6513,"style":634},"fa383a13cea8",[6505,6509],{"_key":6506,"_type":13,"marks":6507,"text":6508},"7ae65c9efe8c0",[15],"Poem then, for love",{"_key":6510,"_type":13,"marks":6511,"text":6512},"7ae65c9efe8c1",[],", für Sopran, Bass und Schlagzeug, geht von der Jungschen Idee einer Polarität von «Animus» und «Anima» aus. Die vom Perkussionisten vermittelte Auseinander- setzung und Annäherung der männlichen und weiblichen Seelenfiguren hatte etwas Einmaliges: die Begegnung schien ein einziges Mal, in dieser Form nicht wiederholbar, stattzufinden. Sie entfaltete sich in feinen Abwandlungen von innig bis kokett, sehnsüchtig, sinnlich, mit kostbaren kleinen Ernüchterungen. Der Ausdrucks-reichtum ihrer Stimmen schien für die Sänger selber eine Entdeckung zu sein.\n— Jürg Schubiger",[],{"_key":6515,"_type":9,"audioSize":4,"audioURL":4,"children":6516,"fileURL":4,"image":4,"markDefs":6524,"style":634},"af77c09cb556",[6517,6520],{"_key":6518,"_type":13,"marks":6519,"text":6508},"83c908fe8fc10",[15],{"_key":6521,"_type":13,"marks":6522,"text":6523},"83c908fe8fc11",[],", for soprano, bass and percussion, is based on the Jungian idea of a polarity of «Animus» and «Anima». The fights and reconciliations (moderated by the percussionist) of the masculine and feminine parts of the psyche appeared quite unique: the meeting seemed to take place just once and as if in this form not repeatable. It developed in small steps from earnest to coquette, longing, sensual, with precious tiny disenchantments. The singers themselves seemed surprised by the rich expressive power of their voices.\n— trans. KP",[],{"_key":6526,"_type":9,"audioSize":4,"audioURL":4,"children":6527,"fileURL":4,"image":4,"markDefs":6531,"style":18},"ac2668aa5954",[6528],{"_key":6529,"_type":13,"marks":6530,"text":25},"efbabd5d35f6",[],[],{"_key":6533,"_type":9,"audioSize":4,"audioURL":4,"children":6534,"fileURL":4,"image":4,"markDefs":6538,"style":18},"1c07ed279d4b",[6535],{"_key":6536,"_type":13,"marks":6537,"text":25},"fba57c6915a2",[],[],{"_key":6540,"_type":413,"audioSize":4,"audioURL":4,"description":6541,"file":6542,"fileURL":6545,"image":4,"markDefs":4},"4284681ccdaf","Poem then, for love — Score",{"_type":416,"asset":6543},{"_ref":6544,"_type":324},"file-465d40e0effb1ba88269c042c03928393830a838-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F465d40e0effb1ba88269c042c03928393830a838.pdf",[6547],{"caption":6446,"id":6448,"meta":6548,"parentID":6337,"parentType":510,"url":6453},{"_type":506,"aspectRatio":6450,"height":6451,"width":6452},[6550],{"_key":6551,"_type":366,"date":4900,"location":6552},"c7109bbf0af4","Rigiblick Theater, Zurich, Switzerland","You undress\nby moonlight; your body is an adventure.\nThe mirror goes on\nforever. I begin to suspect\nyou are leaving the story\nI have been holding in my arms\nall these years, or almost. \n\nIf I walk\nfrom the room, return with a\nsmall song for company\nand the right touch to write in\nthe ending, will I find\nthe mirror may be taking you\naway; the moon\na perfect accomplice? \n\nWill I hear that cry\nin the dark space\nbehind you?","This is the third song cycle of settings of poems by Michael Harlow.\n\nThe five poems deal with the ambiguities of life as seen through love relationships.\n\nThere are two singers whose music is written in graphic notation and who represent the male psyche and its anima.\n\nThe accompaniment is by a solo percussionist, using mainly untuned percussion (with the exception of the xylophone). All the percussion entries, timbres and durations were determined by chance.\n\nThe image of a mirror in the fourth poem: The right touch gave rise to the use of mirror forms in all movements. Thus each movement is a palindrome and the fourth movement takes the mirror image further, in that the singers mirror one another pitch-wise.\n\n\n\nThe third movement “The arrangement” is also a canon and the fifth movement “My love in bed I will not lie” has a strong Jazz feeling.\n\nThe work was brilliantly performed in 1989 in Zurich with Franziska Stähelin (soprano) and David Thorner (baritone) and Christoph Caskel (percussion).\n\nPoem then, for love, für Sopran, Bass und Schlagzeug, geht von der Jungschen Idee einer Polarität von «Animus» und «Anima» aus. Die vom Perkussionisten vermittelte Auseinander- setzung und Annäherung der männlichen und weiblichen Seelenfiguren hatte etwas Einmaliges: die Begegnung schien ein einziges Mal, in dieser Form nicht wiederholbar, stattzufinden. Sie entfaltete sich in feinen Abwandlungen von innig bis kokett, sehnsüchtig, sinnlich, mit kostbaren kleinen Ernüchterungen. Der Ausdrucks-reichtum ihrer Stimmen schien für die Sänger selber eine Entdeckung zu sein.\n— Jürg Schubiger\n\nPoem then, for love, for soprano, bass and percussion, is based on the Jungian idea of a polarity of «Animus» and «Anima». The fights and reconciliations (moderated by the percussionist) of the masculine and feminine parts of the psyche appeared quite unique: the meeting seemed to take place just once and as if in this form not repeatable. It developed in small steps from earnest to coquette, longing, sensual, with precious tiny disenchantments. The singers themselves seemed surprised by the rich expressive power of their voices.\n— trans. KP\n\n\n\n",{"_type":375,"current":6556},"poem-then-for-love",{"date":1283,"instrumentation":6558,"text":3405},"soprano, baritone and percussionist",51,{"_id":6561,"chapters":6562,"content":6563,"images":6822,"performances":6829,"rawPoem":4,"rawText":6835,"slug":6836,"title":6633,"workInfo":6837,"workNumber":6839},"b62c69ea-f145-485e-ac75-a21bb1199822",[],[6564,6573,6591,6616,6626,6638,6673,6683,6691,6750,6772,6782,6809,6816],{"_key":6565,"_type":500,"audioSize":4,"audioURL":4,"fileURL":4,"image":6566,"markDefs":4},"1cc90f47c926",{"caption":4,"id":6567,"meta":6568,"parentID":4,"parentType":510,"url":6572},"c9bb46066293004876a14caee65677b847cee12f",{"_type":506,"aspectRatio":6569,"height":6570,"width":6571},1.4936519790888723,1339,2000,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fc9bb46066293004876a14caee65677b847cee12f-2000x1339.jpg",{"_key":6574,"_type":9,"audioSize":4,"audioURL":4,"children":6575,"fileURL":4,"image":4,"markDefs":6588,"style":18},"c64b708e1481",[6576,6580,6584],{"_key":6577,"_type":13,"marks":6578,"text":6579},"03d9e40d05f5",[],"This was written for a concert (Chance Meeting) in the Metzgasse, Winterthur, with students of the conservatory. 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Elefantennachwuchs bei Knie.“\n",[],{"_key":6927,"_type":423,"audio":6928,"audioSize":6931,"audioURL":6932,"caption":6933,"fileURL":4,"image":4,"markDefs":4,"musicians":6911},"c09e57b3aeb0",{"_type":416,"asset":6929},{"_ref":6930,"_type":324},"file-cbfedfc37804e6481e6183b43c2a49cc521b1d56-mp3",1375502,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fcbfedfc37804e6481e6183b43c2a49cc521b1d56.mp3","Elefantenknie",{"_key":6850,"_type":9,"audioSize":4,"audioURL":4,"children":6935,"fileURL":4,"image":4,"markDefs":6939,"style":6894},[6936],{"_key":6937,"_type":13,"marks":6938,"text":6851},"19c0b24bb612",[],[],{"_key":6941,"_type":9,"audioSize":4,"audioURL":4,"children":6942,"fileURL":4,"image":4,"markDefs":6947,"style":634},"cebfebfb917d",[6943],{"_key":6944,"_type":13,"marks":6945,"text":6946},"b0fd92a0808e",[],"Der Inhalt dieses Stückes entsteht aus dem bewussten Durchbrechen von ganz präzisen und abstrakten Regeln.",[],{"_key":6949,"_type":423,"audio":6950,"audioSize":6953,"audioURL":6954,"caption":6955,"fileURL":4,"image":4,"markDefs":4,"musicians":6911},"52e849bb3a8f",{"_type":416,"asset":6951},{"_ref":6952,"_type":324},"file-a8904ebffc5a7cebc8530a0277a45a044bb306cb-mp3",1510085,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fa8904ebffc5a7cebc8530a0277a45a044bb306cb.mp3","Mirror Piece mit Quarten",{"_key":6853,"_type":9,"audioSize":4,"audioURL":4,"children":6957,"fileURL":4,"image":4,"markDefs":6961,"style":6894},[6958],{"_key":6959,"_type":13,"marks":6960,"text":6854},"d22d0fe32298",[],[],{"_key":6963,"_type":9,"audioSize":4,"audioURL":4,"children":6964,"fileURL":4,"image":4,"markDefs":6969,"style":634},"7bac2efe0fb1",[6965],{"_key":6966,"_type":13,"marks":6967,"text":6968},"68641f026e8e",[],"Auf einem extrem schmalen Streifen lässt er eine Blume in beängstigender Einsamkeit harren.",[],{"_key":6971,"_type":9,"audioSize":4,"audioURL":4,"children":6972,"fileURL":4,"image":4,"markDefs":6977,"style":634},"3232c21f9335",[6973],{"_key":6974,"_type":13,"marks":6975,"text":6976},"88972f8d7cad",[],"ZüriTipp 10. 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Zwei Stimmen, die eine Quinte bilden, dürfen im reinen 4-stimmigen Satze nicht in gleicher Richtung wieder in dasselbe Intervall fortgeführt werden.",[],{"_key":7001,"_type":423,"audio":7002,"audioSize":7005,"audioURL":7006,"caption":7007,"fileURL":4,"image":4,"markDefs":4,"musicians":6911},"8f0063df0b3f",{"_type":416,"asset":7003},{"_ref":7004,"_type":324},"file-b017de192afa6121a1402e7ba17c38155d998fcc-mp3",1966079,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fb017de192afa6121a1402e7ba17c38155d998fcc.mp3","Mirror Piece mit Quinten",{"_key":6859,"_type":9,"audioSize":4,"audioURL":4,"children":7009,"fileURL":4,"image":4,"markDefs":7013,"style":6894},[7010],{"_key":7011,"_type":13,"marks":7012,"text":6860},"f0c6be0521040",[],[],{"_key":7015,"_type":9,"audioSize":4,"audioURL":4,"children":7016,"fileURL":4,"image":4,"markDefs":7021,"style":634},"539aa166b5ae",[7017],{"_key":7018,"_type":13,"marks":7019,"text":7020},"629ff5f75d630",[],"Meine Interesse liegt eher am Rand, am guten Rand. Es ist eine Frechheit zu sagen, man spüre hier eine geistige Umnachtung! Es hat eben einen anderen Geist.",[],{"_key":7023,"_type":423,"audio":7024,"audioSize":7027,"audioURL":7028,"caption":7029,"fileURL":4,"image":4,"markDefs":4,"musicians":6911},"2799928f43a0",{"_type":416,"asset":7025},{"_ref":7026,"_type":324},"file-93df1ecad471395d18e65c942bf17aafd3347094-mp3",1884994,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F93df1ecad471395d18e65c942bf17aafd3347094.mp3","Am guten Rand",{"_key":6862,"_type":9,"audioSize":4,"audioURL":4,"children":7031,"fileURL":4,"image":4,"markDefs":7035,"style":6894},[7032],{"_key":7033,"_type":13,"marks":7034,"text":6863},"a4719a9a25620",[],[],{"_key":7037,"_type":9,"audioSize":4,"audioURL":4,"children":7038,"fileURL":4,"image":4,"markDefs":7043,"style":634},"79b488242fe5",[7039],{"_key":7040,"_type":13,"marks":7041,"text":7042},"39a4b872dd3e0",[],"Nicht zu verachten ist die grosse und die kleine Terz. Erst wenn die Banalität fast unerträglich drückt, stellt er das Fade in neue Realitätsbezüge: Es lebe die grosse und die kleine Terz!",[],{"_key":7045,"_type":423,"audio":7046,"audioSize":7049,"audioURL":7050,"caption":7051,"fileURL":4,"image":4,"markDefs":4,"musicians":6911},"dc94b2db597b",{"_type":416,"asset":7047},{"_ref":7048,"_type":324},"file-47ce0ebb9c93fd0c753ce8f8df976a61f5085398-mp3",1802239,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F47ce0ebb9c93fd0c753ce8f8df976a61f5085398.mp3","Die grosse (und die kleine) Terz",{"_key":7053,"_type":413,"audioSize":4,"audioURL":4,"description":7054,"file":7055,"fileURL":7058,"image":4,"markDefs":4},"a69f3a909f9c","Paper Pieces Score",{"_type":416,"asset":7056},{"_ref":7057,"_type":324},"file-3505be93312afe1fede111b74bb013fb964ee8dc-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F3505be93312afe1fede111b74bb013fb964ee8dc.pdf",[],[7061],{"_key":7062,"_type":366,"date":7063,"location":7064,"performers":7065,"title":7066},"c4e23a4955d9","2017-12-02","Old Conservatory, Zurich","Vokalensemble Zürich","Tide Pools","As a rhythmic exercise I suggested to my students they “find” texts from the newspaper and then set them for spoken chorus. One of them found the ‘Elefantenknie’ (elephant knee) text which became the inspiration for this collection of short pieces. Unfortunately I no longer know where most of the texts were “found”.\n\nThere are seven short movements for mixed choir a cappella with texts from newspapers or from music theory books:\n\n1. Was ein Musikstück bedeutet\n\nDie Frage, was ein Musikstück bedeutet – was es aussagt und wie es „verstanden“ werden kann -, ist seit je Anlass des Nachdenkens und des Gesprächs. Vergleichsweise einfach kann die Antwort für die Programmmusik lauten, zumindest insoweit damit beabsichtigt ist, natürliche akustische Ereignisse mit musikalischen Mitteln nachzuahmen. Vertraut ist uns ferner Musik, die in einen Handlungsablauf, etwa eine Zeremonie, eingeordnet ist. Der Übergang zum Konzert ist fliessend. Enthält das Programm überwiegend traditionelle Werke, sind die Hörerlebnisse voraussehbar; die Musik rückt in die Nähe einer rituellen Präsentation des Guten, des Schönen, allenfalls des Genialen – Deutungen wiederum, welchen durch Virtuosität Nachdruck verliehen wird. Doch wie verhält es sich mit jener zeitgenössischen Musik, die im traditionellen Sinne ganz gewiss nicht „schön“ ist und deren Qualitäten bisweilen schwer zu beurteilen scheinen? Diese Musik vermittelt keine rituelle Feierlichkeit; darum stellt sich die Frage des Sinns in ganz besonderer Weise.\n\n\n2. Elefantenknie\n\nElefantennachwuchs bei Knie.\n„Auf ‘m Knie?“ „Nein, bei Knie“\n„Knien die Elefanten beim Nachwuchs?“\n„Beim Nachwuchs?“ „Beim Nachwuchs!“\n„Wachsen den Elefanten die Knie?\n„Die Knie?“ Ja, die Knie!“\n„Ja, ja! Die Knie! Elefantennachwuchs bei Knie.“\n\n\n3. Mirror Piece mit Quarten\n\nDer Inhalt dieses Stückes entsteht aus dem bewussten Durchbrechen von ganz präzisen und abstrakten Regeln.\n\n4. Die Blume\n\nAuf einem extrem schmalen Streifen lässt er eine Blume in beängstigender Einsamkeit harren.\n\nZüriTipp 10. Jan. 1986 S. 43\n\n5. Mirror Piece mit Quinten\n\nPasset auf bei parallelen Quinten! Zwei Stimmen, die eine Quinte bilden, dürfen im reinen 4-stimmigen Satze nicht in gleicher Richtung wieder in dasselbe Intervall fortgeführt werden.\n\n6. Am guten Rand\n\nMeine Interesse liegt eher am Rand, am guten Rand. Es ist eine Frechheit zu sagen, man spüre hier eine geistige Umnachtung! Es hat eben einen anderen Geist.\n\n7. Die grosse (und die kleine) Terz\n\nNicht zu verachten ist die grosse und die kleine Terz. Erst wenn die Banalität fast unerträglich drückt, stellt er das Fade in neue Realitätsbezüge: Es lebe die grosse und die kleine Terz!",{"_type":375,"current":7069},"paper-pieces","Paper Pieces",{"date":7072,"instrumentation":7073,"length":1798},"1986-01-01","Choir a cappella",55,{"_id":7076,"chapters":7077,"content":7078,"images":7325,"performances":7330,"rawPoem":7339,"rawText":7340,"slug":7341,"title":7343,"workInfo":7344,"workNumber":7346},"ef996fdb-bae5-476b-b546-5b5855f9f6bb",[],[7079,7089,7104,7124,7133,7153,7162,7206,7215,7223,7231,7239,7247,7255,7263,7271,7279,7287,7297,7304,7311,7318],{"_key":7080,"_type":500,"alt":7081,"audioSize":4,"audioURL":4,"caption":7081,"fileURL":4,"image":7082,"markDefs":4},"a5d2e2373077","Kit, Michael, Nelson & Elfi Wattie in Laufen, Bavaria, at the 1986 Commonwealth Literature Conference where Nelson sang this song cycle which was written for him.",{"caption":4,"id":7083,"meta":7084,"parentID":4,"parentType":510,"url":7088},"126cdfd3c157624746aca85af05110f8e5757b75",{"_type":506,"aspectRatio":7085,"height":7086,"width":7087},1.2937625754527162,497,643,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F126cdfd3c157624746aca85af05110f8e5757b75-643x497.jpg",{"_key":7090,"_type":9,"audioSize":4,"audioURL":4,"children":7091,"fileURL":4,"image":4,"markDefs":7101,"style":18},"f799697aa67e",[7092,7096],{"_key":7093,"_type":13,"marks":7094,"text":7095},"a2bf9621a989",[],"The texts are taken from Michael Harlow’s book: “Vlaminck’s Tie” published 1985 by the ",{"_key":7097,"_type":13,"marks":7098,"text":7100},"7c1c751b5391",[7099],"2aa70eae8565","University of Auckland Printing Services",[7102],{"_key":7099,"_type":316,"href":7103},"http:\u002F\u002Fwww.press.auckland.ac.nz\u002Fen.html",{"_key":7105,"_type":754,"audioSize":4,"audioURL":4,"author":3405,"fileURL":4,"hideTitle":3086,"image":4,"markDefs":4,"poem":7106,"title":7115},"e62aeb6cff8e",[7107],{"_key":7108,"_type":9,"children":7109,"markDefs":7114,"style":18},"8cc709c09b5a",[7110],{"_key":7111,"_type":13,"marks":7112,"text":7113},"923c3337f5e6",[],"Through a Judas-hole the size\nof a coin, a small room; curled\ninside an envelope of light, a man;\ninside this man there are voices,\nthere is even why the cup he\ndrinks from fills with dark.\nAlways, the radio is loud; the\nmusic the same, the band marching\nright over the horizon. If you\nlisten, you will hear the same\nquestion three times a day tattoo\nhis body—the dark blue words\nof electric shock. If you listen\ninside that body, a map of the world,\nyou will know how to survive the\nnight, why your shadow walks on a\nbroken stick, and why each day\nhe wakes as you will inside the\nquestion, did you did you did you?",[],[7116],{"_key":7117,"_type":9,"children":7118,"markDefs":7123,"style":18},"dd706b2ef32a",[7119],{"_key":7120,"_type":13,"marks":7121,"text":7122},"11f310152f23",[15,73],"Did you?",[],{"_key":7125,"_type":423,"audio":7126,"audioSize":7129,"audioURL":7130,"caption":7131,"fileURL":4,"image":4,"markDefs":4,"musicians":7132},"81b6b96d691d",{"_type":416,"asset":7127},{"_ref":7128,"_type":324},"file-907d601fac102f508cdd2313a87ea439bae4e8ef-mp3",3985616,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F907d601fac102f508cdd2313a87ea439bae4e8ef.mp3","Nelson Songs (Song 1)"," Nelson Wattie Baritone",{"_key":7134,"_type":754,"audioSize":4,"audioURL":4,"author":3405,"fileURL":4,"hideTitle":3086,"image":4,"markDefs":4,"poem":7135,"title":7144},"52ed1946fab7",[7136],{"_key":7137,"_type":9,"children":7138,"markDefs":7143,"style":18},"88a18e417d54",[7139],{"_key":7140,"_type":13,"marks":7141,"text":7142},"28bd98acb741",[],"On the high-wire\none foot\nin front of the other\nhe weaves\nhis act together.\nOn point in air, he juggles space;\njongleur\nwithout words, his weight\na fine\nline on the sun's rim.\nWhen we look to mark his fall,\nwe feel\nfor the earth under us,\nblow ghost-rings\ninto the air; perfect\naccomplices\nwe wait under a high cradle\nof wind\nfor that dark wish\nto stop\ntwitching in our hands.",[],[7145],{"_key":7146,"_type":9,"children":7147,"markDefs":7152,"style":18},"f1504373b507",[7148],{"_key":7149,"_type":13,"marks":7150,"text":7151},"1944f6a0658d",[15,73],"Missing the mark",[],{"_key":7154,"_type":423,"audio":7155,"audioSize":7158,"audioURL":7159,"caption":7160,"fileURL":4,"image":4,"markDefs":4,"musicians":7161},"6188e4e72604",{"_type":416,"asset":7156},{"_ref":7157,"_type":324},"file-092de1961a0d89db488df507968b7efe2e9a1059-mp3",4058758,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F092de1961a0d89db488df507968b7efe2e9a1059.mp3","Nelson Songs (Song 2)","Nelson Wattie (Baritone)",{"_key":7163,"_type":754,"audioSize":4,"audioURL":4,"author":3405,"fileURL":4,"hideTitle":3086,"image":4,"markDefs":4,"poem":7164,"title":7197},"7ae92d7613fd",[7165,7173,7181,7189],{"_key":7166,"_type":9,"children":7167,"markDefs":7172,"style":18},"1ec06b5fc294",[7168],{"_key":7169,"_type":13,"marks":7170,"text":7171},"5d23e3126b37",[],"I have torn my trousers,\nthe bees are angry\nIn their nests birds are stunned\nby a high hand of wind\nAll night I stay awake\nin a pair of borrowed silk pyjamas",[],{"_key":7174,"_type":9,"children":7175,"markDefs":7180,"style":18},"2e0a4246792e",[7176],{"_key":7177,"_type":13,"marks":7178,"text":7179},"baf126f675e90",[],"Like wasps beating air over a jampot,\ntomorrow we will quarrel\nover a fair share of the morning\nAnger thumbs us darkly",[],{"_key":7182,"_type":9,"children":7183,"markDefs":7188,"style":18},"bc35651946ae",[7184],{"_key":7185,"_type":13,"marks":7186,"text":7187},"7510085982a10",[],"Ten years inside\na night-coloured fuck is no magic;\ntomorrow we will discover\nthat not even simple\netiquette will do.",[],{"_key":7190,"_type":9,"children":7191,"markDefs":7196,"style":18},"cb1a81a9c582",[7192],{"_key":7193,"_type":13,"marks":7194,"text":7195},"d1b3200eb5ea0",[],"We turn mirrors to the wall,\nwe look under the bed for broken flowers;\nwith tidy care for immaculate news, we swear\nthe earth is part of the solar system.",[],[7198],{"_key":7199,"_type":9,"children":7200,"markDefs":7205,"style":18},"acdeb075d4fd",[7201],{"_key":7202,"_type":13,"marks":7203,"text":7204},"be6687949fd4",[15,73],"How it is, is",[],{"_key":7207,"_type":423,"audio":7208,"audioSize":7211,"audioURL":7212,"caption":7213,"fileURL":4,"image":4,"markDefs":4,"musicians":7214},"a017f15a2f58",{"_type":416,"asset":7209},{"_ref":7210,"_type":324},"file-1e9bb2a6f1c131d233a6aa3fca583ed31f3ac0d4-mp3",2710422,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F1e9bb2a6f1c131d233a6aa3fca583ed31f3ac0d4.mp3","Nelson Songs (Song 3)"," Nelson Wattie (Baritone)",{"_key":7216,"_type":9,"audioSize":4,"audioURL":4,"children":7217,"fileURL":4,"image":4,"markDefs":7222,"style":18},"31c23d64031e",[7218],{"_key":7219,"_type":13,"marks":7220,"text":7221},"16a466200313",[],"REVIEW – of events at the 1986 Commonwealth Literature Conference, Laufen, Germany",[],{"_key":7224,"_type":9,"audioSize":4,"audioURL":4,"children":7225,"fileURL":4,"image":4,"markDefs":7230,"style":634},"121d368415cd",[7226],{"_key":7227,"_type":13,"marks":7228,"text":7229},"2d27f47335ac0",[],"One of the corollaries of that New Zealand behaviour pattern suggested by the description “the fly-away people” is the habit of gathering together in out-of-the-way places — and not always to discuss matters such as Rugby (when is a tour not a tour?) ANZUS pacts (when is a nuclear ship not a nuclear ship?) or Keri Hulme's Booker Prize (when is a novel not a novel?).",[],{"_key":7232,"_type":9,"audioSize":4,"audioURL":4,"children":7233,"fileURL":4,"image":4,"markDefs":7238,"style":634},"9cb9139c5c93",[7234],{"_key":7235,"_type":13,"marks":7236,"text":7237},"4a069a3bd5ae0",[],"The recent IXth German Conference on Commonwealth Literature, Film and Theatre, held in Laufen in mid-June, was just such an occasion marked by three “fly-away people” coming together to produce a work and performance which might well have prompted the question:- “when is a celebration not a celebration?” Well, one answer could be: when the event is unheralded, not decked out with waving flags or nationalist slogans, when the Kiwi klaxon is not brandished and tooted, yet nevertheless a specifically and distinctively New Zealand voice and presentation speak directly to a mixed audience.",[],{"_key":7240,"_type":9,"audioSize":4,"audioURL":4,"children":7241,"fileURL":4,"image":4,"markDefs":7246,"style":634},"e5685e10a5cd",[7242],{"_key":7243,"_type":13,"marks":7244,"text":7245},"8273500674630",[],"A welcome addition to the proceedings of the Conference was the introduction of a performance component: firstly the theatre presentation Ko Maui, a panoply of Maori myths and legends created and directed by John Hudson and Chris Balme; and secondly the first performance of a new work from the composer Kit Powell, formerly of Christchurch and now living in Zurich, to words by Michael Harlow, currently the Katherine Mansfield Fellow at Menton. The third expatriate element was provided by the baritone, Nelson Wattie, now living in Cologne, for whom the work was written, who had earlier given a sensitive and forceful performance of Douglas Lilburn s Elegy from 1951.",[],{"_key":7248,"_type":9,"audioSize":4,"audioURL":4,"children":7249,"fileURL":4,"image":4,"markDefs":7254,"style":634},"cbb831711c68",[7250],{"_key":7251,"_type":13,"marks":7252,"text":7253},"e1d56647f31a0",[],"The place is a short song-cycle for baritone and prepared tape, using as its text three poems from Harlow‘s recent collection Vlaminck's Tie: Did You?, Missing the Mark and How it is, is. Powell has previously set Harlow's words and it is clear from the piece and from both men's response to questions from the floor after the performance, that they have an excellent personal and a professional rapport, with no real suggestion of the “territorial imperative” demands that often beset the relationship between composers and poets.",[],{"_key":7256,"_type":9,"audioSize":4,"audioURL":4,"children":7257,"fileURL":4,"image":4,"markDefs":7262,"style":634},"dede5ac68027",[7258],{"_key":7259,"_type":13,"marks":7260,"text":7261},"63088017e14e0",[],"Moreover, while Harlow has a refreshingly relaxed attitude to the “appropriation” of his words, their shuffling round and fragmentation by the composer, his flexibility is due in some part to Powell‘s understanding of the texts and his ability to find a musical equivalent or contrast to the shifts in style and tone of Harlow's poetry.",[],{"_key":7264,"_type":9,"audioSize":4,"audioURL":4,"children":7265,"fileURL":4,"image":4,"markDefs":7270,"style":634},"b3fceb7f226f",[7266],{"_key":7267,"_type":13,"marks":7268,"text":7269},"eb2c8aa1d4570",[],"Perhaps the single most noteworthy aspect of the work at first hearing is its accessibility – attributable primarily to the work's wit and clarity of form. That both were so evident was due in no small measure to Nelson Wattie's persuasive account of the piece. It is not an easy work to sing, demanding from the performer two sets of ears and an inbuilt metronome: but Wattie coped well with its demands ––variable and alternating pitches, decisions as to duration and tempi which are sometimes left to the performer, and the alternation of the singing\u002F Sprechgesang voice with taped voice –– with ease and skill.",[],{"_key":7272,"_type":9,"audioSize":4,"audioURL":4,"children":7273,"fileURL":4,"image":4,"markDefs":7278,"style":634},"501cf375d6cd",[7274],{"_key":7275,"_type":13,"marks":7276,"text":7277},"5c2a52a22b130",[],"If there was one element missing, it was that emphasised by Powell and Harlow in the lively discussion following the performance: the fact that it is ideally a music-theatre piece, which needs to be performed from memory by a singer who will physicalise some of the musical and textual elements. And having seen Powell himself, a deceptively laconic and unpretentious commentator on his own music, suddenly illustrate elements in the score with engaging forcefulness and real theatrical flair, one might do a lot worse than ask him to perform it himself. It is, at all events, a work that deserves to be heard again, for its idiom, though modern and experimental, is far from abstruse or rebarbative.",[],{"_key":7280,"_type":9,"audioSize":4,"audioURL":4,"children":7281,"fileURL":4,"image":4,"markDefs":7286,"style":18},"509aef53c748",[7282],{"_key":7283,"_type":13,"marks":7284,"text":7285},"9ca36ce9915f0",[],"Michael Morley Laufen, Germany 1986",[],{"_key":7288,"_type":500,"alt":7289,"audioSize":4,"audioURL":4,"caption":7289,"fileURL":4,"image":7290,"markDefs":4},"f2def668a283","Michael Harlow, Michael Morley, Lauris Edmond & Kit Powell in Laufen, Bavaria, at the 1986 Commonwealth Literature Conference",{"caption":4,"id":7291,"meta":7292,"parentID":4,"parentType":510,"url":7296},"c9b42ca95613cd584c4ae919fe947f0b5ad95f84",{"_type":506,"aspectRatio":7293,"height":7294,"width":7295},1.451048951048951,286,415,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fc9b42ca95613cd584c4ae919fe947f0b5ad95f84-415x286.jpg",{"_key":7298,"_type":9,"audioSize":4,"audioURL":4,"children":7299,"fileURL":4,"image":4,"markDefs":7303,"style":18},"7fc66afe4adf",[7300],{"_key":7301,"_type":13,"marks":7302,"text":25},"ade4a9bb2e6e",[],[],{"_key":7305,"_type":413,"audioSize":4,"audioURL":4,"description":7306,"file":7307,"fileURL":7310,"image":4,"markDefs":4},"3779e91663e4","Nelson Songs Score",{"_type":416,"asset":7308},{"_ref":7309,"_type":324},"file-f9bfe80ad0f1e443fa356031b164bd0c44f9d137-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Ff9bfe80ad0f1e443fa356031b164bd0c44f9d137.pdf",{"_key":7312,"_type":9,"audioSize":4,"audioURL":4,"children":7313,"fileURL":4,"image":4,"markDefs":7317,"style":18},"19eff405edae",[7314],{"_key":7315,"_type":13,"marks":7316,"text":25},"67d6654e8aa2",[],[],{"_key":7319,"_type":9,"audioSize":4,"audioURL":4,"children":7320,"fileURL":4,"image":4,"markDefs":7324,"style":18},"bb03a026607e",[7321],{"_key":7322,"_type":13,"marks":7323,"text":25},"cd60cdd2ac44",[],[],[7326,7328],{"caption":7081,"id":7083,"meta":7327,"parentID":7076,"parentType":510,"url":7088},{"_type":506,"aspectRatio":7085,"height":7086,"width":7087},{"caption":7289,"id":7291,"meta":7329,"parentID":7076,"parentType":510,"url":7296},{"_type":506,"aspectRatio":7293,"height":7294,"width":7295},[7331,7333,7336],{"_key":7332,"_type":366,"date":6328,"location":2558},"cdeb642c93cc",{"_key":7334,"_type":366,"date":7072,"location":7335},"6fe19c9a8585","Laufen, Germany",{"_key":7337,"_type":366,"date":7338,"dateUnknown":1058,"location":5869},"5817ef6065a9","1993-01-01","Through a Judas-hole the size\nof a coin, a small room; curled\ninside an envelope of light, a man;\ninside this man there are voices,\nthere is even why the cup he\ndrinks from fills with dark.\nAlways, the radio is loud; the\nmusic the same, the band marching\nright over the horizon. If you\nlisten, you will hear the same\nquestion three times a day tattoo\nhis body—the dark blue words\nof electric shock. If you listen\ninside that body, a map of the world,\nyou will know how to survive the\nnight, why your shadow walks on a\nbroken stick, and why each day\nhe wakes as you will inside the\nquestion, did you did you did you?\n\nOn the high-wire\none foot\nin front of the other\nhe weaves\nhis act together.\nOn point in air, he juggles space;\njongleur\nwithout words, his weight\na fine\nline on the sun's rim.\nWhen we look to mark his fall,\nwe feel\nfor the earth under us,\nblow ghost-rings\ninto the air; perfect\naccomplices\nwe wait under a high cradle\nof wind\nfor that dark wish\nto stop\ntwitching in our hands.\n\nI have torn my trousers,\nthe bees are angry\nIn their nests birds are stunned\nby a high hand of wind\nAll night I stay awake\nin a pair of borrowed silk pyjamas\n\nLike wasps beating air over a jampot,\ntomorrow we will quarrel\nover a fair share of the morning\nAnger thumbs us darkly\n\nTen years inside\na night-coloured fuck is no magic;\ntomorrow we will discover\nthat not even simple\netiquette will do.\n\nWe turn mirrors to the wall,\nwe look under the bed for broken flowers;\nwith tidy care for immaculate news, we swear\nthe earth is part of the solar system.","The texts are taken from Michael Harlow’s book: “Vlaminck’s Tie” published 1985 by the University of Auckland Printing Services\n\nREVIEW – of events at the 1986 Commonwealth Literature Conference, Laufen, Germany\n\nOne of the corollaries of that New Zealand behaviour pattern suggested by the description “the fly-away people” is the habit of gathering together in out-of-the-way places — and not always to discuss matters such as Rugby (when is a tour not a tour?) ANZUS pacts (when is a nuclear ship not a nuclear ship?) or Keri Hulme's Booker Prize (when is a novel not a novel?).\n\nThe recent IXth German Conference on Commonwealth Literature, Film and Theatre, held in Laufen in mid-June, was just such an occasion marked by three “fly-away people” coming together to produce a work and performance which might well have prompted the question:- “when is a celebration not a celebration?” Well, one answer could be: when the event is unheralded, not decked out with waving flags or nationalist slogans, when the Kiwi klaxon is not brandished and tooted, yet nevertheless a specifically and distinctively New Zealand voice and presentation speak directly to a mixed audience.\n\nA welcome addition to the proceedings of the Conference was the introduction of a performance component: firstly the theatre presentation Ko Maui, a panoply of Maori myths and legends created and directed by John Hudson and Chris Balme; and secondly the first performance of a new work from the composer Kit Powell, formerly of Christchurch and now living in Zurich, to words by Michael Harlow, currently the Katherine Mansfield Fellow at Menton. The third expatriate element was provided by the baritone, Nelson Wattie, now living in Cologne, for whom the work was written, who had earlier given a sensitive and forceful performance of Douglas Lilburn s Elegy from 1951.\n\nThe place is a short song-cycle for baritone and prepared tape, using as its text three poems from Harlow‘s recent collection Vlaminck's Tie: Did You?, Missing the Mark and How it is, is. Powell has previously set Harlow's words and it is clear from the piece and from both men's response to questions from the floor after the performance, that they have an excellent personal and a professional rapport, with no real suggestion of the “territorial imperative” demands that often beset the relationship between composers and poets.\n\nMoreover, while Harlow has a refreshingly relaxed attitude to the “appropriation” of his words, their shuffling round and fragmentation by the composer, his flexibility is due in some part to Powell‘s understanding of the texts and his ability to find a musical equivalent or contrast to the shifts in style and tone of Harlow's poetry.\n\nPerhaps the single most noteworthy aspect of the work at first hearing is its accessibility – attributable primarily to the work's wit and clarity of form. That both were so evident was due in no small measure to Nelson Wattie's persuasive account of the piece. It is not an easy work to sing, demanding from the performer two sets of ears and an inbuilt metronome: but Wattie coped well with its demands ––variable and alternating pitches, decisions as to duration and tempi which are sometimes left to the performer, and the alternation of the singing\u002F Sprechgesang voice with taped voice –– with ease and skill.\n\nIf there was one element missing, it was that emphasised by Powell and Harlow in the lively discussion following the performance: the fact that it is ideally a music-theatre piece, which needs to be performed from memory by a singer who will physicalise some of the musical and textual elements. And having seen Powell himself, a deceptively laconic and unpretentious commentator on his own music, suddenly illustrate elements in the score with engaging forcefulness and real theatrical flair, one might do a lot worse than ask him to perform it himself. It is, at all events, a work that deserves to be heard again, for its idiom, though modern and experimental, is far from abstruse or rebarbative.\n\nMichael Morley Laufen, Germany 1986\n\n\n\n\n\n",{"_type":375,"current":7342},"nelson-songs","Nelson Songs",{"date":6328,"instrumentation":7345,"length":1798,"text":3405},"Baritone and tape",56,{"_id":7348,"chapters":7349,"content":7350,"images":7481,"performances":7486,"rawPoem":4,"rawText":7493,"slug":7494,"title":7411,"workInfo":7496,"workNumber":7498},"c2feb23d-4bfc-4d05-8c3e-53b2843d03fd",[],[7351,7380,7397,7405,7417,7426,7436,7445,7453,7460,7467,7474],{"_key":7352,"_type":9,"audioSize":4,"audioURL":4,"children":7353,"fileURL":4,"image":4,"markDefs":7375,"style":18},"79479f3b732d",[7354,7358,7362,7366,7371],{"_key":7355,"_type":13,"marks":7356,"text":7357},"f9f3c7ad0c2e",[],"Started in 1986, the idea was to write a sort of baroque ",{"_key":7359,"_type":13,"marks":7360,"text":7361},"233dd0ea86c1",[73],"sonata da chiesa",{"_key":7363,"_type":13,"marks":7364,"text":7365},"3a593ed13b73",[],", (four movements: slow, fast, slow fast). The first two movements were played by ",{"_key":7367,"_type":13,"marks":7368,"text":7370},"8c378778a75a",[7369],"4d3fd1131935","Philip Powell",{"_key":7372,"_type":13,"marks":7373,"text":7374},"59e3e4eadbf4",[]," and his cousin Renaud Racine (Piano) for Philip‘s entrance exam for the Zurich Conservatory.",[7376],{"_key":7369,"_type":321,"reference":7377,"slug":7379,"type":326},{"_ref":7378,"_type":324},"7fe51b0f-1e1a-4356-a0de-cff2cfda5ae6","philip-powell",{"_key":7381,"_type":9,"audioSize":4,"audioURL":4,"children":7382,"fileURL":4,"image":4,"markDefs":7394,"style":18},"fbcf023e32b7",[7383,7387,7391],{"_key":7384,"_type":13,"marks":7385,"text":7386},"2fbd072c31ba0",[],"The 3rd and 4th movements were added in the 90s, as mirror forms of the other movements (although this intention was not always strictly adhered to) and the first full performance was at the Kykart Festival, 1996, in Pushkin, Russia by Philip and ",{"_key":7388,"_type":13,"marks":7389,"text":5922},"a14620a66e82",[7390],"00988ec7b36d",{"_key":7392,"_type":13,"marks":7393,"text":2020},"3f82f349d5cb",[],[7395],{"_key":7390,"_type":321,"reference":7396,"slug":5931,"type":326},{"_ref":5930,"_type":324},{"_key":7398,"_type":9,"audioSize":4,"audioURL":4,"children":7399,"fileURL":4,"image":4,"markDefs":7404,"style":18},"7786f30b38f1",[7400],{"_key":7401,"_type":13,"marks":7402,"text":7403},"fe2a281c022f0",[],"In this recent revision (2017) the only significant change was to remove the first repeat from the second movement: the typical A A B B form of the church sonata is now A B B and I decided against any repeats in the last movement.",[],{"_key":7406,"_type":9,"audioSize":4,"audioURL":4,"children":7407,"fileURL":4,"image":4,"markDefs":7416,"style":18},"c0abec1365d0",[7408,7412],{"_key":7409,"_type":13,"marks":7410,"text":7411},"435852c0944f0",[15],"Sonatina for Trombone and Piano",{"_key":7413,"_type":13,"marks":7414,"text":7415},"435852c0944f1",[]," (second movement):",[],{"_key":7418,"_type":423,"audio":7419,"audioSize":7422,"audioURL":7423,"caption":7424,"fileURL":4,"image":4,"markDefs":4,"musicians":7425},"62ba2cce01d5",{"_type":416,"asset":7420},{"_ref":7421,"_type":324},"file-1257ce1f2d32ef9772e79a5ac4e3d1847d0d75f0-mp3",1387623,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F1257ce1f2d32ef9772e79a5ac4e3d1847d0d75f0.mp3","Trombone Sonatina (2. movement), recorded in Pushkin Russia, 1996","Philp Powell (trombone), Dominik Blum (piano)",{"_key":7427,"_type":500,"alt":7428,"audioSize":4,"audioURL":4,"fileURL":4,"image":7429,"markDefs":4},"8df5a67d8be2","Sonatina 2a",{"caption":4,"id":7430,"meta":7431,"parentID":4,"parentType":510,"url":7435},"c44f2f1ebab122712dd309de1f1b847d8348a99c",{"_type":506,"aspectRatio":7432,"height":7433,"width":7434},1.3588850174216027,574,780,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fc44f2f1ebab122712dd309de1f1b847d8348a99c-780x574.jpg",{"_key":7437,"_type":500,"alt":7438,"audioSize":4,"audioURL":4,"fileURL":4,"image":7439,"markDefs":4},"d7c1629764cd","Sonatina 2b",{"caption":4,"id":7440,"meta":7441,"parentID":4,"parentType":510,"url":7444},"f7fbc9c7895555f448ffac97f9916c0304baed30",{"_type":506,"aspectRatio":7442,"height":7433,"width":7443},1.3414634146341464,770,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Ff7fbc9c7895555f448ffac97f9916c0304baed30-770x574.jpg",{"_key":7446,"_type":9,"audioSize":4,"audioURL":4,"children":7447,"fileURL":4,"image":4,"markDefs":7452,"style":18},"9cc6ff78cead",[7448],{"_key":7449,"_type":13,"marks":7450,"text":7451},"e7703e7b9bdd",[],"N.B. The end was changed since the recording was made in 1996",[],{"_key":7454,"_type":9,"audioSize":4,"audioURL":4,"children":7455,"fileURL":4,"image":4,"markDefs":7459,"style":18},"01709d7091fb",[7456],{"_key":7457,"_type":13,"marks":7458,"text":25},"8b16ae18d5ab",[],[],{"_key":7461,"_type":413,"audioSize":4,"audioURL":4,"description":7462,"file":7463,"fileURL":7466,"image":4,"markDefs":4},"2201b4803f5a","Trombone Sonatina Score",{"_type":416,"asset":7464},{"_ref":7465,"_type":324},"file-88215154e5399e1ac036f3a88aae3cf4c4f5ef94-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F88215154e5399e1ac036f3a88aae3cf4c4f5ef94.pdf",{"_key":7468,"_type":9,"audioSize":4,"audioURL":4,"children":7469,"fileURL":4,"image":4,"markDefs":7473,"style":18},"49afe6f28ac1",[7470],{"_key":7471,"_type":13,"marks":7472,"text":25},"12541d690aa9",[],[],{"_key":7475,"_type":413,"audioSize":4,"audioURL":4,"description":7476,"file":7477,"fileURL":7480,"image":4,"markDefs":4},"6d42da1d8cb8","Trombone Sonatina Solo Part",{"_type":416,"asset":7478},{"_ref":7479,"_type":324},"file-1edfa1715fc9264ff2f75e5fe5e401aa17822e1e-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F1edfa1715fc9264ff2f75e5fe5e401aa17822e1e.pdf",[7482,7484],{"caption":4,"id":7430,"meta":7483,"parentID":7348,"parentType":510,"url":7435},{"_type":506,"aspectRatio":7432,"height":7433,"width":7434},{"caption":4,"id":7440,"meta":7485,"parentID":7348,"parentType":510,"url":7444},{"_type":506,"aspectRatio":7442,"height":7433,"width":7443},[7487,7489],{"_key":7488,"_type":366,"date":4900,"location":2558},"7fe9cb56d50c",{"_key":7490,"_type":366,"date":7491,"location":7492},"980f4f366e57","1995-01-01","Pushkin, Russia","Started in 1986, the idea was to write a sort of baroque sonata da chiesa, (four movements: slow, fast, slow fast). The first two movements were played by Philip Powell and his cousin Renaud Racine (Piano) for Philip‘s entrance exam for the Zurich Conservatory.\n\nThe 3rd and 4th movements were added in the 90s, as mirror forms of the other movements (although this intention was not always strictly adhered to) and the first full performance was at the Kykart Festival, 1996, in Pushkin, Russia by Philip and Dominik Blum.\n\nIn this recent revision (2017) the only significant change was to remove the first repeat from the second movement: the typical A A B B form of the church sonata is now A B B and I decided against any repeats in the last movement.\n\nSonatina for Trombone and Piano (second movement):\n\nN.B. The end was changed since the recording was made in 1996\n\n\n\n",{"_type":375,"current":7495},"sonatina-for-trombone-and-piano",{"date":7072,"instrumentation":7497,"length":1596},"Trombone and Piano",58,{"_id":7500,"chapters":7501,"content":7502,"images":7797,"performances":7806,"rawPoem":4,"rawText":7809,"slug":7810,"title":7550,"workInfo":7811,"workNumber":7813},"856dd97f-51f7-48b3-894f-1f85465594d4",[],[7503,7523,7531,7561,7616,7639,7648,7656,7679,7687,7696,7704,7720,7729,7744,7752,7761,7769,7776,7783,7790],{"_key":7504,"_type":9,"audioSize":4,"audioURL":4,"children":7505,"fileURL":4,"image":4,"markDefs":7518,"style":18},"aede60e18d2e",[7506,7510,7515],{"_key":7507,"_type":13,"marks":7508,"text":7509},"8ab88a3141d3",[],"The following is taken from my book ",{"_key":7511,"_type":13,"marks":7512,"text":7514},"2ff52ddc6ef0",[7513],"a0164b9c095b","Quite by Chance - Wie durch Zufall",{"_key":7516,"_type":13,"marks":7517,"text":104},"25e68ead1949",[],[7519],{"_key":7513,"_type":321,"reference":7520,"slug":7522,"type":3456},{"_ref":7521,"_type":324},"c7308947-ffb8-466c-8f16-eb3197f215f1","quite-by-chance",{"_key":7524,"_type":9,"audioSize":4,"audioURL":4,"children":7525,"fileURL":4,"image":4,"markDefs":7530,"style":634},"3b5f0680a015",[7526],{"_key":7527,"_type":13,"marks":7528,"text":7529},"e457e5a267cf0",[],"During the 1980s I attended a number of courses in computer music and bought my first computer, an Atari. Compared with today's machines this was very large and very slow but in spite of this I was able to use it for computer music and a primitive music notation program which I developed myself and also simple programming with Basic.",[],{"_key":7532,"_type":9,"audioSize":4,"audioURL":4,"children":7533,"fileURL":4,"image":4,"markDefs":7555,"style":634},"074af9d3a90d",[7534,7538,7542,7546,7551],{"_key":7535,"_type":13,"marks":7536,"text":7537},"dfbbc84a2d320",[],"I had had an enquiry from ",{"_key":7539,"_type":13,"marks":7540,"text":5922},"db50b362eb4d",[7541],"e5f1af11e033",{"_key":7543,"_type":13,"marks":7544,"text":7545},"537a9b061749",[]," for a piece for cello and piano and I wanted to realise this new piece with chance procedures. I decided that the piece would be a game of ",{"_key":7547,"_type":13,"marks":7548,"text":7550},"a3f17a7dde1e",[7549],"4d6586a72f54","Snakes and Ladders",{"_key":7552,"_type":13,"marks":7553,"text":7554},"d18898219211",[],". This children’s game uses a board with 100 numbers on it. Players roll dice to see how many steps they can make. If they’re lucky, they land on a ladder and can climb up to the number at the top of the ladder. If they’re unlucky they land on the head of a snake and must slither down to the number at the tail of the snake.",[7556,7558],{"_key":7541,"_type":321,"reference":7557,"slug":5931,"type":326},{"_ref":5930,"_type":324},{"_key":7549,"_type":321,"reference":7559,"slug":7560,"type":510},{"_ref":7500,"_type":324},"snakes-and-ladders",{"_key":7562,"_type":9,"audioSize":4,"audioURL":4,"children":7563,"fileURL":4,"image":4,"markDefs":7615,"style":634},"20d14b3d7b77",[7564,7568,7572,7576,7580,7584,7588,7592,7596,7600,7604,7608,7611],{"_key":7565,"_type":13,"marks":7566,"text":7567},"861ed9d897b40",[],"The piece therefore would be a contest between the pianist and the cellist. There would be a ",{"_key":7569,"_type":13,"marks":7570,"text":7571},"861ed9d897b41",[73],"shake",{"_key":7573,"_type":13,"marks":7574,"text":7575},"861ed9d897b42",[]," theme for the player preparing to roll the die, followed by a ",{"_key":7577,"_type":13,"marks":7578,"text":7579},"861ed9d897b43",[73],"turn",{"_key":7581,"_type":13,"marks":7582,"text":7583},"861ed9d897b44",[]," which contains n (die-no.) ",{"_key":7585,"_type":13,"marks":7586,"text":7587},"861ed9d897b45",[73],"moves",{"_key":7589,"_type":13,"marks":7590,"text":7591},"861ed9d897b46",[],". At the end there could also be a ",{"_key":7593,"_type":13,"marks":7594,"text":7595},"861ed9d897b47",[73],"snake",{"_key":7597,"_type":13,"marks":7598,"text":7599},"861ed9d897b48",[]," or a ",{"_key":7601,"_type":13,"marks":7602,"text":7603},"861ed9d897b49",[73],"ladder",{"_key":7605,"_type":13,"marks":7606,"text":7607},"861ed9d897b410",[]," depending on where the ",{"_key":7609,"_type":13,"marks":7610,"text":7579},"861ed9d897b411",[73],{"_key":7612,"_type":13,"marks":7613,"text":7614},"861ed9d897b412",[]," ends.",[],{"_key":7617,"_type":9,"audioSize":4,"audioURL":4,"children":7618,"fileURL":4,"image":4,"markDefs":7638,"style":634},"f878a3282950",[7619,7623,7627,7630,7634],{"_key":7620,"_type":13,"marks":7621,"text":7622},"8b7e5f9d6ea90",[],"First I had to invent the board and decide where the ",{"_key":7624,"_type":13,"marks":7625,"text":7626},"8b7e5f9d6ea91",[73],"snakes",{"_key":7628,"_type":13,"marks":7629,"text":2625},"8b7e5f9d6ea92",[],{"_key":7631,"_type":13,"marks":7632,"text":7633},"8b7e5f9d6ea93",[73],"ladders",{"_key":7635,"_type":13,"marks":7636,"text":7637},"8b7e5f9d6ea94",[]," would lie: The diagram below was the first sketch (red snakes and blue ladders). I later found there were a few too many and removed some.",[],{"_key":7640,"_type":500,"audioSize":4,"audioURL":4,"fileURL":4,"image":7641,"markDefs":4},"8186f8fec3cf",{"caption":4,"id":7642,"meta":7643,"parentID":4,"parentType":510,"url":7647},"4ed66f60f9ce6fdf74e296d662cf12854ff79966",{"_type":506,"aspectRatio":7644,"height":7645,"width":7646},1.057784911717496,623,659,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F4ed66f60f9ce6fdf74e296d662cf12854ff79966-659x623.jpg",{"_key":7649,"_type":9,"audioSize":4,"audioURL":4,"children":7650,"fileURL":4,"image":4,"markDefs":7655,"style":18},"6889ef9a76d6",[7651],{"_key":7652,"_type":13,"marks":7653,"text":7654},"26f742582a3c",[],"This information was given to the computer, which was also taught to roll dice and record the results. I let it play the game a number of times and chose the most interesting looking game.",[],{"_key":7657,"_type":9,"audioSize":4,"audioURL":4,"children":7658,"fileURL":4,"image":4,"markDefs":7678,"style":18},"489d563b68fb",[7659,7663,7667,7670,7674],{"_key":7660,"_type":13,"marks":7661,"text":7662},"555e9e8290bc0",[],"So as to increase the tension in the piece, I decided that after half way through, both players would be ",{"_key":7664,"_type":13,"marks":7665,"text":7666},"555e9e8290bc1",[73],"shaking",{"_key":7668,"_type":13,"marks":7669,"text":2625},"555e9e8290bc2",[],{"_key":7671,"_type":13,"marks":7672,"text":7673},"555e9e8290bc3",[73],"moving",{"_key":7675,"_type":13,"marks":7676,"text":7677},"555e9e8290bc4",[]," simulteniously.",[],{"_key":7680,"_type":9,"audioSize":4,"audioURL":4,"children":7681,"fileURL":4,"image":4,"markDefs":7686,"style":18},"0fadf264919d",[7682],{"_key":7683,"_type":13,"marks":7684,"text":7685},"9e65c2704b540",[],"Here then is the game I chose for the piece:",[],{"_key":7688,"_type":500,"audioSize":4,"audioURL":4,"fileURL":4,"image":7689,"markDefs":4},"9e9329f8948a",{"caption":4,"id":7690,"meta":7691,"parentID":4,"parentType":510,"url":7695},"b37d8e8c098f13a6e01e4c132164934d0a7e54f8",{"_type":506,"aspectRatio":7692,"height":7693,"width":7694},0.7179327521793275,1606,1153,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fb37d8e8c098f13a6e01e4c132164934d0a7e54f8-1153x1606.jpg",{"_key":7697,"_type":9,"audioSize":4,"audioURL":4,"children":7698,"fileURL":4,"image":4,"markDefs":7703,"style":18},"60558b5a051e",[7699],{"_key":7700,"_type":13,"marks":7701,"text":7702},"8e3f6553728b",[],"Pitches were organised by a 10-note tone row: Because of its symmetry it is only ever used in its 12 transpositions.",[],{"_key":7705,"_type":9,"audioSize":4,"audioURL":4,"children":7706,"fileURL":4,"image":4,"markDefs":7719,"style":18},"0ba26fb97c47",[7707,7711,7715],{"_key":7708,"_type":13,"marks":7709,"text":7710},"9d1a21e0a8920",[],"The rhythmic patterns below are used for all of the ",{"_key":7712,"_type":13,"marks":7713,"text":7714},"9d1a21e0a8921",[73],"turns",{"_key":7716,"_type":13,"marks":7717,"text":7718},"9d1a21e0a8922",[],". No. 1 is the mirror form of no. 10, and no. 2 is the mirror form of no. 9, etc.",[],{"_key":7721,"_type":500,"audioSize":4,"audioURL":4,"fileURL":4,"image":7722,"markDefs":4},"f2fa0bba2005",{"caption":4,"id":7723,"meta":7724,"parentID":4,"parentType":510,"url":7728},"e5efedee22eb9733448a3eba2614a7233d68755d",{"_type":506,"aspectRatio":7725,"height":7726,"width":7727},0.7239844184752365,1797,1301,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fe5efedee22eb9733448a3eba2614a7233d68755d-1301x1797.jpg",{"_key":7730,"_type":9,"audioSize":4,"audioURL":4,"children":7731,"fileURL":4,"image":4,"markDefs":7743,"style":18},"7d935ab34229",[7732,7736,7739],{"_key":7733,"_type":13,"marks":7734,"text":7735},"014e19d6f0a7",[],"This preoccupation with mirror forms started in the mid 80s while setting Harlow texts where mirrors frequently appear as a figure examines himself. I was fascinated by how such reflexions in music in contrast to parallels in the visual arts are not always obvious—which is good! ",{"_key":7737,"_type":13,"marks":7738,"text":7550},"1e529cf19784",[73],{"_key":7740,"_type":13,"marks":7741,"text":7742},"fa4ad6c9e103",[]," also included important elements of music theatre:",[],{"_key":7745,"_type":9,"audioSize":4,"audioURL":4,"children":7746,"fileURL":4,"image":4,"markDefs":7751,"style":18},"b4c347bebbfe",[7747],{"_key":7748,"_type":13,"marks":7749,"text":7750},"bc0d226c8cc70",[],"Throughout the score the players are instructed to show the emotions of the character they are playing; if he seems to be winning he is jubilant and the opponent is angry and vice versa. In the last two pages of the score (below) the cellist wins and is “ebullient”, the pianist on the other hand is “incensed”, closes the piano and leaves, while the cellist is so pleased with himself he starts playing a Bach solo cello-suite. The pianist notices this, returns, and angrily plays: B A C H (Bb A C B♮)",[],{"_key":7753,"_type":500,"audioSize":4,"audioURL":4,"fileURL":4,"image":7754,"markDefs":4},"9047c0e826b5",{"caption":4,"id":7755,"meta":7756,"parentID":4,"parentType":510,"url":7760},"65c0edcb720402956618930147f1b57854626883",{"_type":506,"aspectRatio":7757,"height":7758,"width":7759},1.274905422446406,1586,2022,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F65c0edcb720402956618930147f1b57854626883-2022x1586.jpg",{"_key":7762,"_type":423,"audio":7763,"audioSize":7766,"audioURL":7767,"caption":7550,"fileURL":4,"image":4,"markDefs":4,"musicians":7768},"7dfad1216409",{"_type":416,"asset":7764},{"_ref":7765,"_type":324},"file-4e7de45d77b3b64f9f178358e37103320f62a6b9-mp3",9565954,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F4e7de45d77b3b64f9f178358e37103320f62a6b9.mp3","Andreas Ochsner Cello, Dominik Blum Piano",{"_key":7770,"_type":413,"audioSize":4,"audioURL":4,"description":7771,"file":7772,"fileURL":7775,"image":4,"markDefs":4},"f25441ea819f","Snakes and Ladders Hand Written Score",{"_type":416,"asset":7773},{"_ref":7774,"_type":324},"file-b90eea84e3bf112d1700b915bce44fb0e587c64f-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fb90eea84e3bf112d1700b915bce44fb0e587c64f.pdf",{"_key":7777,"_type":413,"audioSize":4,"audioURL":4,"description":7778,"file":7779,"fileURL":7782,"image":4,"markDefs":4},"1e2ec7645c02","Snakes and Ladders, Printed Score",{"_type":416,"asset":7780},{"_ref":7781,"_type":324},"file-5837e4a5c129d77a9cb5d610c00ab1d994231ae6-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F5837e4a5c129d77a9cb5d610c00ab1d994231ae6.pdf",{"_key":7784,"_type":413,"audioSize":4,"audioURL":4,"description":7785,"file":7786,"fileURL":7789,"image":4,"markDefs":4},"7098a83f668e","Snakes and Ladders Cello Part",{"_type":416,"asset":7787},{"_ref":7788,"_type":324},"file-761ae883f8167a4a667fbd5eb49408ebd9f916c6-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F761ae883f8167a4a667fbd5eb49408ebd9f916c6.pdf",{"_key":7791,"_type":9,"audioSize":4,"audioURL":4,"children":7792,"fileURL":4,"image":4,"markDefs":7796,"style":18},"12180eb908ad",[7793],{"_key":7794,"_type":13,"marks":7795,"text":25},"1100679db33d",[],[],[7798,7800,7802,7804],{"caption":4,"id":7642,"meta":7799,"parentID":7500,"parentType":510,"url":7647},{"_type":506,"aspectRatio":7644,"height":7645,"width":7646},{"caption":4,"id":7690,"meta":7801,"parentID":7500,"parentType":510,"url":7695},{"_type":506,"aspectRatio":7692,"height":7693,"width":7694},{"caption":4,"id":7723,"meta":7803,"parentID":7500,"parentType":510,"url":7728},{"_type":506,"aspectRatio":7725,"height":7726,"width":7727},{"caption":4,"id":7755,"meta":7805,"parentID":7500,"parentType":510,"url":7760},{"_type":506,"aspectRatio":7757,"height":7758,"width":7759},[7807],{"_key":7808,"_type":366,"date":6328,"location":5732},"59ca3b5adf93","The following is taken from my book Quite by Chance - Wie durch Zufall:\n\nDuring the 1980s I attended a number of courses in computer music and bought my first computer, an Atari. Compared with today's machines this was very large and very slow but in spite of this I was able to use it for computer music and a primitive music notation program which I developed myself and also simple programming with Basic.\n\nI had had an enquiry from Dominik Blum for a piece for cello and piano and I wanted to realise this new piece with chance procedures. I decided that the piece would be a game of Snakes and Ladders. This children’s game uses a board with 100 numbers on it. Players roll dice to see how many steps they can make. If they’re lucky, they land on a ladder and can climb up to the number at the top of the ladder. If they’re unlucky they land on the head of a snake and must slither down to the number at the tail of the snake.\n\nThe piece therefore would be a contest between the pianist and the cellist. There would be a shake theme for the player preparing to roll the die, followed by a turn which contains n (die-no.) moves. At the end there could also be a snake or a ladder depending on where the turn ends.\n\nFirst I had to invent the board and decide where the snakes and ladders would lie: The diagram below was the first sketch (red snakes and blue ladders). I later found there were a few too many and removed some.\n\nThis information was given to the computer, which was also taught to roll dice and record the results. I let it play the game a number of times and chose the most interesting looking game.\n\nSo as to increase the tension in the piece, I decided that after half way through, both players would be shaking and moving simulteniously.\n\nHere then is the game I chose for the piece:\n\nPitches were organised by a 10-note tone row: Because of its symmetry it is only ever used in its 12 transpositions.\n\nThe rhythmic patterns below are used for all of the turns. No. 1 is the mirror form of no. 10, and no. 2 is the mirror form of no. 9, etc.\n\nThis preoccupation with mirror forms started in the mid 80s while setting Harlow texts where mirrors frequently appear as a figure examines himself. I was fascinated by how such reflexions in music in contrast to parallels in the visual arts are not always obvious—which is good! Snakes and Ladders also included important elements of music theatre:\n\nThroughout the score the players are instructed to show the emotions of the character they are playing; if he seems to be winning he is jubilant and the opponent is angry and vice versa. In the last two pages of the score (below) the cellist wins and is “ebullient”, the pianist on the other hand is “incensed”, closes the piano and leaves, while the cellist is so pleased with himself he starts playing a Bach solo cello-suite. The pianist notices this, returns, and angrily plays: B A C H (Bb A C B♮)\n\n",{"_type":375,"current":7560},{"date":5731,"instrumentation":7812,"length":885},"cello and piano",59,{"_id":7815,"chapters":7816,"content":7817,"images":7942,"performances":7945,"rawPoem":4,"rawText":7954,"slug":7955,"title":7837,"workInfo":7957,"workNumber":7961},"0616f2ff-c282-4d72-aa5c-1c8783464c9a",[],[7818,7856,7874,7882,7890,7900,7920,7929,7936],{"_key":7819,"_type":9,"audioSize":4,"audioURL":4,"children":7820,"fileURL":4,"image":4,"markDefs":7851,"style":18},"fb50e53287ab",[7821,7825,7830,7834,7838,7842,7847],{"_key":7822,"_type":13,"marks":7823,"text":7824},"efb972d9d248",[],"One imagines ",{"_key":7826,"_type":13,"marks":7827,"text":7829},"24ba7702033a",[7828],"96bd835b996e","Oskar Kokoschka",{"_key":7831,"_type":13,"marks":7832,"text":7833},"191b40edb281",[],"'s picture ",{"_key":7835,"_type":13,"marks":7836,"text":7837},"a31b703600a6",[73],"Flötenspieler und Fledermäuse",{"_key":7839,"_type":13,"marks":7840,"text":7841},"cf839e9557fe",[]," (Flute Player and Bats) cut into six horizontal strips: I - VI (see right hand picture), and these strips joined end to end to make one long piece whose length corresponds to the length of the musical piece (6 minutes). The sounds on the tape were created using the images on this long strip: the pictures were copied onto the ",{"_key":7843,"_type":13,"marks":7844,"text":7846},"a6808b0e37b4",[7845],"2682b06d026a","UPIC",{"_key":7848,"_type":13,"marks":7849,"text":7850},"0cc000f7ee63",[]," screen and using a variety of sounds inspired by an analysis of bat cries combined with these drawings. Thus, for example, one hears on the tape starting at about 25” sounds that remind one of wooden shoes and the same again 10” later for the second shoe. One can indeed follow the whole of the tape music reading this picture like a graphic score.",[7852,7854],{"_key":7845,"_type":316,"href":7853},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FUPIC",{"_key":7828,"_type":316,"href":7855},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FOskar_Kokoschka",{"_key":7857,"_type":9,"audioSize":4,"audioURL":4,"children":7858,"fileURL":4,"image":4,"markDefs":7871,"style":18},"d8ca37f11d68",[7859,7863,7867],{"_key":7860,"_type":13,"marks":7861,"text":7862},"c7c59a8a7ec40",[],"Each of these one minute sections is divided again into 6 ten-second subsections: 1 - 6. The musical material of these subsections is arranged according to my ",{"_key":7864,"_type":13,"marks":7865,"text":6028},"57621e29c564",[7866],"7bbe6e41f531",{"_key":7868,"_type":13,"marks":7869,"text":7870},"3cc06df2db36",[],": i.e. material from subsection III\u002F5, for example, appears again in subsection V\u002F3. In this piece, however, the corresponding subsections are mirror images of each other.",[7872],{"_key":7866,"_type":321,"reference":7873,"slug":6039,"type":528},{"_ref":6038,"_type":324},{"_key":7875,"_type":9,"audioSize":4,"audioURL":4,"children":7876,"fileURL":4,"image":4,"markDefs":7881,"style":18},"c36f60507067",[7877],{"_key":7878,"_type":13,"marks":7879,"text":7880},"51b8c3d353410",[],"Whereas the tape sounds follow the picture almost exactly, the flautist depicts the feelings of the flute player in the picture as follows: At the beginning, he stands erect and performs with military precision. He feels himself master of the situation. He has already caught one bat, and while the tape shows the sound of his wooden shoes dancing, his own flute lures more bats towards him. At section IV\u002F5 the situation starts to change: The deep threatening sounds on the tape (V\u002F2 to V\u002F5) announce the onslaught of armies of bats. He becomes more and more unsure, and at each “star”-sound he looks round anxiously to the direction from where it comes. By subsections VI\u002F3, VI\u002F4 he is noticeably beaten, his knees slightly bent, shoulders sagging and head down.",[],{"_key":7883,"_type":9,"audioSize":4,"audioURL":4,"children":7884,"fileURL":4,"image":4,"markDefs":7889,"style":18},"a80f168e63f8",[7885],{"_key":7886,"_type":13,"marks":7887,"text":7888},"84f2100fb2660",[],"The performer stands in the middle between the two loudspeakers. His position remains constant, only his posture changes.",[],{"_key":7891,"_type":500,"alt":7892,"audioSize":4,"audioURL":4,"caption":7892,"fileURL":4,"image":7893,"markDefs":4},"d0214f260858","Oskar Kokoschka's Flötenspieler with grid overlay",{"caption":4,"id":7894,"meta":7895,"parentID":4,"parentType":510,"url":7899},"dd6f5d098a3360f60a03b851c0bcda2091f5fd22",{"_type":506,"aspectRatio":7896,"height":7897,"width":7898},0.7068713450292398,1368,967,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fdd6f5d098a3360f60a03b851c0bcda2091f5fd22-967x1368.jpg",{"_key":7901,"_type":9,"audioSize":4,"audioURL":4,"children":7902,"fileURL":4,"image":4,"markDefs":7915,"style":18},"7b2ed1027260",[7903,7907,7912],{"_key":7904,"_type":13,"marks":7905,"text":7906},"bc64e91a17fe0",[],"The work was originally written for Heinrich Keller who played it only once (while I was in New Zealand!) but it was later played several times by ",{"_key":7908,"_type":13,"marks":7909,"text":7911},"7725d8c5e44b",[7910],"088d6aac687a","Dominique Hunziker",{"_key":7913,"_type":13,"marks":7914,"text":2020},"751ae67eb2ae",[],[7916],{"_key":7910,"_type":321,"reference":7917,"slug":7919,"type":326},{"_ref":7918,"_type":324},"74e3ef56-ac0b-49ed-83a2-2a6f48b08c37","dominique-hunziker",{"_key":7921,"_type":423,"audio":7922,"audioSize":7925,"audioURL":7926,"caption":7927,"fileURL":4,"image":4,"markDefs":4,"musicians":7928},"aebdc54f7ef5",{"_type":416,"asset":7923},{"_ref":7924,"_type":324},"file-1b3ccbd4e7b62199664db27f13473cc736d35d42-mp3",7645435,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F1b3ccbd4e7b62199664db27f13473cc736d35d42.mp3","Flötenspieler und Fledermäuse ","Dominique Hunziker (Flute)",{"_key":7930,"_type":9,"audioSize":4,"audioURL":4,"children":7931,"fileURL":4,"image":4,"markDefs":7935,"style":18},"204c133807a1",[7932],{"_key":7933,"_type":13,"marks":7934,"text":25},"d8c0014cf1ef",[],[],{"_key":7937,"_type":413,"audioSize":4,"audioURL":4,"description":7837,"file":7938,"fileURL":7941,"image":4,"markDefs":4},"a62d845b3f8a",{"_type":416,"asset":7939},{"_ref":7940,"_type":324},"file-0fb5d3545706b8c989725815bb0e54fed7340d80-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F0fb5d3545706b8c989725815bb0e54fed7340d80.pdf",[7943],{"caption":7892,"id":7894,"meta":7944,"parentID":7815,"parentType":510,"url":7899},{"_type":506,"aspectRatio":7896,"height":7897,"width":7898},[7946,7949,7952],{"_key":7947,"_type":366,"date":7948,"location":5732},"b515999d429d","1988-01-01",{"_key":7950,"_type":366,"date":7951,"location":2558},"0e5bf5d98592","1997-01-01",{"_key":7953,"_type":366,"date":4002,"location":2558},"d22822cf54ac","One imagines Oskar Kokoschka's picture Flötenspieler und Fledermäuse (Flute Player and Bats) cut into six horizontal strips: I - VI (see right hand picture), and these strips joined end to end to make one long piece whose length corresponds to the length of the musical piece (6 minutes). The sounds on the tape were created using the images on this long strip: the pictures were copied onto the UPIC screen and using a variety of sounds inspired by an analysis of bat cries combined with these drawings. Thus, for example, one hears on the tape starting at about 25” sounds that remind one of wooden shoes and the same again 10” later for the second shoe. One can indeed follow the whole of the tape music reading this picture like a graphic score.\n\nEach of these one minute sections is divided again into 6 ten-second subsections: 1 - 6. The musical material of these subsections is arranged according to my Abelian Form: i.e. material from subsection III\u002F5, for example, appears again in subsection V\u002F3. In this piece, however, the corresponding subsections are mirror images of each other.\n\nWhereas the tape sounds follow the picture almost exactly, the flautist depicts the feelings of the flute player in the picture as follows: At the beginning, he stands erect and performs with military precision. He feels himself master of the situation. He has already caught one bat, and while the tape shows the sound of his wooden shoes dancing, his own flute lures more bats towards him. At section IV\u002F5 the situation starts to change: The deep threatening sounds on the tape (V\u002F2 to V\u002F5) announce the onslaught of armies of bats. He becomes more and more unsure, and at each “star”-sound he looks round anxiously to the direction from where it comes. By subsections VI\u002F3, VI\u002F4 he is noticeably beaten, his knees slightly bent, shoulders sagging and head down.\n\nThe performer stands in the middle between the two loudspeakers. His position remains constant, only his posture changes.\n\nThe work was originally written for Heinrich Keller who played it only once (while I was in New Zealand!) but it was later played several times by Dominique Hunziker.\n\n",{"_type":375,"current":7956},"flotenspieler-und-fledermause",{"date":7958,"instrumentation":7959,"length":841,"text":7960},"1987-01-01","Flute and Tape","Based on Oskar Kokoschka's picture Flötenspieler und Fledermäuse",60,{"_id":7963,"chapters":7964,"content":7965,"images":8073,"performances":8074,"rawPoem":8078,"rawText":8079,"slug":8080,"title":7972,"workInfo":8082,"workNumber":8084},"46d7be9f-c9b3-47da-bc84-34f56d7de8f4",[],[7966,7978,7997,8009,8017,8026,8054],{"_key":7967,"_type":9,"audioSize":4,"audioURL":4,"children":7968,"fileURL":4,"image":4,"markDefs":7977,"style":18},"8de739184825",[7969,7973],{"_key":7970,"_type":13,"marks":7971,"text":7972},"23cbaa75146d",[15],"Les Épisodes",{"_key":7974,"_type":13,"marks":7975,"text":7976},"62edadbfbc55",[]," (Aug. 1987) Orchestra and Soprano & Bass soloists",[],{"_key":7979,"_type":9,"audioSize":4,"audioURL":4,"children":7980,"fileURL":4,"image":4,"markDefs":7994,"style":18},"46d44689e6d4",[7981,7985,7990],{"_key":7982,"_type":13,"marks":7983,"text":7984},"4955ffcc49500",[],"Settings of ",{"_key":7986,"_type":13,"marks":7987,"text":7989},"b1071171e04e",[7988],"c33113bf644a","Harlow",{"_key":7991,"_type":13,"marks":7992,"text":7993},"c99df70a04c3",[]," poems, written especially for the Wellington Sonic Circus, 1987",[7995],{"_key":7988,"_type":321,"reference":7996,"slug":3414,"type":326},{"_ref":3413,"_type":324},{"_key":7998,"_type":9,"audioSize":4,"audioURL":4,"children":7999,"fileURL":4,"image":4,"markDefs":8008,"style":18},"3425165f392f",[8000,8004],{"_key":8001,"_type":13,"marks":8002,"text":8003},"c912a0609f600",[],"This was preceded by an intensive correspondence between Michael and me. He made many good suggestions about the nature of the music—one can certainly speak of an artistic cooperation. I still see Michael at the beginning of the performance as he suddenly appeared at the front of the auditorium and spoke the opening lines: ",{"_key":8005,"_type":13,"marks":8006,"text":8007},"c912a0609f601",[73],"Not an answer…",[],{"_key":8010,"_type":9,"audioSize":4,"audioURL":4,"children":8011,"fileURL":4,"image":4,"markDefs":8016,"style":18},"0ad99e534667",[8012],{"_key":8013,"_type":13,"marks":8014,"text":8015},"265e2f009e800",[],"Given the short rehearsal time the work was reasonably well performed (in the Wellington Town Hall) but that was the only airing it ever had. Plans for a second part were never taken up again.",[],{"_key":8018,"_type":423,"audio":8019,"audioSize":8022,"audioURL":8023,"caption":8024,"fileURL":4,"image":4,"markDefs":4,"musicians":8025},"155ad7f981ab",{"_type":416,"asset":8020},{"_ref":8021,"_type":324},"file-4b84eb4f2e801775f63ef18068dc7ec6dfbd0b29-mp3",5480931,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F4b84eb4f2e801775f63ef18068dc7ec6dfbd0b29.mp3","Episode 1","Jan Harrington Mezzo-soprano, Derrick Miller Baritone, NZSO Francisco Feliciano Conductor, Michael Harlow Speaker",{"_key":8027,"_type":754,"audioSize":4,"audioURL":4,"author":3405,"fileURL":4,"image":4,"markDefs":4,"poem":8028,"title":8045},"0eb1d0ec68a0",[8029,8037],{"_key":8030,"_type":9,"children":8031,"markDefs":8036,"style":18},"5523380c6cf2",[8032],{"_key":8033,"_type":13,"marks":8034,"text":8035},"9e327a027d3e",[],"Not\nan answer\nis always\na question",[],{"_key":8038,"_type":9,"children":8039,"markDefs":8044,"style":18},"d2490b8a8424",[8040],{"_key":8041,"_type":13,"marks":8042,"text":8043},"10c504eaead50",[],"If the\nquestion\nis uncertain\nwill the\nanswer\nbe unsafe?",[],[8046],{"_key":8047,"_type":9,"children":8048,"markDefs":8053,"style":18},"9703d2bec395",[8049],{"_key":8050,"_type":13,"marks":8051,"text":8052},"3ce01eece8e6",[15,73],"Prolog",[],{"_key":8055,"_type":754,"audioSize":4,"audioURL":4,"author":3405,"fileURL":4,"image":4,"markDefs":4,"poem":8056,"title":8065},"27c691d46abb",[8057],{"_key":8058,"_type":9,"children":8059,"markDefs":8064,"style":18},"0d3e5922cdcb",[8060],{"_key":8061,"_type":13,"marks":8062,"text":8063},"52fb0cf68d44",[],"If you go\nthere what\nwill you see?\nIf you stay\nbehind what\nwill you remember?\nSomeone running\ntoward you\nshouting a name\nThe same person\nbeside you\ninside the mirror",[],[8066],{"_key":8067,"_type":9,"children":8068,"markDefs":8072,"style":18},"8eb0105e315f",[8069],{"_key":8070,"_type":13,"marks":8071,"text":8024},"38d6dc6af97e",[15,73],[],[],[8075],{"_key":8076,"_type":366,"date":7958,"location":8077,"performers":8025},"ae87f0810a02","Sonic Circus, Wellington New Zealand","Not\nan answer\nis always\na question\n\nIf the\nquestion\nis uncertain\nwill the\nanswer\nbe unsafe?\n\nIf you go\nthere what\nwill you see?\nIf you stay\nbehind what\nwill you remember?\nSomeone running\ntoward you\nshouting a name\nThe same person\nbeside you\ninside the mirror","Les Épisodes (Aug. 1987) Orchestra and Soprano & Bass soloists\n\nSettings of Harlow poems, written especially for the Wellington Sonic Circus, 1987\n\nThis was preceded by an intensive correspondence between Michael and me. He made many good suggestions about the nature of the music—one can certainly speak of an artistic cooperation. I still see Michael at the beginning of the performance as he suddenly appeared at the front of the auditorium and spoke the opening lines: Not an answer…\n\nGiven the short rehearsal time the work was reasonably well performed (in the Wellington Town Hall) but that was the only airing it ever had. Plans for a second part were never taken up again.",{"_type":375,"current":8081},"les-episodes",{"date":7958,"instrumentation":8083,"length":710,"text":3405},"soprano, baritone and orchestra",61,{"_id":8086,"chapters":8087,"content":8088,"images":8349,"performances":8352,"rawPoem":8359,"rawText":8360,"slug":8361,"title":8138,"workInfo":8363,"workNumber":8365},"abc06d73-33c4-4a35-be61-ca80abc1ee6f",[],[8089,8128,8144,8174,8203,8244,8252,8259,8267,8274,8281,8290,8342],{"_key":8090,"_type":9,"audioSize":4,"audioURL":4,"children":8091,"fileURL":4,"image":4,"markDefs":8123,"style":18},"a08f9807e81b",[8092,8096,8099,8104,8107,8111,8114,8119],{"_key":8093,"_type":13,"marks":8094,"text":8095},"9904d2cf79ab",[],"The juxtaposition of such different holy writings rests on a legendary meeting between the young Confucius (who admired the",{"_key":8097,"_type":13,"marks":8098,"text":2840},"77dae1d3b22a",[73],{"_key":8100,"_type":13,"marks":8101,"text":8103},"086ef063a5a5",[8102,73],"1aa7373e146f","I Ching",{"_key":8105,"_type":13,"marks":8106,"text":2840},"a805953a0d01",[73],{"_key":8108,"_type":13,"marks":8109,"text":8110},"2b69980bc4a8",[],"and the old Lao Tzu (the author of the",{"_key":8112,"_type":13,"marks":8113,"text":2840},"768a3e73ce8e",[73],{"_key":8115,"_type":13,"marks":8116,"text":8118},"73f138c0a51d",[8117,73],"6bcdf94f8aa0","Tao Te Ching ",{"_key":8120,"_type":13,"marks":8121,"text":8122},"3056c4ffe837",[],"who was critical of the younger man's philosophy.",[8124,8126],{"_key":8102,"_type":316,"href":8125},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FI_Ching",{"_key":8117,"_type":316,"href":8127},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FTao_Te_Ching",{"_key":8129,"_type":9,"audioSize":4,"audioURL":4,"children":8130,"fileURL":4,"image":4,"markDefs":8143,"style":18},"8bdba14bbbd5",[8131,8135,8139],{"_key":8132,"_type":13,"marks":8133,"text":8134},"fb3cdb3b36d70",[],"I was also fascinated by the idea that in Chinese society it is not uncommon for a person to belong to more than one religion. My ",{"_key":8136,"_type":13,"marks":8137,"text":8138},"b0befdc3b692",[73],"Chinese Songs",{"_key":8140,"_type":13,"marks":8141,"text":8142},"51113bc86e54",[]," try to show this multicultural attitude - that quite different philosophies can exist harmoniously side by side and that each can live and grow and be aware of the other while still maintaining its own identity.",[],{"_key":8145,"_type":9,"audioSize":4,"audioURL":4,"children":8146,"fileURL":4,"image":4,"markDefs":8173,"style":18},"0109436da9cf",[8147,8151,8155,8159,8162,8166,8169],{"_key":8148,"_type":13,"marks":8149,"text":8150},"ae88d39827a10",[],"The texts have been chosen from the fragile and refined ",{"_key":8152,"_type":13,"marks":8153,"text":8154},"c5ba077a013c",[73],"Tao Te Ching",{"_key":8156,"_type":13,"marks":8157,"text":8158},"2977c1ce7dec",[]," and the more robust and worldly ",{"_key":8160,"_type":13,"marks":8161,"text":8103},"339be737729e",[73],{"_key":8163,"_type":13,"marks":8164,"text":8165},"34c9cb89561f",[],". The selection from the former was a personal one and from the latter by chance using the ",{"_key":8167,"_type":13,"marks":8168,"text":8103},"1012e11de67c",[73],{"_key":8170,"_type":13,"marks":8171,"text":8172},"48e58586b4ca",[]," itself to make the choice.",[],{"_key":8175,"_type":9,"audioSize":4,"audioURL":4,"children":8176,"fileURL":4,"image":4,"markDefs":8202,"style":18},"fe15e72d2b87",[8177,8181,8184,8188,8191,8195,8198],{"_key":8178,"_type":13,"marks":8179,"text":8180},"a6fb15f531860",[],"The music reflects my personal view of the philosophies: sharp but delicate three or four note melodic lines for the Tao texts, and for the ",{"_key":8182,"_type":13,"marks":8183,"text":8103},"22b04b2f12da",[73],{"_key":8185,"_type":13,"marks":8186,"text":8187},"33c2894b00ee",[]," lines determined by chance. The electronic sounds were inspired by analyses of old Chinese instruments. Gong and woodblock sounds were the starting point for the ",{"_key":8189,"_type":13,"marks":8190,"text":8103},"6a56b13e5440",[73],{"_key":8192,"_type":13,"marks":8193,"text":8194},"3503e1bf3c9f",[]," sections and the chin (a Chinese zither and instrument known to Lao Tzu) was the model for the ",{"_key":8196,"_type":13,"marks":8197,"text":8154},"4f8c2617d4ae",[73],{"_key":8199,"_type":13,"marks":8200,"text":8201},"0790ed6b7731",[]," sections.",[],{"_key":8204,"_type":9,"audioSize":4,"audioURL":4,"children":8205,"fileURL":4,"image":4,"markDefs":8235,"style":18},"5b665a945a2f",[8206,8210,8215,8219,8223,8226,8231],{"_key":8207,"_type":13,"marks":8208,"text":8209},"5182d0bfb6120",[],"I am indebted to Franziska Staehelin for the original idea of setting these texts and of course also for her fine voice and artistry. I would also like to thank my colleagues in the ",{"_key":8211,"_type":13,"marks":8212,"text":8214},"79174ad17a18",[8213],"c9824ccb018c","Swiss Computer Music Centre",{"_key":8216,"_type":13,"marks":8217,"text":8218},"4a0aa692b69f",[]," (",{"_key":8220,"_type":13,"marks":8221,"text":5833},"c508670f1b2f",[8222],"f085a4607265",{"_key":8224,"_type":13,"marks":8225,"text":2625},"98b1af2f3aa5",[],{"_key":8227,"_type":13,"marks":8228,"text":8230},"5182d0bfb6125",[8229],"492bb47c1b84","Bruno Spoerri",{"_key":8232,"_type":13,"marks":8233,"text":8234},"5182d0bfb6126",[],") for their considerable help and the Steo Stiftung for its generous financial assistance.",[8236,8238,8240],{"_key":8229,"_type":316,"href":8237},"http:\u002F\u002Fwww.computerjazz.ch\u002F",{"_key":8222,"_type":321,"reference":8239,"slug":5842,"type":326},{"_ref":5841,"_type":324},{"_key":8213,"_type":321,"reference":8241,"slug":8243,"type":968},{"_ref":8242,"_type":324},"5e9c62a4-89f2-4ff3-ae72-fc9e05803d82","swiss-center-for-computer-music",{"_key":8245,"_type":9,"audioSize":4,"audioURL":4,"children":8246,"fileURL":4,"image":4,"markDefs":8251,"style":18},"2fbe28cd7c82",[8247],{"_key":8248,"_type":13,"marks":8249,"text":8250},"5ea2bb04fe920",[],"–Kit Powell, Eglisau March 1988",[],{"_key":8253,"_type":9,"audioSize":4,"audioURL":4,"children":8254,"fileURL":4,"image":4,"markDefs":8258,"style":18},"9ef798d0d109",[8255],{"_key":8256,"_type":13,"marks":8257,"text":25},"c12c22a6e30d",[],[],{"_key":8260,"_type":9,"audioSize":4,"audioURL":4,"children":8261,"fileURL":4,"image":4,"markDefs":8266,"style":18},"71cf1587bd3a",[8262],{"_key":8263,"_type":13,"marks":8264,"text":8265},"a4ea76b82888",[],"The work is divided into 4 sections, preceded by a Prologue and finishing with an Epilogue. Here is a recording of Franziska Staehelin singing the Prologue and Section one.",[],{"_key":8268,"_type":9,"audioSize":4,"audioURL":4,"children":8269,"fileURL":4,"image":4,"markDefs":8273,"style":18},"53a09b29b780",[8270],{"_key":8271,"_type":13,"marks":8272,"text":25},"7f62f5d048bb",[],[],{"_key":8275,"_type":500,"audioSize":4,"audioURL":4,"fileURL":4,"image":8276,"markDefs":4},"b401714e1557",{"caption":4,"id":8277,"meta":8278,"parentID":4,"parentType":510,"url":8280},"6707f871fc7138b6c69c98c18aca014bdc7a471b",{"_type":506,"aspectRatio":8279,"height":2124,"width":5890},1.1428571428571428,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F6707f871fc7138b6c69c98c18aca014bdc7a471b-800x700.jpg",{"_key":8282,"_type":423,"audio":8283,"audioSize":8286,"audioURL":8287,"caption":8288,"fileURL":4,"image":4,"markDefs":4,"musicians":8289},"2e78d88a18dc",{"_type":416,"asset":8284},{"_ref":8285,"_type":324},"file-8a01b5857ef0a6b6c3e20190a244e68379e84902-mp3",5965239,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F8a01b5857ef0a6b6c3e20190a244e68379e84902.mp3","Chinese Songs 1, 2 & 3","Franziska Staehelin Soprano",{"_key":8291,"_type":754,"audioSize":4,"audioURL":4,"fileURL":4,"image":4,"markDefs":4,"poem":8292,"title":8333},"95ee0bc94086",[8293,8301,8309,8317,8325],{"_key":8294,"_type":9,"children":8295,"markDefs":8300,"style":18},"3d4f9308e073",[8296],{"_key":8297,"_type":13,"marks":8298,"text":8299},"34dfc09389a90",[],"The Tao begot one.\nOne begot two.\nTwo begot three.\nThree begot the ten thousand things",[],{"_key":8302,"_type":9,"children":8303,"markDefs":8308,"style":18},"bbdc3c7f972e",[8304],{"_key":8305,"_type":13,"marks":8306,"text":8307},"813b2575b6050",[],"I Ching: Fifty A Sacrificial Vessel",[],{"_key":8310,"_type":9,"children":8311,"markDefs":8316,"style":18},"33148771d212",[8312],{"_key":8313,"_type":13,"marks":8314,"text":8315},"594c698c390d0",[],"Exceptional well-being and rapid progress.\nThrough moderate behaviour and receptiveness the sage will receive insight and wisdom. He should work on the further development of his character.",[],{"_key":8318,"_type":9,"children":8319,"markDefs":8324,"style":18},"d51c2aaf5fb1",[8320],{"_key":8321,"_type":13,"marks":8322,"text":8323},"15f07d1c76bc0",[],"Tao Te Ching: Two",[],{"_key":8326,"_type":9,"children":8327,"markDefs":8332,"style":18},"0921bc7b3aea",[8328],{"_key":8329,"_type":13,"marks":8330,"text":8331},"eacfc3bec4960",[],"When all in the world understand beauty to be beautiful, then ugliness exists.\nWhen all in the world understand goodness to exist, then evil exists.\nThus existence suggests non-existence.",[],[8334],{"_key":8335,"_type":9,"children":8336,"markDefs":8341,"style":18},"f41b79f97830",[8337],{"_key":8338,"_type":13,"marks":8339,"text":8340},"b49b72063306",[15,73],"Tao Te Ching: Forty-two",[],{"_key":8343,"_type":413,"audioSize":4,"audioURL":4,"description":8344,"file":8345,"fileURL":8348,"image":4,"markDefs":4},"3af9caab79bf","Chinese Songs Score",{"_type":416,"asset":8346},{"_ref":8347,"_type":324},"file-d90963413d1059259c3f749ff2d223b03d77af63-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fd90963413d1059259c3f749ff2d223b03d77af63.pdf",[8350],{"caption":4,"id":8277,"meta":8351,"parentID":8086,"parentType":510,"url":8280},{"_type":506,"aspectRatio":8279,"height":2124,"width":5890},[8353,8356],{"_key":8354,"_type":366,"date":7948,"location":8355},"ba9fd4f09765","ETH, Zurich, Switzerland",{"_key":8357,"_type":366,"date":7948,"location":8358},"cdda8bd5b150","Bern, Switzerland","The Tao begot one.\nOne begot two.\nTwo begot three.\nThree begot the ten thousand things\n\nI Ching: Fifty A Sacrificial Vessel\n\nExceptional well-being and rapid progress.\nThrough moderate behaviour and receptiveness the sage will receive insight and wisdom. He should work on the further development of his character.\n\nTao Te Ching: Two\n\nWhen all in the world understand beauty to be beautiful, then ugliness exists.\nWhen all in the world understand goodness to exist, then evil exists.\nThus existence suggests non-existence.","The juxtaposition of such different holy writings rests on a legendary meeting between the young Confucius (who admired the I Ching and the old Lao Tzu (the author of the Tao Te Ching who was critical of the younger man's philosophy.\n\nI was also fascinated by the idea that in Chinese society it is not uncommon for a person to belong to more than one religion. My Chinese Songs try to show this multicultural attitude - that quite different philosophies can exist harmoniously side by side and that each can live and grow and be aware of the other while still maintaining its own identity.\n\nThe texts have been chosen from the fragile and refined Tao Te Ching and the more robust and worldly I Ching. The selection from the former was a personal one and from the latter by chance using the I Ching itself to make the choice.\n\nThe music reflects my personal view of the philosophies: sharp but delicate three or four note melodic lines for the Tao texts, and for the I Ching lines determined by chance. The electronic sounds were inspired by analyses of old Chinese instruments. Gong and woodblock sounds were the starting point for the I Ching sections and the chin (a Chinese zither and instrument known to Lao Tzu) was the model for the Tao Te Ching sections.\n\nI am indebted to Franziska Staehelin for the original idea of setting these texts and of course also for her fine voice and artistry. I would also like to thank my colleagues in the Swiss Computer Music Centre (Gerald Bennett and Bruno Spoerri) for their considerable help and the Steo Stiftung for its generous financial assistance.\n\n–Kit Powell, Eglisau March 1988\n\n\n\nThe work is divided into 4 sections, preceded by a Prologue and finishing with an Epilogue. Here is a recording of Franziska Staehelin singing the Prologue and Section one.\n\n",{"_type":375,"current":8362},"chinese-songs",{"date":7948,"instrumentation":8364,"length":2266},"Soprano and Magnetic Tape",63,{"_id":8367,"chapters":8368,"content":8369,"images":8489,"performances":4,"rawPoem":8490,"rawText":8491,"slug":8492,"title":8421,"workInfo":8494,"workNumber":8499},"c2012702-02de-495d-ac66-c550ee50520f",[],[8370,8378,8407,8414,8423,8452,8460,8468,8475,8482],{"_key":8371,"_type":9,"audioSize":4,"audioURL":4,"children":8372,"fileURL":4,"image":4,"markDefs":8377,"style":18},"804f5e06ea63",[8373],{"_key":8374,"_type":13,"marks":8375,"text":8376},"3bf9978045ed",[],"After the tragic death of our friend Andres Giedion's highly gifted daughter, he asked us if we could do something musical for the funeral. Brigitte found the Rilke text:",[],{"_key":8379,"_type":754,"audioSize":4,"audioURL":4,"author":8380,"fileURL":4,"hideTitle":3086,"image":4,"markDefs":4,"poem":8381,"title":8398},"a8ee5aa3cdf8","Rainer Maria Rilke",[8382,8390],{"_key":8383,"_type":9,"children":8384,"markDefs":8389,"style":18},"95fc06214306",[8385],{"_key":8386,"_type":13,"marks":8387,"text":8388},"ac6cb0238be30",[],"Ich lebe mein Leben in wachsenden Ringen,\ndie sich über die Dinge ziehn.\nIch werde den letzten vielleicht nicht vollbringen,\naber versuchen will ich ihn.",[],{"_key":8391,"_type":9,"children":8392,"markDefs":8397,"style":18},"95dfd02372fa",[8393],{"_key":8394,"_type":13,"marks":8395,"text":8396},"7cfa158bbb7a0",[],"Ich kreise um Gott, um den uralten Turm,\nund ich kreise jahrtausendelang;\nund ich weiß noch nicht: bin ich ein Falke, ein Sturm\noder ein großer Gesang.",[],[8399],{"_key":8400,"_type":9,"children":8401,"markDefs":8406,"style":18},"71ceabbd06bf",[8402],{"_key":8403,"_type":13,"marks":8404,"text":8405},"480b883d0cc1",[15,73],"Ich lebe mein Leben (1899)",[],{"_key":8408,"_type":9,"audioSize":4,"audioURL":4,"children":8409,"fileURL":4,"image":4,"markDefs":8413,"style":18},"9756e0f75202",[8410],{"_key":8411,"_type":13,"marks":8412,"text":25},"0f1247114e0b",[],[],{"_key":8415,"_type":423,"audio":8416,"audioSize":8419,"audioURL":8420,"caption":8421,"fileURL":4,"image":4,"markDefs":4,"musicians":8422},"265e150a1cd7",{"_type":416,"asset":8417},{"_ref":8418,"_type":324},"file-aed97c82d488c88fb8838f55bf45ebaf132df89e-mp3",3105436,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Faed97c82d488c88fb8838f55bf45ebaf132df89e.mp3","Ich lebe mein Leben","Fiona Powell (Soprano), Philip Powell (Trombone)",{"_key":8424,"_type":754,"audioSize":4,"audioURL":4,"author":8425,"fileURL":4,"hideTitle":3086,"image":4,"markDefs":4,"poem":8426,"title":8443},"266aa3d24124","translation K.P.",[8427,8435],{"_key":8428,"_type":9,"children":8429,"markDefs":8434,"style":18},"8e1f8fdc0d7c",[8430],{"_key":8431,"_type":13,"marks":8432,"text":8433},"cf2bea64a4ff",[],"I live my life in ever-growing circles\nwhich stretch out over all the things.\nI will not, perhaps, complete the last one,\nbut I will try.",[],{"_key":8436,"_type":9,"children":8437,"markDefs":8442,"style":18},"c1fb2492815f",[8438],{"_key":8439,"_type":13,"marks":8440,"text":8441},"f7ef0065b8fc",[],"I circle around God, around the ancient tower,\nand I circle thousands of years long;\nand I still don't know: am I a falcon, a storm,\nor a large song. ",[],[8444],{"_key":8445,"_type":9,"children":8446,"markDefs":8451,"style":18},"13ded0277ca5",[8447],{"_key":8448,"_type":13,"marks":8449,"text":8450},"ef8f40374843",[15,73],"I live my life",[],{"_key":8453,"_type":9,"audioSize":4,"audioURL":4,"children":8454,"fileURL":4,"image":4,"markDefs":8459,"style":18},"3607a1407c87",[8455],{"_key":8456,"_type":13,"marks":8457,"text":8458},"2b4eeef59678",[],"It was first scored for Soprano (Fiona) and Trombone (Philip) and they practised it together. In the end, for some reason I now forget, it was sung with the organ in the chapel where the service took place.",[],{"_key":8461,"_type":9,"audioSize":4,"audioURL":4,"children":8462,"fileURL":4,"image":4,"markDefs":8467,"style":18},"0f0bb3c6135c",[8463],{"_key":8464,"_type":13,"marks":8465,"text":8466},"058429c7f6ee",[],"I include both versions here:",[],{"_key":8469,"_type":9,"audioSize":4,"audioURL":4,"children":8470,"fileURL":4,"image":4,"markDefs":8474,"style":18},"2a93820b6246",[8471],{"_key":8472,"_type":13,"marks":8473,"text":25},"6efed41e8ed9",[],[],{"_key":8476,"_type":413,"audioSize":4,"audioURL":4,"description":8477,"file":8478,"fileURL":8481,"image":4,"markDefs":4},"c4d65c0b8c7b","Ich lebe mein Leben (Sop. + Trom.)",{"_type":416,"asset":8479},{"_ref":8480,"_type":324},"file-ba0256c6538288bb0fbd03b6bb672a86329d087b-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fba0256c6538288bb0fbd03b6bb672a86329d087b.pdf",{"_key":8483,"_type":413,"audioSize":4,"audioURL":4,"description":8484,"file":8485,"fileURL":8488,"image":4,"markDefs":4},"25c4db6c0ee2","Ich lebe mein Leben (Sop. + Organ)",{"_type":416,"asset":8486},{"_ref":8487,"_type":324},"file-51c54fe4e5d33b6b41cd885c04ce8868a620cc37-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F51c54fe4e5d33b6b41cd885c04ce8868a620cc37.pdf",[],"Ich lebe mein Leben in wachsenden Ringen,\ndie sich über die Dinge ziehn.\nIch werde den letzten vielleicht nicht vollbringen,\naber versuchen will ich ihn.\n\nIch kreise um Gott, um den uralten Turm,\nund ich kreise jahrtausendelang;\nund ich weiß noch nicht: bin ich ein Falke, ein Sturm\noder ein großer Gesang.\n\nI live my life in ever-growing circles\nwhich stretch out over all the things.\nI will not, perhaps, complete the last one,\nbut I will try.\n\nI circle around God, around the ancient tower,\nand I circle thousands of years long;\nand I still don't know: am I a falcon, a storm,\nor a large song. ","After the tragic death of our friend Andres Giedion's highly gifted daughter, he asked us if we could do something musical for the funeral. Brigitte found the Rilke text:\n\n\n\nIt was first scored for Soprano (Fiona) and Trombone (Philip) and they practised it together. In the end, for some reason I now forget, it was sung with the organ in the chapel where the service took place.\n\nI include both versions here:\n\n",{"_type":375,"current":8493},"ich-lebe-mein-leben",{"commissioned":8495,"date":7951,"dedicated":8496,"instrumentation":8497,"length":578,"text":8498},"Andres Giedion","Regula Giedion","Soprano, Trombone ","Rilke",64,{"_id":8501,"chapters":8502,"content":8503,"images":8585,"performances":8588,"rawPoem":4,"rawText":8596,"slug":8597,"title":8580,"workInfo":8599,"workNumber":8602},"405aefc0-1257-4ab7-b783-fe3312bb1f79",[],[8504,8531,8539,8547,8555,8563,8571,8578],{"_key":8505,"_type":9,"audioSize":4,"audioURL":4,"children":8506,"fileURL":4,"image":4,"markDefs":8527,"style":18},"8f15eaff5d6b",[8507,8511,8515,8519,8523],{"_key":8508,"_type":13,"marks":8509,"text":8510},"292861d11e210",[],"Commission from ",{"_key":8512,"_type":13,"marks":8513,"text":4239},"ceba3dd8afd7",[8514],"d9f6dcac265e",{"_key":8516,"_type":13,"marks":8517,"text":8518},"78a6b1f17d79",[],"'s school ",{"_key":8520,"_type":13,"marks":8521,"text":5306},"292861d11e211",[8522],"2dbef0b193f5",{"_key":8524,"_type":13,"marks":8525,"text":8526},"292861d11e212",[],", in Bülach, who paid me by employing me for three hours a week for one semester (about Fr.5000.-), first to write it and then to help with rehearsals. The work was conducted by Ueli Falett and performed by Fiona and her teacher, Annette Fahrländer, and members of the school orchestra.",[8528,8529],{"_key":8522,"_type":316,"href":5322},{"_key":8514,"_type":321,"reference":8530,"slug":4252,"type":326},{"_ref":4251,"_type":324},{"_key":8532,"_type":9,"audioSize":4,"audioURL":4,"children":8533,"fileURL":4,"image":4,"markDefs":8538,"style":18},"ea83b391e635",[8534],{"_key":8535,"_type":13,"marks":8536,"text":8537},"b2fc7dbfdf330",[],"The form and pitch rows were derived from Fiona's name: 14 letters",[],{"_key":8540,"_type":9,"audioSize":4,"audioURL":4,"children":8541,"fileURL":4,"image":4,"markDefs":8546,"style":18},"c7b1e5ab3f22",[8542],{"_key":8543,"_type":13,"marks":8544,"text":8545},"3ae607007c6f",[],"F I O N A J A N E P O W E L L",[],{"_key":8548,"_type":500,"audioSize":4,"audioURL":4,"fileURL":4,"image":8549,"markDefs":4},"696dbdd0b617",{"caption":4,"id":8550,"meta":8551,"parentID":4,"parentType":510,"url":8554},"f7fd76191fc401e42a4bb85098b61d75fb915435",{"_type":506,"aspectRatio":8552,"height":8553,"width":4339},0.7065868263473054,1169,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Ff7fd76191fc401e42a4bb85098b61d75fb915435-826x1169.jpg",{"_key":8556,"_type":9,"audioSize":4,"audioURL":4,"children":8557,"fileURL":4,"image":4,"markDefs":8562,"style":18},"9c83a76d1136",[8558],{"_key":8559,"_type":13,"marks":8560,"text":8561},"f753927e29ac",[],"which gave the work 14 proportions, which were also used for divisions within the movements. To reduce the workload on the amateur orchestra, movements with the same corresponding letter have the same music in the orchestral parts just the solo parts are different.",[],{"_key":8564,"_type":9,"audioSize":4,"audioURL":4,"children":8565,"fileURL":4,"image":4,"markDefs":8570,"style":18},"00a5861cae12",[8566],{"_key":8567,"_type":13,"marks":8568,"text":8569},"93e8547923dd0",[],"To make a connection with the school, the movements are descriptive of the elements of a model solar system which one sees as soon as one arrives at the school: Sun, Mercury, Venus, Earth, (and then one is aware of the school) Cadenza I, Work I, Cadenza II, Work II, Work III, (and then the rest of the planets which reach high up to the top of the hill behind the school) Mars . . . . Pluto.",[],{"_key":8572,"_type":9,"audioSize":4,"audioURL":4,"children":8573,"fileURL":4,"image":4,"markDefs":8577,"style":18},"0445d6a95fc6",[8574],{"_key":8575,"_type":13,"marks":8576,"text":25},"9d3f0c043e96",[],[],{"_key":8579,"_type":413,"audioSize":4,"audioURL":4,"description":8580,"file":8581,"fileURL":8584,"image":4,"markDefs":4},"78ec3f7064a9","Concerto for 2 Violins and Orchestra",{"_type":416,"asset":8582},{"_ref":8583,"_type":324},"file-0f68f8fc80838b5d78eb117d04e300f37e55cd56-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F0f68f8fc80838b5d78eb117d04e300f37e55cd56.pdf",[8586],{"caption":4,"id":8550,"meta":8587,"parentID":8501,"parentType":510,"url":8554},{"_type":506,"aspectRatio":8552,"height":8553,"width":4339},[8589,8591,8593],{"_key":8590,"_type":366,"date":4900,"location":5281},"242947f3b823",{"_key":8592,"_type":366,"date":4900,"location":2562},"470c9d2c5e8a",{"_key":8594,"_type":366,"date":4900,"location":8595},"ef86b3b0629b","Kreuzlingen, Switzerland","Commission from Fiona's school Kantonsschule Zürcherunterland, in Bülach, who paid me by employing me for three hours a week for one semester (about Fr.5000.-), first to write it and then to help with rehearsals. The work was conducted by Ueli Falett and performed by Fiona and her teacher, Annette Fahrländer, and members of the school orchestra.\n\nThe form and pitch rows were derived from Fiona's name: 14 letters\n\nF I O N A J A N E P O W E L L\n\nwhich gave the work 14 proportions, which were also used for divisions within the movements. To reduce the workload on the amateur orchestra, movements with the same corresponding letter have the same music in the orchestral parts just the solo parts are different.\n\nTo make a connection with the school, the movements are descriptive of the elements of a model solar system which one sees as soon as one arrives at the school: Sun, Mercury, Venus, Earth, (and then one is aware of the school) Cadenza I, Work I, Cadenza II, Work II, Work III, (and then the rest of the planets which reach high up to the top of the hill behind the school) Mars . . . . 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",{"_key":8634,"_type":13,"marks":8635,"text":309},"9ec13c673522",[8636],"ae9a32fca21a",{"_key":8638,"_type":13,"marks":8639,"text":8640},"477ac368ed9c",[],", however, moved back to NZ before the work was finished. The tape was realized at home on our GMX, largely with sampled sounds. The first performance was in Rigiblick, Zürich, with ",{"_key":8642,"_type":13,"marks":8643,"text":6481},"15f7c91f42bf",[8644],"fea49cb82ee8",{"_key":8646,"_type":13,"marks":8647,"text":8648},"c14494507168",[]," (baritone) and myself (speaker). Later we performed it again in Lucerne at the Tonkünstlerverein conference. First performed in NZ for Radio NZ by Nelson Wattie and Barry Empson.",[8650,8652,8654],{"_key":8628,"_type":321,"reference":8651,"slug":7342,"type":510},{"_ref":7076,"_type":324},{"_key":8636,"_type":321,"reference":8653,"slug":325,"type":326},{"_ref":323,"_type":324},{"_key":8644,"_type":321,"reference":8655,"slug":6501,"type":326},{"_ref":6500,"_type":324},{"_key":8657,"_type":9,"audioSize":4,"audioURL":4,"children":8658,"fileURL":4,"image":4,"markDefs":8680,"style":18},"e4c33e654975",[8659,8663,8667,8671,8676],{"_key":8660,"_type":13,"marks":8661,"text":8662},"aa8e2cbd03b80",[],"Most of the texts were written while ",{"_key":8664,"_type":13,"marks":8665,"text":3405},"d88b1cd38c1f",[8666],"0bf1dfd9e2b1",{"_key":8668,"_type":13,"marks":8669,"text":8670},"0af81617d82a",[]," was on holiday with us in Eglisau (during his period as ",{"_key":8672,"_type":13,"marks":8673,"text":8675},"aa8e2cbd03b83",[8674],"505893f947a8","Katherine Mansfield Scholar",{"_key":8677,"_type":13,"marks":8678,"text":8679},"aa8e2cbd03b84",[]," in Menton, South of France) – he was fascinated by my books for teaching English and started writing what he called “easy grammar poems”. At this stage we didn't discuss their setting at all, thus the scenario is from me: Two stereotype figures, one with power (the speaker: in black clothes and black mask) and the other under his charge (the singer: in white). 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Die Schrecken der ",{"_key":9119,"_type":13,"marks":9120,"text":9121},"649737d3089a",[73],"Unterrichtsstunde",{"_key":9123,"_type":13,"marks":9124,"text":9125},"f4af48a24d7d",[]," von Ionesco sind gegenwärtig. Dann aber gelingt es der Vitalität des Schülers (David Thorner) die starre hierarchische Ordnung (vertreten durch Kit Powell als Sprecher) aufzulösen.\n— Jürg Schubiger",[],{"_key":9128,"_type":9,"audioSize":4,"audioURL":4,"children":9129,"fileURL":4,"image":4,"markDefs":9145,"style":634},"bda3cb52f790",[9130,9133,9137,9141],{"_key":9131,"_type":13,"marks":9132,"text":8712},"ce1768b8a5ad0",[15],{"_key":9134,"_type":13,"marks":9135,"text":9136},"ce1768b8a5ad1",[],", for Bass, Speaker and Tape, assumes … an unambiguously defined dual relationship: that of teacher-pupil.\nA rich and depressing computer music attacks from the background. 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However the vitality of the pupil (David Thorner) succeeds in breaking through the rigid hierarchical order (represented by Kit Powell as the speaker). — translation KP",[],{"_key":9147,"_type":413,"audioSize":4,"audioURL":4,"description":9148,"file":9149,"fileURL":9152,"image":4,"markDefs":4},"82d244217c78","Father's Telescope — Score",{"_type":416,"asset":9150},{"_ref":9151,"_type":324},"file-2b002b4014cd53a98e6541dae6c5f9d202533203-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F2b002b4014cd53a98e6541dae6c5f9d202533203.pdf",[9154,9156,9158,9160],{"caption":8609,"id":8611,"meta":9155,"parentID":8604,"parentType":510,"url":8616},{"_type":506,"aspectRatio":8613,"height":8614,"width":8615},{"caption":8687,"id":8689,"meta":9157,"parentID":8604,"parentType":510,"url":8694},{"_type":506,"aspectRatio":8691,"height":8692,"width":8693},{"caption":4,"id":8717,"meta":9159,"parentID":8604,"parentType":510,"url":8722},{"_type":506,"aspectRatio":8719,"height":8720,"width":8721},{"caption":4,"id":9102,"meta":9161,"parentID":8604,"parentType":510,"url":9107},{"_type":506,"aspectRatio":9104,"height":9105,"width":9106},[9163],{"_key":9164,"_type":366,"date":9165,"link":9166,"location":9169,"performers":9170,"title":9171},"2683b9b9edc9","2022-12-02",{"_type":316,"title":9167,"url":9168},"Video","https:\u002F\u002Fwww.youtube.com\u002Fwatch?v=SOlJCOb6Tzs","Altes Konservatorium, Zürich","Marc-Olivier Oetterli, Bass\nDaniel Fueter, Speaker\nPeter Färber, Sound\n","…ich bin eigentlich ein roter Traktor","1 not wonder \n4 not fortune \n8 not hate \nnor even 9 \nnot nein \nbut \nja, ja \nja . . ja . . . ja \njaja\n\nIf you look\nthrough this telescope\nwhat can you see?\n\nYou can see\na man and a dog\nyou can see\nwhat they are\ndoing, now\n\nThe man is\npicking up the stick\nin his left hand\n\nAnd the dog?\n\nThe dog is\nwaiting at the edge\nof the sea\n\nNow, the man\nis throwing the stick\nwith his right hand\n\nHe is throwing the stick\nfar out into\nthe water\n\nAnd the dog?\n\nNow the dog\nis paddling across\n\nthe lake\n\nto the other side.\n\nWhere are the twins?\nThey’re on the wall\nWhere are the pictures?\nThey’re at the gate\nAnd where are the sweets?\nThey’re near the house\nAnd where are the trucks?\nThey’re in the jar\nAnd where is the jar?\nBeside the twins\nAnd where are the twins?\nInside their shoes\nAnd where are the shoes?\nThe shoes . . ? Ah, yes,\nThe shoes are under the chair.\n\nDon’t be silly, or\neven sad, & what\ndo you want, anyway\nwhat’s the matter or\neven going on out there\nunder the stairs, everyone\nis lining up to sign\ntheir names, then\ndisappearing to a fine\nround of applause\n\nDid you say\nyou wanted to leave\nthe room?\nWell, there’s the bell,\nand that’s all,\nfor today\n\nTomorrow, tomorrow morning\n& tomorrow afternoon, even\nevening, that is to say\nall day tomorrow\nI’m going to look through\nthis telescope\nto see what’s happening\n\nWell, there isn’t much\nmy love, & there are no\noranges floating around\nout there, hardly even a cow\njumping over hardly a moon\nbut if you look closely,\nthere are, yes, so many\nstars\nswimming back\n\nWell, we won’t chase\nwhat couldn’t be caught,\nwill we?\n\nI mean, if you\nreally want to know why\neveryone is just beginning\nto levitate three trees high.\nwhy don't you\nopen & shut\nyour books\nwhy don't you\njust try on this fine body\nfor size?\n\nWhy don’t you\nwake up, turn round\nand get into line?\nWhy don’t you\nput up your hands\nto see what’s happening\nright now?\n\nWhy don’t you just\nput on the world’s hat\nthe one with the snap\nbrim, to see what’s\nhappening inside\nthe world’s head\nwhy don’t you do that\nbefore you die?\n\nAre you the milkman?\nNo, I’m not\n\nOr the Milkman’s wife\nPerhaps?\n\nNo, I’m afraid not\n\nAre you someone, then\nI might know well\nIf I knew by chance\nYour name?\n\nNot one of those, no\n\nWould you step\nInside, that’s fine\nAnd would you just\nArrest this cow\nShe’s been trying\nTo jump over the moon\nFor years (now)","First planned as “Nelson Duos”, ie., as a sequel to the Nelson Songs, but this time with an additional spoken part. Nelson Wattie, however, moved back to NZ before the work was finished. The tape was realized at home on our GMX, largely with sampled sounds. The first performance was in Rigiblick, Zürich, with David Thorner (baritone) and myself (speaker). Later we performed it again in Lucerne at the Tonkünstlerverein conference. First performed in NZ for Radio NZ by Nelson Wattie and Barry Empson.\n\nMost of the texts were written while Michael Harlow was on holiday with us in Eglisau (during his period as Katherine Mansfield Scholar in Menton, South of France) – he was fascinated by my books for teaching English and started writing what he called “easy grammar poems”. At this stage we didn't discuss their setting at all, thus the scenario is from me: Two stereotype figures, one with power (the speaker: in black clothes and black mask) and the other under his charge (the singer: in white). During the course of the work the roles change – white learns to use black's power, black loses control.\n\nVideo: (Marc-Olivier Oetterli + Daniel Fueter, 2.12. 2022)\n\nFather's Telescope\n\nFather's Telescope, für Bass, Sprecher und Tonband, geht von … einer eindeutig definierten Zweierbeziehung aus: dem Lehrer-Schüler-Verhältnis.\nEine reiche und abgründige Computermusik greift aus dem Hintergrund ein. Die Schrecken der Unterrichtsstunde von Ionesco sind gegenwärtig. Dann aber gelingt es der Vitalität des Schülers (David Thorner) die starre hierarchische Ordnung (vertreten durch Kit Powell als Sprecher) aufzulösen.\n— Jürg Schubiger\n\nFather's Telescope, for Bass, Speaker and Tape, assumes … an unambiguously defined dual relationship: that of teacher-pupil.\nA rich and depressing computer music attacks from the background. The horrors of Ionesco's The Lesson are ever present. However the vitality of the pupil (David Thorner) succeeds in breaking through the rigid hierarchical order (represented by Kit Powell as the speaker). — translation KP",{"_type":375,"current":9175},"fathers-telescope",{"date":4900,"instrumentation":9177,"length":9178,"revisions":9179,"text":3405},"Baritone, speaker and tape",13,[9180],"2022-11-02",67,{"_id":9183,"chapters":9184,"content":9185,"images":9449,"performances":9452,"rawPoem":9455,"rawText":9456,"slug":9457,"title":9196,"workInfo":9459,"workNumber":9461},"0ed8a2ed-b4ce-4967-80ac-7755e540c94d",[],[9186,9233,9324,9346,9356,9397,9404,9412,9420,9427,9434,9441],{"_key":9187,"_type":9,"audioSize":4,"audioURL":4,"children":9188,"fileURL":4,"image":4,"markDefs":9230,"style":18},"99ce6fe7b846",[9189,9193,9197,9201,9205,9209,9213,9217,9220,9224,9227],{"_key":9190,"_type":13,"marks":9191,"text":9192},"4b959c7889ff",[],"The idea for the percussion piece ",{"_key":9194,"_type":13,"marks":9195,"text":9196},"a03a882b50ef",[73],"The Green Man",{"_key":9198,"_type":13,"marks":9199,"text":9200},"3ff924da3644",[]," comes from ",{"_key":9202,"_type":13,"marks":9203,"text":3405},"04ea32461898",[9204],"15ffeb07c798",{"_key":9206,"_type":13,"marks":9207,"text":9208},"a9f9ff7b820f",[],"’s poem; ",{"_key":9210,"_type":13,"marks":9211,"text":9212},"f2a79b90fa5f",[73],"No Problem, But Not Easy",{"_key":9214,"_type":13,"marks":9215,"text":9216},"377f3d748d05",[]," : what seems to be a man is, depending on how we observe him, sometimes a woman. This Jungian theme appears frequently in Michael’s work, also, for example, in the cycle of poems previously set by me, ",{"_key":9218,"_type":13,"marks":9219,"text":6508},"ffd1ba93916a",[73],{"_key":9221,"_type":13,"marks":9222,"text":9223},"256ebab393ea",[]," which also uses much the same percussion instruments as ",{"_key":9225,"_type":13,"marks":9226,"text":9196},"747d40128a06",[73],{"_key":9228,"_type":13,"marks":9229,"text":2020},"d88eeeaa3e2a",[],[9231],{"_key":9204,"_type":321,"reference":9232,"slug":3414,"type":326},{"_ref":3413,"_type":324},{"_key":9234,"_type":754,"audioSize":4,"audioURL":4,"author":3405,"fileURL":4,"image":4,"markDefs":4,"poem":9235,"title":9316},"22953732f3ed",[9236,9244,9252,9260,9268,9276,9284,9292,9300,9308],{"_key":9237,"_type":9,"children":9238,"markDefs":9243,"style":18},"29628bb3d60f",[9239],{"_key":9240,"_type":13,"marks":9241,"text":9242},"91c16313b044",[],"This is the Green Man\nHe lives at the corner of Hello Street and Goodbye.\nHe lives in a house, Alchemy House.",[],{"_key":9245,"_type":9,"children":9246,"markDefs":9251,"style":18},"a217cddd0e7a",[9247],{"_key":9248,"_type":13,"marks":9249,"text":9250},"fe4a3d5c1d840",[],"When you stand close to him\nHe is surely a man, you can see that\nSometimes, even, he has a beard.",[],{"_key":9253,"_type":9,"children":9254,"markDefs":9259,"style":18},"dd301ae5a38f",[9255],{"_key":9256,"_type":13,"marks":9257,"text":9258},"56dedc525c310",[],"And there are times when you see him\nFrom afar, say, from across the room\nHe is also a woman.",[],{"_key":9261,"_type":9,"children":9262,"markDefs":9267,"style":18},"ea6f5c996256",[9263],{"_key":9264,"_type":13,"marks":9265,"text":9266},"1854906b9d780",[],"Now, she is the Green Woman.\nThis is the way it is.",[],{"_key":9269,"_type":9,"children":9270,"markDefs":9275,"style":18},"d23cfc8f6dfc",[9271],{"_key":9272,"_type":13,"marks":9273,"text":9274},"950895039f6a0",[],"Sometimes he is friendly\nAlways in a hurry to be singing.\nSometimes she is not unfriendly\nShe is full of lightness, and music.",[],{"_key":9277,"_type":9,"children":9278,"markDefs":9283,"style":18},"de227644220c",[9279],{"_key":9280,"_type":13,"marks":9281,"text":9282},"ed136f7021bc0",[],"And there are times when he is quite terrible\nFull of fire, you had better watch out.\nAnd sometimes she is quite bossy\nEven wicked, be careful.",[],{"_key":9285,"_type":9,"children":9286,"markDefs":9291,"style":18},"2db94cbb321c",[9287],{"_key":9288,"_type":13,"marks":9289,"text":9290},"8a67510d01d90",[],"Which is the way it is.",[],{"_key":9293,"_type":9,"children":9294,"markDefs":9299,"style":18},"81e90cfdc64c",[9295],{"_key":9296,"_type":13,"marks":9297,"text":9298},"9929173d5e730",[],"And you know, sometimes even they go to war.\nThere is destruction all over the place.",[],{"_key":9301,"_type":9,"children":9302,"markDefs":9307,"style":18},"cd13b928e3be",[9303],{"_key":9304,"_type":13,"marks":9305,"text":9306},"c3d7d9ce82130",[],"And of course there are times\nWhen they lie down in each other’s arms\nAnd they touch each other again and again.",[],{"_key":9309,"_type":9,"children":9310,"markDefs":9315,"style":18},"24f10f0be259",[9311],{"_key":9312,"_type":13,"marks":9313,"text":9314},"8c3d6de2752f0",[],"And this is the way it is:\nNo problem, but not easy.",[],[9317],{"_key":9318,"_type":9,"children":9319,"markDefs":9323,"style":18},"f11aec97e242",[9320],{"_key":9321,"_type":13,"marks":9322,"text":9212},"b48cb9347310",[73,15],[],{"_key":9325,"_type":9,"audioSize":4,"audioURL":4,"children":9326,"fileURL":4,"image":4,"markDefs":9343,"style":18},"224beb07faca",[9327,9332,9336,9339],{"_key":9328,"_type":13,"marks":9329,"text":9331},"1dc6e32dea28",[9330],"d3ee4c761436","Giotto’s Elephant, John McIndoe, Dunedin, New Zealand 1991",{"_key":9333,"_type":13,"marks":9334,"text":9335},"bcb82679048c",[],"\nN.B.: The piece of music: ",{"_key":9337,"_type":13,"marks":9338,"text":9196},"8ee4aefe65a3",[73],{"_key":9340,"_type":13,"marks":9341,"text":9342},"d6772562271f",[]," was written in 1989 based on a poem by the same name. This poem was renamed and published in 1991 as shown here.",[9344],{"_key":9330,"_type":316,"href":9345},"http:\u002F\u002Fwww.booksonline.co.nz\u002FFICTION\u002Fpoetry-and-drama\u002Fgiottos-elephant",{"_key":9347,"_type":500,"audioSize":4,"audioURL":4,"caption":9348,"fileURL":4,"image":9349,"markDefs":4},"3a7ccc4f1f44","1. 3 tomtoms, 2. pair of bongos, 3. conga, 4. xylophone, 5. 3 log drums, 6. 3 wooden tomtoms, 7 5 temple blocks, 8a. guiro, 8b. maraca, 8c. cabasa, 9. string of small bells, 10. small chimes, 11. triangle, 12. kokoriko, 13. 3 gongs, 14. 3 tamtams",{"caption":4,"id":9350,"meta":9351,"parentID":4,"parentType":510,"url":9355},"e0b65071ebbc301ed30bc415b3af30fe335be4f6",{"_type":506,"aspectRatio":9352,"height":9353,"width":9354},0.5704358812381554,3166,1806,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fe0b65071ebbc301ed30bc415b3af30fe335be4f6-1806x3166.jpg",{"_key":9357,"_type":9,"audioSize":4,"audioURL":4,"children":9358,"fileURL":4,"image":4,"markDefs":9395,"style":18},"239c9463402c",[9359,9363,9367,9371,9375,9379,9383,9387,9391],{"_key":9360,"_type":13,"marks":9361,"text":9362},"0146c079a1620",[],"Theatrical Elements: The Percusionist (plus instruments) is the ",{"_key":9364,"_type":13,"marks":9365,"text":9366},"0146c079a1621",[73],"Green Man",{"_key":9368,"_type":13,"marks":9369,"text":9370},"0146c079a1622",[],". He or she need not be coloured green nor need he or she show any special masculinity or femininity. What is important in a performance however is that the audience be aware of these opposites among the instruments and tension between them. The opposites are shown in the score as “male” and “female” groups of instruments (to the player’s left and right respectively) separated by the xylophone in the middle. ",{"_key":9372,"_type":13,"marks":9373,"text":6490},"0146c079a1623",[9374],"b36de1a4e178",{"_key":9376,"_type":13,"marks":9377,"text":9378},"0146c079a1624",[],", who played the first performance of this work in September 1989 pointed out that the skin drums with their military connotations were for him rather masculine and the wooden instruments rather feminine. Although his critisism would be shared by many, the important thing is not which side is which, but that there are two contrasting sides separated by the xylophone in the middle. This “trinity” of instruments forms the cast of a sort of ",{"_key":9380,"_type":13,"marks":9381,"text":9382},"1b37fd355428",[73],"concerto grosso",{"_key":9384,"_type":13,"marks":9385,"text":9386},"a02eed4cc78e",[]," where left and right are the soloists and the xylophone is the ",{"_key":9388,"_type":13,"marks":9389,"text":9390},"4933f79fa82d",[73],"ripieno",{"_key":9392,"_type":13,"marks":9393,"text":9394},"1f9b0827223b",[],". The xylophone introduces us to the protagonists who then encounter each other: they fight, love and finally fuse into an entity which also includes the xylophone.",[9396],{"_key":9374,"_type":316,"href":6497},{"_key":9398,"_type":9,"audioSize":4,"audioURL":4,"children":9399,"fileURL":4,"image":4,"markDefs":9403,"style":18},"6bc92a3cbd34",[9400],{"_key":9401,"_type":13,"marks":9402,"text":25},"6e0be077e2fb",[],[],{"_key":9405,"_type":9,"audioSize":4,"audioURL":4,"children":9406,"fileURL":4,"image":4,"markDefs":9411,"style":634},"1f97026356cd",[9407],{"_key":9408,"_type":13,"marks":9409,"text":9410},"94a1545682ee",[],"«The Green Man», ein dem Perkussionisten Christoph Caskel gewidmetes und offenbar auch auf den Leib geschriebenes Werk für Schlagzeug Solo machte den spektakulären Schluss des Abends. Auch dieses Stück sucht ein lebendiges Gleichgewicht zwischen weiblichen und männlichen Kräften. Caskel hatte seine Instrumentenburg entsprechend aufgebaut: links die «weiblichen», rechts die «männlichen» Trommeln, Bongos, Becken, Gongs, Glocken, Rasseln, Triangel . . ., in der Mitte das trennende und verbindende Xylophon. ",[],{"_key":9413,"_type":9,"audioSize":4,"audioURL":4,"children":9414,"fileURL":4,"image":4,"markDefs":9419,"style":634},"e3c378673421",[9415],{"_key":9416,"_type":13,"marks":9417,"text":9418},"e7146b13e00e",[],"Jürg Schubiger",[],{"_key":9421,"_type":9,"audioSize":4,"audioURL":4,"children":9422,"fileURL":4,"image":4,"markDefs":9426,"style":18},"c2475851914a",[9423],{"_key":9424,"_type":13,"marks":9425,"text":25},"c9f372d68911",[],[],{"_key":9428,"_type":413,"audioSize":4,"audioURL":4,"description":9429,"file":9430,"fileURL":9433,"image":4,"markDefs":4},"9c378e9b2e61","The Green Man — score",{"_type":416,"asset":9431},{"_ref":9432,"_type":324},"file-7abd7d52fc4f4d9ae11664604b323e0b82828310-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F7abd7d52fc4f4d9ae11664604b323e0b82828310.pdf",{"_key":9435,"_type":9,"audioSize":4,"audioURL":4,"children":9436,"fileURL":4,"image":4,"markDefs":9440,"style":18},"7ed933d6b693",[9437],{"_key":9438,"_type":13,"marks":9439,"text":25},"5609cb25e4e5",[],[],{"_key":9442,"_type":423,"audio":9443,"audioSize":9446,"audioURL":9447,"caption":9448,"fileURL":4,"image":4,"markDefs":4},"44aa9d6f5048",{"_type":416,"asset":9444},{"_ref":9445,"_type":324},"file-4009c983c49e242f52c0c144ac8acb91e7c5ca80-mp3",13613975,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F4009c983c49e242f52c0c144ac8acb91e7c5ca80.mp3","\"The Green Man\" Christoph Caskel, Rigiblick (ZH), 1989",[9450],{"caption":9348,"id":9350,"meta":9451,"parentID":9183,"parentType":510,"url":9355},{"_type":506,"aspectRatio":9352,"height":9353,"width":9354},[9453],{"_key":9454,"_type":366,"date":4900,"location":6552},"eec2939a6387","This is the Green Man\nHe lives at the corner of Hello Street and Goodbye.\nHe lives in a house, Alchemy House.\n\nWhen you stand close to him\nHe is surely a man, you can see that\nSometimes, even, he has a beard.\n\nAnd there are times when you see him\nFrom afar, say, from across the room\nHe is also a woman.\n\nNow, she is the Green Woman.\nThis is the way it is.\n\nSometimes he is friendly\nAlways in a hurry to be singing.\nSometimes she is not unfriendly\nShe is full of lightness, and music.\n\nAnd there are times when he is quite terrible\nFull of fire, you had better watch out.\nAnd sometimes she is quite bossy\nEven wicked, be careful.\n\nWhich is the way it is.\n\nAnd you know, sometimes even they go to war.\nThere is destruction all over the place.\n\nAnd of course there are times\nWhen they lie down in each other’s arms\nAnd they touch each other again and again.\n\nAnd this is the way it is:\nNo problem, but not easy.","The idea for the percussion piece The Green Man comes from Michael Harlow’s poem; No Problem, But Not Easy : what seems to be a man is, depending on how we observe him, sometimes a woman. This Jungian theme appears frequently in Michael’s work, also, for example, in the cycle of poems previously set by me, Poem then, for love which also uses much the same percussion instruments as The Green Man.\n\nGiotto’s Elephant, John McIndoe, Dunedin, New Zealand 1991\nN.B.: The piece of music: The Green Man was written in 1989 based on a poem by the same name. This poem was renamed and published in 1991 as shown here.\n\nTheatrical Elements: The Percusionist (plus instruments) is the Green Man. He or she need not be coloured green nor need he or she show any special masculinity or femininity. What is important in a performance however is that the audience be aware of these opposites among the instruments and tension between them. The opposites are shown in the score as “male” and “female” groups of instruments (to the player’s left and right respectively) separated by the xylophone in the middle. Christoph Caskel, who played the first performance of this work in September 1989 pointed out that the skin drums with their military connotations were for him rather masculine and the wooden instruments rather feminine. Although his critisism would be shared by many, the important thing is not which side is which, but that there are two contrasting sides separated by the xylophone in the middle. This “trinity” of instruments forms the cast of a sort of concerto grosso where left and right are the soloists and the xylophone is the ripieno. The xylophone introduces us to the protagonists who then encounter each other: they fight, love and finally fuse into an entity which also includes the xylophone.\n\n\n\n«The Green Man», ein dem Perkussionisten Christoph Caskel gewidmetes und offenbar auch auf den Leib geschriebenes Werk für Schlagzeug Solo machte den spektakulären Schluss des Abends. Auch dieses Stück sucht ein lebendiges Gleichgewicht zwischen weiblichen und männlichen Kräften. Caskel hatte seine Instrumentenburg entsprechend aufgebaut: links die «weiblichen», rechts die «männlichen» Trommeln, Bongos, Becken, Gongs, Glocken, Rasseln, Triangel . . ., in der Mitte das trennende und verbindende Xylophon. \n\nJürg Schubiger\n\n\n\n",{"_type":375,"current":9458},"the-green-man",{"date":4900,"instrumentation":9460,"text":3405},"solo percussion",68,{"_id":9463,"chapters":9464,"content":9465,"images":9538,"performances":9539,"rawPoem":4,"rawText":9544,"slug":9545,"title":9547,"workInfo":9548,"workNumber":9549},"fccb7ee9-eca8-4505-8727-be2a820daae4",[],[9466,9522,9530],{"_key":9467,"_type":9,"audioSize":4,"audioURL":4,"children":9468,"fileURL":4,"image":4,"markDefs":9509,"style":18},"97c41d1eae74",[9469,9473,9478,9482,9487,9491,9496,9500,9505],{"_key":9470,"_type":13,"marks":9471,"text":9472},"3672c7a3b0bc",[],"Our Russian friend ",{"_key":9474,"_type":13,"marks":9475,"text":9477},"5eea63111bf5",[9476],"a81be0926551","Yuri Sobolev",{"_key":9479,"_type":13,"marks":9480,"text":9481},"d500fe2e846a",[],", arranged this commission with his producer friend, ",{"_key":9483,"_type":13,"marks":9484,"text":9486},"d011e5814b46",[9485],"7c7ee10eac06","Mischa Husid",{"_key":9488,"_type":13,"marks":9489,"text":9490},"5fffd4cbd6f3",[],". At this time Mischa was director of a Puppet Theatre in ",{"_key":9492,"_type":13,"marks":9493,"text":9495},"c991859b42c8",[9494],"e6901e577d09","Cheliabinsk",{"_key":9497,"_type":13,"marks":9498,"text":9499},"e5e566beb38e",[]," (east of the Urals) but by the time the project was completed, 1988, he was director of the State Puppet Theatre in ",{"_key":9501,"_type":13,"marks":9502,"text":9504},"b55961f4e115",[9503],"88d809fbe782","Saint Petersburg",{"_key":9506,"_type":13,"marks":9507,"text":9508},"363ff56da4cc",[]," (then Leningrad). Mischa invited us (Brigitte and me) to visit Russia in Oct. 1988. At this stage he was commuting between Leningrad and Cheliabinsk and hoped to be able to show us both places (plus Moscow). Cheliabinsk, however, still had nearby military installations and foreigners were not permitted to go there so we received visas only for Moscow and Leningrad.",[9510,9512,9514,9518],{"_key":9494,"_type":316,"href":9511},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FChelyabinsk",{"_key":9503,"_type":316,"href":9513},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FSaint_Petersburg",{"_key":9476,"_type":321,"reference":9515,"slug":9517,"type":326},{"_ref":9516,"_type":324},"edccb148-8152-4a2b-a2ad-63ee6c797d62","yuri-sobolev",{"_key":9485,"_type":321,"reference":9519,"slug":9521,"type":326},{"_ref":9520,"_type":324},"3996a254-05e1-496d-a80a-2a019f17af67","mischa-husid",{"_key":9523,"_type":9,"audioSize":4,"audioURL":4,"children":9524,"fileURL":4,"image":4,"markDefs":9529,"style":18},"9e29f2ec6799",[9525],{"_key":9526,"_type":13,"marks":9527,"text":9528},"6b812638b4f70",[],"I had already received the Russian text, with English summary, some months before, and I had tapes of Yuri reading the Russian texts I was to set, so I was able to take most of the songs with me on tape. Mischa was delighted, as was (I think) the author of the work who travelled with us by train (overnight) between Moscow and Leningrad and back. There were numerous non-sung musical and sound effects, which we also discussed and the following spring  Mischa visited us in Eglisau to complete the project. The piece was produced (after long delays) and we received a Video of the production which looked quite splendid, but which, in spite of knowing the story well, was difficult for us to follow.",[],{"_key":9531,"_type":9,"audioSize":4,"audioURL":4,"children":9532,"fileURL":4,"image":4,"markDefs":9537,"style":18},"c67a4f9584d0",[9533],{"_key":9534,"_type":13,"marks":9535,"text":9536},"430bd4bf167a0",[],"The Russians love drawing up contracts. I had one with the state theatre for this work. It promised me 2000 rubles (about CHF 5000) for the completed piece. A year later, however, when the Iron Curtain fell for ever, the ruble depreciated to the extent that it wasn’t even worth picking up what was owed to me.",[],[],[9540],{"_key":9541,"_type":366,"date":9542,"location":9543},"2f2c8be5c3b1","1990-01-01","St Petersburg, Russia","Our Russian friend Yuri Sobolev, arranged this commission with his producer friend, Mischa Husid. At this time Mischa was director of a Puppet Theatre in Cheliabinsk (east of the Urals) but by the time the project was completed, 1988, he was director of the State Puppet Theatre in Saint Petersburg (then Leningrad). Mischa invited us (Brigitte and me) to visit Russia in Oct. 1988. At this stage he was commuting between Leningrad and Cheliabinsk and hoped to be able to show us both places (plus Moscow). Cheliabinsk, however, still had nearby military installations and foreigners were not permitted to go there so we received visas only for Moscow and Leningrad.\n\nI had already received the Russian text, with English summary, some months before, and I had tapes of Yuri reading the Russian texts I was to set, so I was able to take most of the songs with me on tape. Mischa was delighted, as was (I think) the author of the work who travelled with us by train (overnight) between Moscow and Leningrad and back. There were numerous non-sung musical and sound effects, which we also discussed and the following spring  Mischa visited us in Eglisau to complete the project. The piece was produced (after long delays) and we received a Video of the production which looked quite splendid, but which, in spite of knowing the story well, was difficult for us to follow.\n\nThe Russians love drawing up contracts. I had one with the state theatre for this work. It promised me 2000 rubles (about CHF 5000) for the completed piece. A year later, however, when the Iron Curtain fell for ever, the ruble depreciated to the extent that it wasn’t even worth picking up what was owed to me.",{"_type":375,"current":9546},"puppet-desert","Puppet Desert",{"date":9542},69,{"_id":9551,"chapters":9552,"content":9568,"images":10057,"performances":10062,"rawPoem":4,"rawText":10065,"slug":10066,"title":7066,"workInfo":10068,"workNumber":10070},"d0caca97-6f06-4b92-b13c-ce7a9cf297bf",[9553,9556,9559,9562,9565],{"_key":9554,"text":9555},"dfeaf4f473c5","1. Sea Squirts",{"_key":9557,"text":9558},"8db7aa7f2104","2. Starfish",{"_key":9560,"text":9561},"3babc638fdda","3. Octopus",{"_key":9563,"text":9564},"ed8991842e5b","4. Mussels",{"_key":9566,"text":9567},"f4b875376261","5. Gastropods",[9569,9577,9605,9627,9643,9658,9673,9689,9705,9714,9780,9795,9802,9812,9818,9826,9833,9841,9847,9855,9863,9870,9878,9884,9892,9900,9907,9915,9921,9929,9937,9944,9952,9958,9966,9974,9982,9990,9998,10006,10018,10026,10034,10042,10050],{"_key":9570,"_type":9,"audioSize":4,"audioURL":4,"children":9571,"fileURL":4,"image":4,"markDefs":9576,"style":18},"4d4a7a7e4a6d",[9572],{"_key":9573,"_type":13,"marks":9574,"text":9575},"3d082861ac96",[],"\nOld Conservatory, Zurich",[],{"_key":9578,"_type":9,"audioSize":4,"audioURL":4,"children":9579,"fileURL":4,"image":4,"markDefs":9602,"style":18},"43519012ba90",[9580,9583,9587,9591,9595,9598],{"_key":9581,"_type":13,"marks":9582,"text":7066},"de16cc3994130",[15],{"_key":9584,"_type":13,"marks":9585,"text":9586},"de16cc3994131",[]," for choir (SATB), piano, speaker and some small percussion—dedicated to ",{"_key":9588,"_type":13,"marks":9589,"text":4224},"538b62d3ca1c",[9590],"f26f19df9a91",{"_key":9592,"_type":13,"marks":9593,"text":9594},"5b2b0101a7f6",[]," (who shares my passion for ",{"_key":9596,"_type":13,"marks":9597,"text":7066},"de16cc3994134",[73],{"_key":9599,"_type":13,"marks":9600,"text":9601},"de16cc3994135",[],").",[9603],{"_key":9590,"_type":321,"reference":9604,"slug":4248,"type":326},{"_ref":4247,"_type":324},{"_key":9606,"_type":9,"audioSize":4,"audioURL":4,"children":9607,"fileURL":4,"image":4,"markDefs":9624,"style":18},"ed79fb743d6c",[9608,9611,9615,9620],{"_key":9609,"_type":13,"marks":9610,"text":7066},"31c22cc2a7710",[73],{"_key":9612,"_type":13,"marks":9613,"text":9614},"31c22cc2a7711",[]," was suggested by ",{"_key":9616,"_type":13,"marks":9617,"text":9619},"31c22cc2a7712",[9618],"12b2ded7eade","Willi Gohl",{"_key":9621,"_type":13,"marks":9622,"text":9623},"31c22cc2a7713",[],", a piece with a New Zealand flavour, which would show various choral techniques:",[9625],{"_key":9618,"_type":316,"href":9626},"https:\u002F\u002Fde.wikipedia.org\u002Fwiki\u002FWilli_Gohl",{"_key":9628,"_type":9,"audioSize":4,"audioURL":4,"children":9629,"fileURL":4,"image":4,"level":382,"listItem":2078,"markDefs":9642,"style":18},"33092386ed81",[9630,9634,9638],{"_key":9631,"_type":13,"marks":9632,"text":9633},"519895fbf0f20",[],"madrigal style (1. 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",{"_key":9666,"_type":13,"marks":9667,"text":9668},"d6f360c9ff281",[73],"Octopus",{"_key":9670,"_type":13,"marks":9671,"text":9601},"d6f360c9ff282",[],[],{"_key":9674,"_type":9,"audioSize":4,"audioURL":4,"children":9675,"fileURL":4,"image":4,"level":382,"listItem":2078,"markDefs":9688,"style":18},"28d822bdd890",[9676,9680,9684],{"_key":9677,"_type":13,"marks":9678,"text":9679},"3e15db6674d10",[],"To this I have added a dramatic movement (4. ",{"_key":9681,"_type":13,"marks":9682,"text":9683},"3e15db6674d11",[73],"Mussels",{"_key":9685,"_type":13,"marks":9686,"text":9687},"3e15db6674d12",[],") in which pitch is free but rhythm is very important",[],{"_key":9690,"_type":9,"audioSize":4,"audioURL":4,"children":9691,"fileURL":4,"image":4,"level":382,"listItem":2078,"markDefs":9704,"style":18},"2ac8b243a814",[9692,9696,9700],{"_key":9693,"_type":13,"marks":9694,"text":9695},"595052e537e80",[],"and a burlesque (5. ",{"_key":9697,"_type":13,"marks":9698,"text":9699},"595052e537e81",[73],"Gastropods",{"_key":9701,"_type":13,"marks":9702,"text":9703},"595052e537e82",[],") which makes fun of a well known New Zealand tune “Now is the Hour”.",[],{"_key":9706,"_type":500,"audioSize":4,"audioURL":4,"fileURL":4,"image":9707,"markDefs":4},"eeaccff64923",{"caption":4,"id":9708,"meta":9709,"parentID":4,"parentType":510,"url":9713},"78d06da21ef0b1405accf76a00e4411d9d5e9e62",{"_type":506,"aspectRatio":9710,"height":9711,"width":9712},3.4444444444444446,198,682,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F78d06da21ef0b1405accf76a00e4411d9d5e9e62-682x198.png",{"_key":9715,"_type":9,"audioSize":4,"audioURL":4,"children":9716,"fileURL":4,"image":4,"markDefs":9779,"style":18},"fd591c3a54ff",[9717,9721,9725,9729,9733,9737,9740,9744,9747,9751,9754,9758,9761,9765,9768,9772,9775],{"_key":9718,"_type":13,"marks":9719,"text":9720},"c5e8016fd8a5",[],"The work shows a certain amount of nostalgia on my (and Brigitte's) part for the New Zealand foreshore and the animals which live there. The text-fragments were taken from R. K. Dell's book, ",{"_key":9722,"_type":13,"marks":9723,"text":9724},"031ea5054ef8",[73],"Seashore Life",{"_key":9726,"_type":13,"marks":9727,"text":9728},"38ef17959675",[],", (Reed, 1981) and from Margaret Orbell's ",{"_key":9730,"_type":13,"marks":9731,"text":9732},"3cdc0ea3cca5",[73],"The Natural World of the Maori",{"_key":9734,"_type":13,"marks":9735,"text":9736},"07945deb58de",[],", page 28, (Bateman 1985) - 4. Mussels. Although Willi GohI, the conductor, suggested a choral work, he is also Willi GohI the pianist. Therefore the piano plays an important role in these pieces. He also proposed some small percussion. I imagine the percussion part being played by a member (or members) of the chorus. Instruments required are: claves (1. ",{"_key":9738,"_type":13,"marks":9739,"text":9637},"8dfff05fd6a2",[73],{"_key":9741,"_type":13,"marks":9742,"text":9743},"a9508ce62cb4",[],"), a maraca (2. ",{"_key":9745,"_type":13,"marks":9746,"text":9653},"779145872dc1",[73],{"_key":9748,"_type":13,"marks":9749,"text":9750},"32eb55064a48",[],"), a small gong. (3. ",{"_key":9752,"_type":13,"marks":9753,"text":9668},"cee5fa170937",[73],{"_key":9755,"_type":13,"marks":9756,"text":9757},"8f74d210f409",[],"), a tambourine (4. ",{"_key":9759,"_type":13,"marks":9760,"text":9683},"ebc8c27a05c1",[73],{"_key":9762,"_type":13,"marks":9763,"text":9764},"7dc2d68123b9",[],") and the same four instruments again in 5. ",{"_key":9766,"_type":13,"marks":9767,"text":9699},"bac2f25d3f65",[73],{"_key":9769,"_type":13,"marks":9770,"text":9771},"2503e5121913",[],". The Speaker also plays a very important part in ",{"_key":9773,"_type":13,"marks":9774,"text":7066},"ba15a018bad9",[73],{"_key":9776,"_type":13,"marks":9777,"text":9778},"36d6d845dd4b",[],". I see him\u002Fher as a soloist standing in front of the choir and playing the role of a rather serious teacher, who doesn't seem to notice the occasional funny side of what he\u002Fshe is saying.",[],{"_key":9781,"_type":9,"audioSize":4,"audioURL":4,"children":9782,"fileURL":4,"image":4,"markDefs":9794,"style":634},"9ddfcacd012c",[9783,9787,9790],{"_key":9784,"_type":13,"marks":9785,"text":9786},"fbbd2a87a7860",[],"The above lines were written more than 20 years ago. Willi Gohl (1925-2010), famous in Switzerland as a choral conductor and music educator, has in the meantime died. Whether he actually toured New Zealand as he had planned I never heard, nor whether he performed ",{"_key":9788,"_type":13,"marks":9789,"text":7066},"fbbd2a87a7861",[73],{"_key":9791,"_type":13,"marks":9792,"text":9793},"fbbd2a87a7862",[]," there or elsewhere. Now I have made a complete revision of the work removing the improvisatory passages (especially from 3. Octopus) and in general making it more accessible to general choirs.",[],{"_key":9796,"_type":413,"audioSize":4,"audioURL":4,"description":9797,"file":9798,"fileURL":9801,"image":4,"markDefs":4},"3bac95b646a9","Tide Pools Score",{"_type":416,"asset":9799},{"_ref":9800,"_type":324},"file-69a84f62348f1cb5616258d126f7d07a7eb3fc30-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F69a84f62348f1cb5616258d126f7d07a7eb3fc30.pdf",{"_key":9803,"_type":500,"alt":9804,"audioSize":4,"audioURL":4,"caption":9804,"fileURL":4,"image":9805,"markDefs":4},"0a693ec5f2e7","Performing the spoken part of Tide Pools at a concert for my 80th birthday in the old Zurich Conservatory by the Vokalensemble Zürich, conductor Peter Siegwart, pianist Paul Seits",{"caption":4,"id":9806,"meta":9807,"parentID":4,"parentType":510,"url":9811},"01c8bb39f8c3f47d0e8dd9834717f625eebe7757",{"_type":506,"aspectRatio":9808,"height":9809,"width":9810},1.6595835104122396,2353,3905,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F01c8bb39f8c3f47d0e8dd9834717f625eebe7757-3905x2353.jpg",{"_key":9554,"_type":9,"audioSize":4,"audioURL":4,"children":9813,"fileURL":4,"image":4,"markDefs":9817,"style":6894},[9814],{"_key":9815,"_type":13,"marks":9816,"text":9555},"c622e5a34def",[15],[],{"_key":9819,"_type":9,"audioSize":4,"audioURL":4,"children":9820,"fileURL":4,"image":4,"markDefs":9825,"style":18},"fb5956f0191d",[9821],{"_key":9822,"_type":13,"marks":9823,"text":9824},"758af5b268ea",[],"Sea Squirts are rather shapeless ... Adults live attached to rocks ...\nIf gently squeezed ... a sea squirt ... will squirt.",[],{"_key":9827,"_type":9,"audioSize":4,"audioURL":4,"children":9828,"fileURL":4,"image":4,"markDefs":9832,"style":18},"0b23f558d5d7",[9829],{"_key":9830,"_type":13,"marks":9831,"text":25},"bcf7f03b581d",[],[],{"_key":9834,"_type":423,"audio":9835,"audioSize":9838,"audioURL":9839,"caption":9840,"fileURL":4,"image":4,"markDefs":4},"62ae4eb82ca9",{"_type":416,"asset":9836},{"_ref":9837,"_type":324},"file-39ec21563b583f576d5fa7cbc14f63fd16efca85-mp3",1230052,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F39ec21563b583f576d5fa7cbc14f63fd16efca85.mp3","1. 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The skin is set with limy plates, the mouth is at the centre of the arms.",[],{"_key":9856,"_type":9,"audioSize":4,"audioURL":4,"children":9857,"fileURL":4,"image":4,"markDefs":9862,"style":18},"33f9771f547a",[9858],{"_key":9859,"_type":13,"marks":9860,"text":9861},"63c1d5a373d3",[73],"Biscuit Star, Cushion Star, Mottled Star, Brittle Star, Reef Star, Sand Star",[],{"_key":9864,"_type":9,"audioSize":4,"audioURL":4,"children":9865,"fileURL":4,"image":4,"markDefs":9869,"style":18},"c2f078227765",[9866],{"_key":9867,"_type":13,"marks":9868,"text":25},"6ab6a3638d0c",[],[],{"_key":9871,"_type":423,"audio":9872,"audioSize":9875,"audioURL":9876,"caption":9877,"fileURL":4,"image":4,"markDefs":4},"005b07626b79",{"_type":416,"asset":9873},{"_ref":9874,"_type":324},"file-2712f7e766e348a6b2b09b5de346cf4039fd821d-mp3",2153324,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F2712f7e766e348a6b2b09b5de346cf4039fd821d.mp3","2. Star Fish (Vokalensemble Zürich) ",{"_key":9560,"_type":9,"audioSize":4,"audioURL":4,"children":9879,"fileURL":4,"image":4,"markDefs":9883,"style":6894},[9880],{"_key":9881,"_type":13,"marks":9882,"text":9561},"3e43b674468e",[15],[],{"_key":9885,"_type":9,"audioSize":4,"audioURL":4,"children":9886,"fileURL":4,"image":4,"markDefs":9891,"style":18},"996ede2bc78e",[9887],{"_key":9888,"_type":13,"marks":9889,"text":9890},"6befeaa11566",[73],"Squids and cuttle fish, octopus and paper nautilus, broad finned squid, arrow squid, jewelled squid.",[],{"_key":9893,"_type":9,"audioSize":4,"audioURL":4,"children":9894,"fileURL":4,"image":4,"markDefs":9899,"style":18},"8566d9f48c85",[9895],{"_key":9896,"_type":13,"marks":9897,"text":9898},"9191bd4463dd0",[],"The Common Octopus appears to be a rather timid animal. It seldom has arms longer than one metre.",[],{"_key":9901,"_type":9,"audioSize":4,"audioURL":4,"children":9902,"fileURL":4,"image":4,"markDefs":9906,"style":18},"71185495f0af",[9903],{"_key":9904,"_type":13,"marks":9905,"text":25},"b0ffc60f3c03",[],[],{"_key":9908,"_type":423,"audio":9909,"audioSize":9912,"audioURL":9913,"caption":9914,"fileURL":4,"image":4,"markDefs":4},"e5a33dbb05e6",{"_type":416,"asset":9910},{"_ref":9911,"_type":324},"file-b24b0155ba146640630744fbdd5acba4dd82f9aa-mp3",1835257,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fb24b0155ba146640630744fbdd5acba4dd82f9aa.mp3","3. Octopus (Vokalensemble Zürich)",{"_key":9563,"_type":9,"audioSize":4,"audioURL":4,"children":9916,"fileURL":4,"image":4,"markDefs":9920,"style":6894},[9917],{"_key":9918,"_type":13,"marks":9919,"text":9564},"bdc5fab04f00",[15],[],{"_key":9922,"_type":9,"audioSize":4,"audioURL":4,"children":9923,"fileURL":4,"image":4,"markDefs":9928,"style":18},"5fdb490c87bb",[9924],{"_key":9925,"_type":13,"marks":9926,"text":9927},"0ebe8e23bb250",[73],"A man who dredges mussels will get himself a wife. A man who sleeps in his house will get his head thumped!",[],{"_key":9930,"_type":9,"audioSize":4,"audioURL":4,"children":9931,"fileURL":4,"image":4,"markDefs":9936,"style":18},"34b0f46aa209",[9932],{"_key":9933,"_type":13,"marks":9934,"text":9935},"6a99467455780",[],"He tāne rou kākahi, ka moea. He tāne moe i roto i te whare kurua te takataka!*",[],{"_key":9938,"_type":9,"audioSize":4,"audioURL":4,"children":9939,"fileURL":4,"image":4,"markDefs":9943,"style":18},"2d264056165e",[9940],{"_key":9941,"_type":13,"marks":9942,"text":25},"6edc209cd06d",[],[],{"_key":9945,"_type":423,"audio":9946,"audioSize":9949,"audioURL":9950,"caption":9951,"fileURL":4,"image":4,"markDefs":4},"b3ca287cdeca",{"_type":416,"asset":9947},{"_ref":9948,"_type":324},"file-629fa7809ea56f7843c18d859727b86079384b7b-mp3",1316988,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F629fa7809ea56f7843c18d859727b86079384b7b.mp3","4. Mussels (Vokalensemble Zürich)",{"_key":9566,"_type":9,"audioSize":4,"audioURL":4,"children":9953,"fileURL":4,"image":4,"markDefs":9957,"style":6894},[9954],{"_key":9955,"_type":13,"marks":9956,"text":9567},"14ed638fa562",[15],[],{"_key":9959,"_type":9,"audioSize":4,"audioURL":4,"children":9960,"fileURL":4,"image":4,"markDefs":9965,"style":18},"2d907663faa2",[9961],{"_key":9962,"_type":13,"marks":9963,"text":9964},"7c26811b56170",[],"The Gastropod, or “stomach-foot”, has one shell, which may be tent-shaped, as in the limpets: ",[],{"_key":9967,"_type":9,"audioSize":4,"audioURL":4,"children":9968,"fileURL":4,"image":4,"markDefs":9973,"style":18},"eecad3f851d7",[9969],{"_key":9970,"_type":13,"marks":9971,"text":9972},"30cc9c29b7f5",[73],"ornate limpet, radiate limpet, ribbon limpet, slipper limpet, Maoricrypta casata.",[],{"_key":9975,"_type":9,"audioSize":4,"audioURL":4,"children":9976,"fileURL":4,"image":4,"markDefs":9981,"style":18},"9308ed141089",[9977],{"_key":9978,"_type":13,"marks":9979,"text":9980},"a8ef85b3c5730",[],"Or coiled into a tight spiral like the whelks: ",[],{"_key":9983,"_type":9,"audioSize":4,"audioURL":4,"children":9984,"fileURL":4,"image":4,"markDefs":9989,"style":18},"9fa35e42a9b5",[9985],{"_key":9986,"_type":13,"marks":9987,"text":9988},"89b822001149",[73],"knobbed whelk, spotted whelk, speckled whelk, lined whelk, Buccinulum powelli",[],{"_key":9991,"_type":9,"audioSize":4,"audioURL":4,"children":9992,"fileURL":4,"image":4,"markDefs":9997,"style":18},"c33f538dcc3d",[9993],{"_key":9994,"_type":13,"marks":9995,"text":9996},"e0fc380b981b0",[],"Or coiled in a spiral, like the paua: ",[],{"_key":9999,"_type":9,"audioSize":4,"audioURL":4,"children":10000,"fileURL":4,"image":4,"markDefs":10005,"style":18},"ed286c4a6bc6",[10001],{"_key":10002,"_type":13,"marks":10003,"text":10004},"cb6eed1420b2",[73],"Queen paua, Virgin paua, edible black-foot abalone, Haliotis iris",[],{"_key":10007,"_type":9,"audioSize":4,"audioURL":4,"children":10008,"fileURL":4,"image":4,"markDefs":10017,"style":18},"7f81cd47fa8f",[10009,10013],{"_key":10010,"_type":13,"marks":10011,"text":10012},"f0fdafd12dc2",[73],"Oh now is the hour to talk about the ",{"_key":10014,"_type":13,"marks":10015,"text":10016},"194fac8f2fb2",[],"Sea Slug. ",[],{"_key":10019,"_type":9,"audioSize":4,"audioURL":4,"children":10020,"fileURL":4,"image":4,"markDefs":10025,"style":18},"643240ba254b",[10021],{"_key":10022,"_type":13,"marks":10023,"text":10024},"c187c9948ac2",[73],"New Zealand has an amazing variety of sea slugs, ",[],{"_key":10027,"_type":9,"audioSize":4,"audioURL":4,"children":10028,"fileURL":4,"image":4,"markDefs":10033,"style":18},"4c8f6959a85e",[10029],{"_key":10030,"_type":13,"marks":10031,"text":10032},"ce369a226ed9",[],"some of which have yet to be described ... ",[],{"_key":10035,"_type":9,"audioSize":4,"audioURL":4,"children":10036,"fileURL":4,"image":4,"markDefs":10041,"style":18},"9871f6d7341c",[10037],{"_key":10038,"_type":13,"marks":10039,"text":10040},"a272d1adf416",[73],"Archidoris wellingtonensis",[],{"_key":10043,"_type":423,"audio":10044,"audioSize":10047,"audioURL":10048,"caption":10049,"fileURL":4,"image":4,"markDefs":4},"3131eabb2c02",{"_type":416,"asset":10045},{"_ref":10046,"_type":324},"file-4abbae47d2bd3882f785a591307415596b38e4d2-mp3",2364812,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F4abbae47d2bd3882f785a591307415596b38e4d2.mp3","5. Gastropods (Vokalensemble Zürich)",{"_key":10051,"_type":9,"audioSize":4,"audioURL":4,"children":10052,"fileURL":4,"image":4,"markDefs":10056,"style":18},"80fe192112bb",[10053],{"_key":10054,"_type":13,"marks":10055,"text":4878},"59fcc7bbfc41",[],[],[10058,10060],{"caption":4,"id":9708,"meta":10059,"parentID":9551,"parentType":510,"url":9713},{"_type":506,"aspectRatio":9710,"height":9711,"width":9712},{"caption":9804,"id":9806,"meta":10061,"parentID":9551,"parentType":510,"url":9811},{"_type":506,"aspectRatio":9808,"height":9809,"width":9810},[10063],{"_key":10064,"_type":366,"date":7063,"location":7064},"6866347ac6c1","\nOld Conservatory, Zurich\n\nTide Pools for choir (SATB), piano, speaker and some small percussion—dedicated to Brigitte (who shares my passion for Tide Pools).\n\nTide Pools was suggested by Willi Gohl, a piece with a New Zealand flavour, which would show various choral techniques:\n\nmadrigal style (1. Sea Squirts),\n\nspoken chorus (2. Starfish),\n\nimprovisation (3. Octopus).\n\nTo this I have added a dramatic movement (4. Mussels) in which pitch is free but rhythm is very important\n\nand a burlesque (5. Gastropods) which makes fun of a well known New Zealand tune “Now is the Hour”.\n\nThe work shows a certain amount of nostalgia on my (and Brigitte's) part for the New Zealand foreshore and the animals which live there. The text-fragments were taken from R. K. Dell's book, Seashore Life, (Reed, 1981) and from Margaret Orbell's The Natural World of the Maori, page 28, (Bateman 1985) - 4. Mussels. Although Willi GohI, the conductor, suggested a choral work, he is also Willi GohI the pianist. Therefore the piano plays an important role in these pieces. He also proposed some small percussion. I imagine the percussion part being played by a member (or members) of the chorus. Instruments required are: claves (1. Sea Squirts), a maraca (2. Starfish), a small gong. (3. Octopus), a tambourine (4. Mussels) and the same four instruments again in 5. Gastropods. The Speaker also plays a very important part in Tide Pools. I see him\u002Fher as a soloist standing in front of the choir and playing the role of a rather serious teacher, who doesn't seem to notice the occasional funny side of what he\u002Fshe is saying.\n\nThe above lines were written more than 20 years ago. Willi Gohl (1925-2010), famous in Switzerland as a choral conductor and music educator, has in the meantime died. Whether he actually toured New Zealand as he had planned I never heard, nor whether he performed Tide Pools there or elsewhere. Now I have made a complete revision of the work removing the improvisatory passages (especially from 3. Octopus) and in general making it more accessible to general choirs.\n\n1. Sea Squirts\n\nSea Squirts are rather shapeless ... Adults live attached to rocks ...\nIf gently squeezed ... a sea squirt ... will squirt.\n\n\n\n2. Starfish\n\nStarfish are built on a 5-ray system. The skin is set with limy plates, the mouth is at the centre of the arms.\n\nBiscuit Star, Cushion Star, Mottled Star, Brittle Star, Reef Star, Sand Star\n\n\n\n3. Octopus\n\nSquids and cuttle fish, octopus and paper nautilus, broad finned squid, arrow squid, jewelled squid.\n\nThe Common Octopus appears to be a rather timid animal. It seldom has arms longer than one metre.\n\n\n\n4. Mussels\n\nA man who dredges mussels will get himself a wife. A man who sleeps in his house will get his head thumped!\n\nHe tāne rou kākahi, ka moea. He tāne moe i roto i te whare kurua te takataka!*\n\n\n\n5. Gastropods\n\nThe Gastropod, or “stomach-foot”, has one shell, which may be tent-shaped, as in the limpets: \n\nornate limpet, radiate limpet, ribbon limpet, slipper limpet, Maoricrypta casata.\n\nOr coiled into a tight spiral like the whelks: \n\nknobbed whelk, spotted whelk, speckled whelk, lined whelk, Buccinulum powelli\n\nOr coiled in a spiral, like the paua: \n\nQueen paua, Virgin paua, edible black-foot abalone, Haliotis iris\n\nOh now is the hour to talk about the Sea Slug. \n\nNew Zealand has an amazing variety of sea slugs, \n\nsome of which have yet to be described ... \n\nArchidoris wellingtonensis\n\n\n",{"_type":375,"current":10067},"tide-pools",{"date":9542,"instrumentation":10069,"length":1596},"Choir SATB, speaker, piano and percussion",70,{"_id":10072,"chapters":10073,"content":10074,"images":10176,"performances":10177,"rawPoem":4,"rawText":10181,"slug":10182,"title":10103,"workInfo":10184,"workNumber":10188},"69cacb6b-3f04-4742-abe0-0d82b02cacd0",[],[10075,10093,10145],{"_key":10076,"_type":9,"audioSize":4,"audioURL":4,"children":10077,"fileURL":4,"image":4,"markDefs":10090,"style":18},"9efdc602da9b",[10078,10082,10086],{"_key":10079,"_type":13,"marks":10080,"text":10081},"24d1b5eed849",[],"The commission was organised by ",{"_key":10083,"_type":13,"marks":10084,"text":5436},"794d0fb028a5",[10085],"e2b8054c88e6",{"_key":10087,"_type":13,"marks":10088,"text":10089},"ef0b77042482",[]," who in 1990 was conductor of two Wind bands. This work was for the Stadtmusik Illnau-Effretikon (between Zürich and Winterthur).",[10091],{"_key":10085,"_type":321,"reference":10092,"slug":5468,"type":326},{"_ref":5467,"_type":324},{"_key":10094,"_type":9,"audioSize":4,"audioURL":4,"children":10095,"fileURL":4,"image":4,"markDefs":10140,"style":18},"77bdd8bcabed",[10096,10100,10104,10108,10113,10117,10121,10125,10128,10132,10136],{"_key":10097,"_type":13,"marks":10098,"text":10099},"cf68342196d30",[],"André had already chosen the theme: food, eating, and he had programmed some pieces with vague references to eating (Rossini: Cenerentola, Strauss: Zitronenblüten, etc.). I immediately suggested doing something on ",{"_key":10101,"_type":13,"marks":10102,"text":10103},"cf68342196d31",[73],"Gargantua",{"_key":10105,"_type":13,"marks":10106,"text":10107},"cf68342196d32",[]," and was surprised to find out that ",{"_key":10109,"_type":13,"marks":10110,"text":10112},"eff559882405",[10111],"75c4fc931f9d","Rabelais",{"_key":10114,"_type":13,"marks":10115,"text":10116},"8d5c4784d395",[]," is not nearly so well known here as in English speaking countries. André was excited about the idea, the commission was agreed upon: CHF 5000.-, the money was to come from the local ",{"_key":10118,"_type":13,"marks":10119,"text":10120},"cf68342196d33",[73],"Rotary Club",{"_key":10122,"_type":13,"marks":10123,"text":10124},"cf68342196d34",[],". It was the first time I had had anything to do with such people. André and I were invited to a dinner with the ",{"_key":10126,"_type":13,"marks":10127,"text":10120},"cf68342196d35",[73],{"_key":10129,"_type":13,"marks":10130,"text":10131},"cf68342196d36",[]," in which we entertained them with stories of ",{"_key":10133,"_type":13,"marks":10134,"text":10103},"cf68342196d37",[73,10135],"b25328a295a7",{"_key":10137,"_type":13,"marks":10138,"text":10139},"cf68342196d38",[]," - they weren't noticeably put off their food, and they still paid up! Just before the premiere we were invited to a press conference at which the culture column writers of the various local rags were informed about the impending spectacle. It was most interesting to observe how proud the members of the band, who normally played marches and polkas, seemed to be to be interpreting the strange new music. The president of the band explained to the press writers how he had to read notes whose pitch was not precisely indicated, or was expected to improvise with fragments and even to speak rhythmically.",[10141,10143],{"_key":10111,"_type":316,"href":10142},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FFran%C3%A7ois_Rabelais",{"_key":10135,"_type":316,"href":10144},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FGargantua_and_Pantagruel",{"_key":10146,"_type":9,"audioSize":4,"audioURL":4,"children":10147,"fileURL":4,"image":4,"markDefs":10175,"style":18},"bf299e137f70",[10148,10152,10156,10160,10164,10167,10171],{"_key":10149,"_type":13,"marks":10150,"text":10151},"f39a45bcba630",[],"The work was performed twice. On the day before the first performance I made changes to the ending. André came to dinner, studied the new bars, learnt them by heart, and rehearsed them with the band an hour before the start. I later changed these bars yet again in the version 1 prepared for publication (by Reift). The most successful part of Gargantua is for me the ",{"_key":10153,"_type":13,"marks":10154,"text":10155},"f39a45bcba633",[73],"Gathering of the Troupes",{"_key":10157,"_type":13,"marks":10158,"text":10159},"f39a45bcba634",[],". All players have fragments to repeat within the subsections of this section. There is also a good spatial effect since the trumpets (this band uses trumpets and cornets) are placed left, right and centre. What I find less convincing are the spoken parts: ",{"_key":10161,"_type":13,"marks":10162,"text":10163},"f39a45bcba637",[73],"Milch, Milch,",{"_key":10165,"_type":13,"marks":10166,"text":6652},"f39a45bcba638",[],{"_key":10168,"_type":13,"marks":10169,"text":10170},"f39a45bcba639",[73],"gibt ihm zu trinken,",{"_key":10172,"_type":13,"marks":10173,"text":10174},"f39a45bcba6310",[]," etc.",[],[],[10178],{"_key":10179,"_type":366,"date":9542,"location":10180},"382e19b5805f","Effretikon, Switzerland","The commission was organised by André Fischer who in 1990 was conductor of two Wind bands. This work was for the Stadtmusik Illnau-Effretikon (between Zürich and Winterthur).\n\nAndré had already chosen the theme: food, eating, and he had programmed some pieces with vague references to eating (Rossini: Cenerentola, Strauss: Zitronenblüten, etc.). I immediately suggested doing something on Gargantua and was surprised to find out that Rabelais is not nearly so well known here as in English speaking countries. André was excited about the idea, the commission was agreed upon: CHF 5000.-, the money was to come from the local Rotary Club. It was the first time I had had anything to do with such people. André and I were invited to a dinner with the Rotary Club in which we entertained them with stories of Gargantua - they weren't noticeably put off their food, and they still paid up! Just before the premiere we were invited to a press conference at which the culture column writers of the various local rags were informed about the impending spectacle. It was most interesting to observe how proud the members of the band, who normally played marches and polkas, seemed to be to be interpreting the strange new music. The president of the band explained to the press writers how he had to read notes whose pitch was not precisely indicated, or was expected to improvise with fragments and even to speak rhythmically.\n\nThe work was performed twice. On the day before the first performance I made changes to the ending. André came to dinner, studied the new bars, learnt them by heart, and rehearsed them with the band an hour before the start. I later changed these bars yet again in the version 1 prepared for publication (by Reift). The most successful part of Gargantua is for me the Gathering of the Troupes. All players have fragments to repeat within the subsections of this section. There is also a good spatial effect since the trumpets (this band uses trumpets and cornets) are placed left, right and centre. What I find less convincing are the spoken parts: Milch, Milch, gibt ihm zu trinken, etc.",{"_type":375,"current":10183},"gargantua",{"commissioned":10185,"date":9542,"instrumentation":10186,"text":10187},"Andre Fischer for Stadtmusik Illnau-Effretikon","wind orchestra","François Rabelais",71,{"_id":10190,"chapters":10191,"content":10192,"images":10327,"performances":4,"rawPoem":4,"rawText":10334,"slug":10335,"title":10337,"workInfo":10338,"workNumber":10341},"81b8f21d-7bec-4077-ab93-7d33aae23755",[],[10193,10209,10226,10234,10242,10258,10266,10274,10281,10311,10320],{"_key":10194,"_type":9,"audioSize":4,"audioURL":4,"children":10195,"fileURL":4,"image":4,"markDefs":10208,"style":18},"f672c127a67a",[10196,10200,10204],{"_key":10197,"_type":13,"marks":10198,"text":10199},"c83247fc72c3",[],"Written for the brass quartet ",{"_key":10201,"_type":13,"marks":10202,"text":10203},"b3902c212ca7",[73],"Brasserie",{"_key":10205,"_type":13,"marks":10206,"text":10207},"151707a440b1",[],": Trumpets Christoph Gantert and Barbara Lüscher, trombones Philip Powell and Priska Walss.",[],{"_key":10210,"_type":9,"audioSize":4,"audioURL":4,"children":10211,"fileURL":4,"image":4,"markDefs":10223,"style":18},"48644ca25bd7",[10212,10216,10220],{"_key":10213,"_type":13,"marks":10214,"text":10215},"72d208682b100",[],"This was a sort of modified ",{"_key":10217,"_type":13,"marks":10218,"text":6028},"0ef95cab1151",[10219],"d041957594f3",{"_key":10221,"_type":13,"marks":10222,"text":2020},"38ab55ea1beb",[],[10224],{"_key":10219,"_type":321,"reference":10225,"slug":6039,"type":528},{"_ref":6038,"_type":324},{"_key":10227,"_type":500,"audioSize":4,"audioURL":4,"fileURL":4,"image":10228,"markDefs":4},"db54655df922",{"caption":4,"id":10229,"meta":10230,"parentID":4,"parentType":510,"url":251},"e1c480b406952e87392eda77f84bcdfd968c8fe5",{"_type":506,"aspectRatio":10231,"height":10232,"width":10233},1.2834008097165992,1235,1585,{"_key":10235,"_type":9,"audioSize":4,"audioURL":4,"children":10236,"fileURL":4,"image":4,"markDefs":10241,"style":18},"6b32c46d0b0c",[10237],{"_key":10238,"_type":13,"marks":10239,"text":10240},"f92c9d1700c70",[],"The Abelian proportions were based on the ordinal number in the alphabet of the letters of Philip's name, 16-8-9-12-9-16. I imagined the six Abelian large sections heading towards another quite different theme (Z) which they only reach at the end. ",[],{"_key":10243,"_type":9,"audioSize":4,"audioURL":4,"children":10244,"fileURL":4,"image":4,"markDefs":10257,"style":18},"31e404efac01",[10245,10249,10253],{"_key":10246,"_type":13,"marks":10247,"text":10248},"c70aeb06e5eb",[],"I had long been preoccupied by the idea of a \"botanical\" form, that is, one in which there is a long growth process (branches, shoots and leaves) which finally ends in a completely different theme (flowers). In this sense the section \"",{"_key":10250,"_type":13,"marks":10251,"text":10252},"5e8c6932f5ae",[15],"Z",{"_key":10254,"_type":13,"marks":10255,"text":10256},"5ddab5014baf",[],"\" (see diagram below and score) is the flower-motive.",[],{"_key":10259,"_type":500,"audioSize":4,"audioURL":4,"fileURL":4,"image":10260,"markDefs":4},"6578f6f73221",{"caption":4,"id":10261,"meta":10262,"parentID":4,"parentType":510,"url":259},"01567ae67455b32fc76fca70fa0442ff06de9b1f",{"_type":506,"aspectRatio":10263,"height":10264,"width":10265},2.3201219512195124,656,1522,{"_key":10267,"_type":9,"audioSize":4,"audioURL":4,"children":10268,"fileURL":4,"image":4,"markDefs":10273,"style":18},"6762f2b7d51d",[10269],{"_key":10270,"_type":13,"marks":10271,"text":10272},"44136e849bd70",[],"Within this framework and in each section the mood changes (metamorphoses) from one feeling to its opposite: Within this framework and in each section the mood changes (metamorphoses) from one feeling to its opposite: energisch \u003C—> faul (energetic \u003C—> lazy), lieb \u003C—> hässig (kind \u003C—> badtempered), wild \u003C—> sanft (wild \u003C—> gentle):",[],{"_key":10275,"_type":500,"audioSize":4,"audioURL":4,"fileURL":4,"image":10276,"markDefs":4},"48a5025c5df6",{"caption":4,"id":10277,"meta":10278,"parentID":4,"parentType":510,"url":247},"67eca7aea622790ef49b10e219c7412758bd4aa1",{"_type":506,"aspectRatio":10279,"height":10280,"width":4730},1.579225352112676,568,{"_key":10282,"_type":9,"audioSize":4,"audioURL":4,"children":10283,"fileURL":4,"image":4,"markDefs":10306,"style":18},"447fd6f444af",[10284,10288,10293,10297,10302],{"_key":10285,"_type":13,"marks":10286,"text":10287},"e6c0e86517520",[],"Played and recorded at the ",{"_key":10289,"_type":13,"marks":10290,"text":10292},"e6c0e86517521",[10291,73],"61202d78fd10","Kukart Festival",{"_key":10294,"_type":13,"marks":10295,"text":10296},"e6c0e86517522",[]," in ",{"_key":10298,"_type":13,"marks":10299,"text":10301},"e6c0e86517523",[10300],"e653fb5ca359","Pushkin",{"_key":10303,"_type":13,"marks":10304,"text":10305},"e6c0e86517524",[],", Russia, 1995.",[10307,10309],{"_key":10291,"_type":316,"href":10308},"http:\u002F\u002Fkykart.spb.ru\u002Findex.php?e=page&c=anons&id=2",{"_key":10300,"_type":316,"href":10310},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FPushkin,_Saint_Petersburg",{"_key":10312,"_type":423,"audio":10313,"audioSize":10316,"audioURL":10317,"caption":10318,"fileURL":4,"image":4,"markDefs":4,"musicians":10319},"0ed06d56abe8",{"_type":416,"asset":10314},{"_ref":10315,"_type":324},"file-3e2b90c9612e22dd5ccada4476f46ef86a834eef-mp3",7371361,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F3e2b90c9612e22dd5ccada4476f46ef86a834eef.mp3","Metamorphosen","Brasserie, Pushkin, 1995",{"_key":10321,"_type":413,"audioSize":4,"audioURL":4,"description":10322,"file":10323,"fileURL":10326,"image":4,"markDefs":4},"807535743d48","Metamorphoses Score",{"_type":416,"asset":10324},{"_ref":10325,"_type":324},"file-bc425ab91fa464701ff3853641fc3536e8f3022e-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fbc425ab91fa464701ff3853641fc3536e8f3022e.pdf",[10328,10330,10332],{"caption":4,"id":10229,"meta":10329,"parentID":10190,"parentType":510,"url":251},{"_type":506,"aspectRatio":10231,"height":10232,"width":10233},{"caption":4,"id":10261,"meta":10331,"parentID":10190,"parentType":510,"url":259},{"_type":506,"aspectRatio":10263,"height":10264,"width":10265},{"caption":4,"id":10277,"meta":10333,"parentID":10190,"parentType":510,"url":247},{"_type":506,"aspectRatio":10279,"height":10280,"width":4730},"Written for the brass quartet Brasserie: Trumpets Christoph Gantert and Barbara Lüscher, trombones Philip Powell and Priska Walss.\n\nThis was a sort of modified Abelian Form.\n\nThe Abelian proportions were based on the ordinal number in the alphabet of the letters of Philip's name, 16-8-9-12-9-16. I imagined the six Abelian large sections heading towards another quite different theme (Z) which they only reach at the end. \n\nI had long been preoccupied by the idea of a \"botanical\" form, that is, one in which there is a long growth process (branches, shoots and leaves) which finally ends in a completely different theme (flowers). In this sense the section \"Z\" (see diagram below and score) is the flower-motive.\n\nWithin this framework and in each section the mood changes (metamorphoses) from one feeling to its opposite: Within this framework and in each section the mood changes (metamorphoses) from one feeling to its opposite: energisch \u003C—> faul (energetic \u003C—> lazy), lieb \u003C—> hässig (kind \u003C—> badtempered), wild \u003C—> sanft (wild \u003C—> gentle):\n\nPlayed and recorded at the Kukart Festival in Pushkin, Russia, 1995.",{"_type":375,"current":10336},"metamorphoses","Metamorphoses",{"date":9542,"dedicated":10339,"instrumentation":10340,"length":883},"Brass quartet Brasserie","2 trumpets and 2 trombones",72,{"_id":10343,"chapters":10344,"content":10345,"images":10472,"performances":10475,"rawPoem":4,"rawText":10490,"slug":10491,"title":10493,"workInfo":10494,"workNumber":10498},"e7e0f5a7-64fa-4bd1-b989-cafc5076618f",[],[10346,10353,10372,10379,10441,10448,10456,10463],{"_key":10347,"_type":9,"audioSize":4,"audioURL":4,"children":10348,"fileURL":4,"image":4,"markDefs":10352,"style":18},"a9f6fc6bb788",[10349],{"_key":10350,"_type":13,"marks":10351,"text":25},"37e740220dbb",[],[],{"_key":10354,"_type":9,"audioSize":4,"audioURL":4,"children":10355,"fileURL":4,"image":4,"markDefs":10369,"style":18},"1253dee43bd9",[10356,10360,10365],{"_key":10357,"_type":13,"marks":10358,"text":10359},"e1d05144695f0",[],"This piece had a difficult start but a good finish. ",{"_key":10361,"_type":13,"marks":10362,"text":10364},"ae21b77aa819",[10363],"69030ae5d9cd","Mischa",{"_key":10366,"_type":13,"marks":10367,"text":10368},"10824b2ccbb0",[]," had been in Toulouse and asked a producer\u002Fwriter, André Benedetto, to take part in the Don Giovanni project, the idea behind being that he could later tour in France with his troupe. Benedetto wrote the text of a dialogue between a younger and an older sister. The older woman (spoken) tries to prevent her younger sister (sung) from making the same mistakes with D.G. which she made - all in vain. It purports to be a quarter hour but even with very rapid delivery of the spoken text which often overlaps the sung text it was almost half an hour long.",[10370],{"_key":10363,"_type":321,"reference":10371,"slug":9521,"type":326},{"_ref":9520,"_type":324},{"_key":10373,"_type":9,"audioSize":4,"audioURL":4,"children":10374,"fileURL":4,"image":4,"markDefs":10378,"style":18},"b736e723df63",[10375],{"_key":10376,"_type":13,"marks":10377,"text":25},"8a0ac17ea3e20",[],[],{"_key":10380,"_type":9,"audioSize":4,"audioURL":4,"children":10381,"fileURL":4,"image":4,"markDefs":10430,"style":18},"c8ade8ecf014",[10382,10386,10391,10395,10400,10404,10409,10413,10418,10421,10426],{"_key":10383,"_type":13,"marks":10384,"text":10385},"ff50a25602dd0",[],"I received my copy of the text (after long delays) via St Petersburg. I rang back to say that I would do it, but Almira, Mischa's girlfriend, misunderstood me and told Mischa I wasn't doing it. I went ahead and didn't ring again until it was nearly finished. This time I spoke to ",{"_key":10387,"_type":13,"marks":10388,"text":10390},"982d10686bd1",[10389],"8ae433aa395f","Yuri",{"_key":10392,"_type":13,"marks":10393,"text":10394},"2996e869cd33",[],", who said by the way, it was a pity I wasn't doing it. By this time they had of course been using other music, but they agreed to go back to mine. I recorded Fiona's voice (as the younger sister) and a French speaking friend, Josianne Wehrli, as the older woman and stuck the whole thing together out of tiny fragments - an enormous job, but the result was good and the Russians were delighted (if not by the length - it was intended as an insert in a much bigger work). In the mean time Mischa had had a fight with Benedetto, France was out. Eventually they had an invitation to take it to a Youth Theatre Competition in ",{"_key":10396,"_type":13,"marks":10397,"text":10399},"ff50a25602dd1",[10398],"8978599c669f","Lugano",{"_key":10401,"_type":13,"marks":10402,"text":10403},"ff50a25602dd2",[],", where they won first prize. We travelled to Lugano and also saw it again in ",{"_key":10405,"_type":13,"marks":10406,"text":10408},"ff50a25602dd3",[10407],"81ff016bea96","Bülach",{"_key":10410,"_type":13,"marks":10411,"text":10412},"ff50a25602dd4",[],". The whole work was well over 3 hours long (typical Russian length) with other music from percussionist ",{"_key":10414,"_type":13,"marks":10415,"text":10417},"ff50a25602dd5",[10416],"88c3a1509416","Vladimir Tarasov",{"_key":10419,"_type":13,"marks":10420,"text":2617},"ff50a25602dd6",[],{"_key":10422,"_type":13,"marks":10423,"text":10425},"ff50a25602dd7",[10424],"91ea3d061d0e","Schnittke",{"_key":10427,"_type":13,"marks":10428,"text":10429},"ff50a25602dd8",[]," and other Mozart fragments.",[10431,10433,10435,10437,10439],{"_key":10398,"_type":316,"href":10432},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FLugano",{"_key":10407,"_type":316,"href":10434},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FB%C3%BClach",{"_key":10416,"_type":316,"href":10436},"http:\u002F\u002Fwww.vladimirtarasov.com\u002F",{"_key":10424,"_type":316,"href":10438},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FAlfred_Schnittke",{"_key":10389,"_type":321,"reference":10440,"slug":9517,"type":326},{"_ref":9516,"_type":324},{"_key":10442,"_type":9,"audioSize":4,"audioURL":4,"children":10443,"fileURL":4,"image":4,"markDefs":10447,"style":18},"0f43791c0bb6",[10444],{"_key":10445,"_type":13,"marks":10446,"text":25},"704db39202f70",[],[],{"_key":10449,"_type":9,"audioSize":4,"audioURL":4,"children":10450,"fileURL":4,"image":4,"markDefs":10455,"style":18},"fba9fe773837",[10451],{"_key":10452,"_type":13,"marks":10453,"text":10454},"10bc0bfeabcb0",[],"My payment for the music was to be a picture by Yuri, which he left lying with several others in a big folder in Lugano. It never showed up again! Later I received the picture called Don Giovanni of two stylised archetypal monsters copulating, which was also used for their production poster.",[],{"_key":10457,"_type":9,"audioSize":4,"audioURL":4,"children":10458,"fileURL":4,"image":4,"markDefs":10462,"style":18},"a15fcfb55ef0",[10459],{"_key":10460,"_type":13,"marks":10461,"text":25},"3b277125fcb2",[],[],{"_key":10464,"_type":500,"audioSize":4,"audioURL":4,"fileURL":4,"image":10465,"markDefs":4},"9d1ea118e1d2",{"caption":4,"id":10466,"meta":10467,"parentID":4,"parentType":510,"url":10471},"3b744480c2b16d133f4d6a75e5371ef89356d5fd",{"_type":506,"aspectRatio":10468,"height":10469,"width":10470},0.7847494553376906,2295,1801,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F3b744480c2b16d133f4d6a75e5371ef89356d5fd-1801x2295.jpg",[10473],{"caption":4,"id":10466,"meta":10474,"parentID":10343,"parentType":510,"url":10471},{"_type":506,"aspectRatio":10468,"height":10469,"width":10470},[10476,10479,10482,10486],{"_key":10477,"_type":366,"date":10478,"location":9543},"65a3753b9e94","1996-02-01",{"_key":10480,"_type":366,"date":10481,"location":5281},"f4fcd4c5be54","1996-05-08",{"_key":10483,"_type":366,"date":10484,"location":10485},"3dd07e6bb2cd","1996-10-12","Tübingen, Germany",{"_key":10487,"_type":366,"date":10488,"location":10489},"e76d7899be2b","1996-08-20","Lugano, Switzerland","\n\nThis piece had a difficult start but a good finish. Mischa had been in Toulouse and asked a producer\u002Fwriter, André Benedetto, to take part in the Don Giovanni project, the idea behind being that he could later tour in France with his troupe. Benedetto wrote the text of a dialogue between a younger and an older sister. The older woman (spoken) tries to prevent her younger sister (sung) from making the same mistakes with D.G. which she made - all in vain. It purports to be a quarter hour but even with very rapid delivery of the spoken text which often overlaps the sung text it was almost half an hour long.\n\n\n\nI received my copy of the text (after long delays) via St Petersburg. I rang back to say that I would do it, but Almira, Mischa's girlfriend, misunderstood me and told Mischa I wasn't doing it. I went ahead and didn't ring again until it was nearly finished. This time I spoke to Yuri, who said by the way, it was a pity I wasn't doing it. By this time they had of course been using other music, but they agreed to go back to mine. I recorded Fiona's voice (as the younger sister) and a French speaking friend, Josianne Wehrli, as the older woman and stuck the whole thing together out of tiny fragments - an enormous job, but the result was good and the Russians were delighted (if not by the length - it was intended as an insert in a much bigger work). In the mean time Mischa had had a fight with Benedetto, France was out. Eventually they had an invitation to take it to a Youth Theatre Competition in Lugano, where they won first prize. We travelled to Lugano and also saw it again in Bülach. The whole work was well over 3 hours long (typical Russian length) with other music from percussionist Vladimir Tarasov, Schnittke and other Mozart fragments.\n\n\n\nMy payment for the music was to be a picture by Yuri, which he left lying with several others in a big folder in Lugano. It never showed up again! 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It was performed by ",{"_key":10545,"_type":13,"marks":10546,"text":4239},"8b91f75b7dec",[10547],"f325ec19b76a",{"_key":10549,"_type":13,"marks":10550,"text":2625},"0a40eaa50b32",[],{"_key":10552,"_type":13,"marks":10553,"text":7370},"fc9483054048",[10554],"a9ac0d6399e2",{"_key":10556,"_type":13,"marks":10557,"text":10558},"1ce777eaa313",[],". The works of both artists had the figure of a lemon as a common theme—hence the title and content of this piece.",[10560,10562,10564],{"_key":10547,"_type":321,"reference":10561,"slug":4252,"type":326},{"_ref":4251,"_type":324},{"_key":10554,"_type":321,"reference":10563,"slug":7379,"type":326},{"_ref":7378,"_type":324},{"_key":10539,"_type":321,"reference":10565,"slug":9517,"type":326},{"_ref":9516,"_type":324},{"_key":10567,"_type":500,"alt":10568,"audioSize":4,"audioURL":4,"caption":10568,"fileURL":4,"image":10569,"markDefs":4},"d33e6a6648ad","Galia and Yuri in our garden in Eglisau in the early 90s",{"caption":4,"id":10570,"meta":10571,"parentID":4,"parentType":510,"url":10573},"37641380e1fb31fc64aab2160accb3e4975dd961",{"_type":506,"aspectRatio":10572,"height":6227,"width":5890},1.4625228519195612,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F37641380e1fb31fc64aab2160accb3e4975dd961-800x547.jpg",{"_key":10575,"_type":9,"audioSize":4,"audioURL":4,"children":10576,"fileURL":4,"image":4,"markDefs":10592,"style":18},"fecd2a1b2a82",[10577,10580,10584,10588],{"_key":10578,"_type":13,"marks":10579,"text":10509},"204e9c844770",[15],{"_key":10581,"_type":13,"marks":10582,"text":10583},"495037014ffb",[]," can be performed as music theatre although the theatrical details are left largely to the performers. 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It was performed by Fiona and Philip Powell. The works of both artists had the figure of a lemon as a common theme—hence the title and content of this piece.\n\nLemon Music can be performed as music theatre although the theatrical details are left largely to the performers. We see the singer (a woman?) at work in her kitchen. She stands at a table surrounded by cooking utensils, water, sugar, etc., and, of course, lemons. Also on the table is a recipe (which can be her music) for Lemon-Sorbet. She reads the recipe and performs the appropriate actions. The trombone functions as her memory and the subconscious which prods that memory—no doubt reminding her of a wonderful holiday in the “Land Where the Lemon Trees Blossom”, or was it in Russia? (“moi Limon”)—wherever it was, they danced to that Strauss Waltz: Wo die Zitronen blühn (the trombone dances too!) and even the mention of a lemon recalls the rapture of that wonderful time.\n\n",{"_type":375,"current":10628},"lemon-music",{"date":10495,"instrumentation":10630,"text":10631},"Soprano, Trombone","Brigitte Powell",74,{"_id":10634,"chapters":10635,"content":10636,"images":10844,"performances":4,"rawPoem":4,"rawText":10849,"slug":10850,"title":10713,"workInfo":10852,"workNumber":3353},"8a61a7cf-feb3-46e1-b3da-712be11c1799",[],[10637,10655,10665,10673,10679,10720,10735,10743,10751,10773,10781,10789,10801,10813,10825],{"_key":10638,"_type":9,"audioSize":4,"audioURL":4,"children":10639,"fileURL":4,"image":4,"markDefs":10652,"style":18},"dbef47d0ba8c",[10640,10644,10648],{"_key":10641,"_type":13,"marks":10642,"text":10643},"31da2a36bace",[],"This curious “encounter” had much to do with our Russian friend ",{"_key":10645,"_type":13,"marks":10646,"text":9477},"bbe6ac72e8c8",[10647],"196e6698f54f",{"_key":10649,"_type":13,"marks":10650,"text":10651},"76cde558e65a",[],". In the summers of the late 80s and early 90s when he used to visit Switzerland we often sat outside and chatted about artistic ideas. 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drawn where lines of this diagram cross (although the diagram itself is seldom shown)—see, for example, his Don Giovanni.",[],{"_key":10674,"_type":500,"alt":10675,"audioSize":4,"audioURL":4,"caption":10676,"fileURL":4,"image":10677,"markDefs":4,"size":3496},"d7f05c88e497","Don Goivanni - Juri Sobolev","Don Goivanni - Yuri Sobolev",{"caption":4,"id":10466,"meta":10678,"parentID":4,"parentType":510,"url":10471},{"_type":506,"aspectRatio":10468,"height":10469,"width":10470},{"_key":10680,"_type":9,"audioSize":4,"audioURL":4,"children":10681,"fileURL":4,"image":4,"markDefs":10717,"style":18},"0d076ff79868",[10682,10686,10690,10694,10698,10702,10706,10710,10714],{"_key":10683,"_type":13,"marks":10684,"text":10685},"a5fc30dd68ec0",[],"Since both Yuri and ",{"_key":10687,"_type":13,"marks":10688,"text":10364},"0b77d8d13807",[10689],"b402523fa398",{"_key":10691,"_type":13,"marks":10692,"text":10693},"59693fe8c9fb",[]," were greatly preoccupied with the theme of 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",{"_key":10728,"_type":13,"marks":10729,"text":10713},"2bea128154d01",[15],{"_key":10731,"_type":13,"marks":10732,"text":10733},"2bea128154d02",[]," is a meeting on many levels:",[],{"_key":10736,"_type":9,"audioSize":4,"audioURL":4,"children":10737,"fileURL":4,"image":4,"level":382,"listItem":2078,"markDefs":10742,"style":18},"3ea1c9e23b66",[10738],{"_key":10739,"_type":13,"marks":10740,"text":10741},"c8f39e47ce770",[],"My meeting with Mozart, my deep admiration for the expressiveness and elegance of his music",[],{"_key":10744,"_type":9,"audioSize":4,"audioURL":4,"children":10745,"fileURL":4,"image":4,"level":382,"listItem":2078,"markDefs":10750,"style":18},"1725924c9d5e",[10746],{"_key":10747,"_type":13,"marks":10748,"text":10749},"ac03f6b213e80",[],"A meeting of historical periods, an attempt to combine styles of the 18th and 20th 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In the summers of the late 80s and early 90s when he used to visit Switzerland we often sat outside and chatted about artistic ideas. One of these was Yuri's “Buddha”, a graphic structure for drawing a sitting Buddha:\n\nIn almost all of Yuri's pictures from this period there are a random selection of tiny circles, drawn where lines of this diagram cross (although the diagram itself is seldom shown)—see, for example, his Don Giovanni.\n\nSince both Yuri and Mischa were greatly preoccupied with the theme of Don Juan at this time I was also inspired to do something with Mozart's Don Giovanni and with Yuri's sitting Buddha—so arose the idea of an Encounter with Don Giovanni.\n\nThe Encounter with Don Giovanni is a meeting on many levels:\n\nMy meeting with Mozart, my deep admiration for the expressiveness and elegance of his music\n\nA meeting of historical periods, an attempt to combine styles of the 18th and 20th centuries\n\nAnd the strangest of all meetings—of Don Giovanni and Buddha: the insatiable restlessness matched against the transfigured self sufficiency.\n\nYuri's Buddha diagram determined much of the form of my piece:\n\nThe introduction, the “basis” of the diagram, uses material from Mozart's Overture.\n\nErde (earth) is built on material from the first scene (the death of the Comptor)\n\nWasser (water) has several quotations from the Don's amorous adventures\n\nFeuer (fire) contains Don Giovanni's encounter with the statue of the Comptor\n\nLuft and Aether (air and ether) from the celebration of the people after Don Giovanni's death.",{"_type":375,"current":10851},"encounter-with-don-giovanni",{"date":10495,"instrumentation":10853},"orchestra",{"_id":10855,"chapters":10856,"content":10857,"images":10956,"performances":10957,"rawPoem":4,"rawText":10961,"slug":10962,"title":10964,"workInfo":10965,"workNumber":10966},"96896ad1-ac0f-4d79-ba1d-decc9d8b653d",[],[10858,10901,10908,10919,10926,10942,10949],{"_key":10859,"_type":9,"audioSize":4,"audioURL":4,"children":10860,"fileURL":4,"image":4,"markDefs":10898,"style":18},"e524789fc784",[10861,10865,10869,10873,10878,10882,10886,10890,10894],{"_key":10862,"_type":13,"marks":10863,"text":10864},"7e34de000724",[],"The original title was ",{"_key":10866,"_type":13,"marks":10867,"text":10868},"d6dacfb25f22",[73],"Jubile Eglisau",{"_key":10870,"_type":13,"marks":10871,"text":10872},"96e00f4df830",[]," because it was written for the 1000 year celebration in ",{"_key":10874,"_type":13,"marks":10875,"text":10877},"2737f1a66a06",[10876],"9729dc2a1a81","Eglisau",{"_key":10879,"_type":13,"marks":10880,"text":10881},"fadc41d6f6e3",[],". At this time I still didn't have Swiss nationality, and therefore didn't take part in the life of the town as most people could: voting, etc. I decided to donate this work to the town as my contribution to the celebrations, as it would also insure my being involved with the people here. Eglisau, unlike many other towns which have a ",{"_key":10883,"_type":13,"marks":10884,"text":10885},"8c133c7665ab",[73],"Stadtmusik",{"_key":10887,"_type":13,"marks":10888,"text":10889},"5c471ae1de69",[]," (Wind Band) has a fine Brass Band. 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Although I tried to make a fairly traditional piece—the harmonies are all contrary moving fourths and fifths—I think it sounded very strange to the players. I made a stupid mistake in transposition of some of the instruments with the computer, which they played without question, even although I had sent the conductor a computer-made tape of what it should sound like! The end result at the celebration was competent but not spectacular (which it should have been). Insult to injury, immediately after my piece, they played a standard piece with the main parts played solo by their star players who moved to the front of the stage and sounded really spectacular. 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The very irregular rhythms in the faster movements (B) were very difficult. And so the work lay fallow for some years. By this time I was working entirely on the computer so I set out to revise the whole work and produce at the same time a computer tape that would help the singer to learn it. This revision removed much of the irregularity from the 2. and 6. movements and also corrected some tiny mistakes in the first version. Many problems remain however, above all the extremes of register. I intended the work originally for ",{"_key":11154,"_type":13,"marks":11155,"text":309},"d7aeebeb6283",[11156],"6627eb547838",{"_key":11158,"_type":13,"marks":11159,"text":11160},"9b767d809f7f",[],", but in the meantime Nelson had given up singing. 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The Mönchsgrasmücke (Blackcap) lived in one of our birch trees and sang gloriously every day. I recorded it and tried to write it down (for the piano). The Zilpzalp (Chiffchaff) was always to be heard on our walks. Once while Philip Woollaston was here we especially listened to it. Philip commented that the softer chirps that come between the main chiffs and chaffs is like an idling sound, this idling is in the middle register of the piano.\n\nThe Mauersegler (Swifts) live not far away at the power station on the Rhine. We've often sat for long periods watching their spectacular flight and listening to there wild shrieks. The piano part (inside with the left hand, on the keys with the right fist) should give the impression of their faultless, daring, and truly “swift” flight. 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Later (2012) Jürg reworked this material and published it as a separate book: ",{"_key":11896,"_type":13,"marks":11897,"text":11898},"20b8f4b63d437",[73],"Überall ist leicht zu verpassen",{"_key":11900,"_type":13,"marks":11901,"text":11902},"20b8f4b63d438",[]," (Verlag Jacoby & Stuart, 2012)",[11904],{"_key":11874,"_type":321,"reference":11905,"slug":11907,"type":326},{"_ref":11906,"_type":324},"5451962f-a34f-4d5c-b377-dde762c8dda6","juerg-schubiger",{"_key":11909,"_type":9,"audioSize":4,"audioURL":4,"children":11910,"fileURL":4,"image":4,"markDefs":11915,"style":18},"32e24ea39258",[11911],{"_key":11912,"_type":13,"marks":11913,"text":11914},"e6f65134a5920",[],"The four main figures are sung by a quartet of soloists with an additional rôle for a speaker. The instruments are loosely connected with the figures, especially in solo passages:",[],{"_key":11917,"_type":9,"audioSize":4,"audioURL":4,"children":11918,"fileURL":4,"image":4,"level":382,"listItem":2078,"markDefs":11923,"style":18},"15aac34f169a",[11919],{"_key":11920,"_type":13,"marks":11921,"text":11922},"10d68429028e0",[],"soprano: Das kleine Mädchen (Little Girl) — xylophone*",[],{"_key":11925,"_type":9,"audioSize":4,"audioURL":4,"children":11926,"fileURL":4,"image":4,"level":382,"listItem":2078,"markDefs":11931,"style":18},"dedfef4c243f",[11927],{"_key":11928,"_type":13,"marks":11929,"text":11930},"c638abcdf9a60",[],"alto: Die grosse Frau (Big Woman) — clarinet (and bass clarinet)*",[],{"_key":11933,"_type":9,"audioSize":4,"audioURL":4,"children":11934,"fileURL":4,"image":4,"level":382,"listItem":2078,"markDefs":11939,"style":18},"4d752f7b044c",[11935],{"_key":11936,"_type":13,"marks":11937,"text":11938},"2f9263f047b80",[],"tenor: Der wilde Wolf (Wild Wolf) — trombone*",[],{"_key":11941,"_type":9,"audioSize":4,"audioURL":4,"children":11942,"fileURL":4,"image":4,"level":382,"listItem":2078,"markDefs":11947,"style":18},"b07b7d3e185b",[11943],{"_key":11944,"_type":13,"marks":11945,"text":11946},"6a282b3f145b",[],"bass: Der starke Stier (Strong Bull) — contrabass*",[],{"_key":11949,"_type":9,"audioSize":4,"audioURL":4,"children":11950,"fileURL":4,"image":4,"level":382,"listItem":2078,"markDefs":11955,"style":18},"a0259ae4e022",[11951],{"_key":11952,"_type":13,"marks":11953,"text":11954},"09dd486cdffe0",[],"speaker — percussion",[],{"_key":11957,"_type":9,"audioSize":4,"audioURL":4,"children":11958,"fileURL":4,"image":4,"markDefs":11963,"style":18},"6395d6450e5c",[11959],{"_key":11960,"_type":13,"marks":11961,"text":11962},"eff3001fc690",[],"* In the revision of 2021 the singers are no longer connected to an instrument. The new instrumentation is: Flute\u002FPiccolo\u002FBass Flute, Clarinet\u002FBass Clarinet, Trombone, Percussion, Piano, Violin, Cello ",[],{"_key":11965,"_type":500,"audioSize":4,"audioURL":4,"caption":11966,"fileURL":4,"image":11967,"markDefs":4},"d9961416c1b3","Soloists and Ensemble for Scene 9, (from l - r): Gerhard Unternährer (T), Ulrike Andersen (A), Marc-Olivier Oetterli (B), Muriel Schwarz (S), Peter Siegwart (Conductor), ensemble neue musik zürich, Daniel Fueter (Speaker)",{"caption":4,"id":11968,"meta":11969,"parentID":4,"parentType":510,"url":11973},"bace6aea31c2170c2c20a550f8ef2832ffe40b4c",{"_type":506,"aspectRatio":11970,"height":11971,"width":11972},1.8176043557168784,2204,4006,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fbace6aea31c2170c2c20a550f8ef2832ffe40b4c-4006x2204.jpg",{"_key":11975,"_type":9,"audioSize":4,"audioURL":4,"children":11976,"fileURL":4,"image":4,"markDefs":11981,"style":18},"e4981b550b57",[11977],{"_key":11978,"_type":13,"marks":11979,"text":11980},"093520adf8750",[],"Four “mythical” figures (extensions and transformations of basic human possibilities), the Little Girl, the Big Woman, the Wild Wolf and the Strong Bull, meet and decide to live together. They try out simple forms of communication: greetings and farewells, talking and listening, quarrels and forms of endearment, etc. Each character has a major solo in one scene where we learn his or her life story and in the scenes between we see the whole group together in their various adventures.",[],{"_key":11983,"_type":500,"alt":11984,"audioSize":4,"audioURL":4,"caption":11984,"fileURL":4,"image":11985,"markDefs":4,"size":1662},"7b7a233afa85","The four friends: The ‘Little Girl’ (soprano), the ‘Wild Wolf’ (tenor), the ‘Big Woman’ (alto) and the ‘Strong Bull’",{"caption":4,"id":11986,"meta":11987,"parentID":4,"parentType":510,"url":11991},"ab697720f065b1c60973c6fd56a677b377324be9",{"_type":506,"aspectRatio":11988,"height":11989,"width":11990},2.702054794520548,292,789,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fab697720f065b1c60973c6fd56a677b377324be9-789x292.jpg",{"_key":11993,"_type":9,"audioSize":4,"audioURL":4,"children":11994,"fileURL":4,"image":4,"markDefs":11999,"style":18},"882aa55b1347",[11995],{"_key":11996,"_type":13,"marks":11997,"text":11998},"6df263559bfa0",[],"This work (one of my biggest) occupied me over more than three years. This was not only a musical preoccupation—I have a large folder of correspondence about it, mainly asking for and not receiving money. When I started, I felt I had to have one scene finished before I could ask for money, and when this wasn't successful I continued until it seemed silly to stop.",[],{"_key":12001,"_type":9,"audioSize":4,"audioURL":4,"children":12002,"fileURL":4,"image":4,"markDefs":12041,"style":18},"938ae8bec05f",[12003,12007,12012,12016,12021,12025,12029,12033,12037],{"_key":12004,"_type":13,"marks":12005,"text":12006},"a7bf3625f0040",[],"In June 1993 I arranged a performance of three scenes (Nos. 1, 3 & 7) in Rigiblick with the hope that people who could help with a complete performance would see it and be convinced. But very few such people came. Not even Thomas Meyer, the critic who has been so helpful in the past. The performance cost me about Fr. 4'OOO although many good friends performed for nothing: ",{"_key":12008,"_type":13,"marks":12009,"text":12011},"34f032ea955e",[12010],"d192e6275539","David",{"_key":12013,"_type":13,"marks":12014,"text":12015},"84af149e7871",[]," and Jane Thorner (Stier und grosse Frau), ",{"_key":12017,"_type":13,"marks":12018,"text":12020},"8073887fc1e7",[12019],"24da3814b81f","Philip",{"_key":12022,"_type":13,"marks":12023,"text":12024},"1af0360567a8",[]," (trombone) and ",{"_key":12026,"_type":13,"marks":12027,"text":4239},"4955920e694f",[12028],"4c3212d571f1",{"_key":12030,"_type":13,"marks":12031,"text":12032},"61ae01e096e3",[]," (das kleine Mädchen), ",{"_key":12034,"_type":13,"marks":12035,"text":5436},"fc5a2d4e9f71",[12036],"e1c4f54d105f",{"_key":12038,"_type":13,"marks":12039,"text":12040},"51f6002bb87f",[]," (conductor) and Gisela Westphal (Sprecher). Fortunately I got Fr. 3'OOO.- from the Erziehungsdirektion—and I was able to make a good recording. I sent a copy of the score to Hans Werner Henze in Munich to ask if he would like to include it in his next festival of music theatre but never received even a confirmation of its arrival.",[12042,12044,12046,12048],{"_key":12010,"_type":321,"reference":12043,"slug":6501,"type":326},{"_ref":6500,"_type":324},{"_key":12019,"_type":321,"reference":12045,"slug":7379,"type":326},{"_ref":7378,"_type":324},{"_key":12028,"_type":321,"reference":12047,"slug":4252,"type":326},{"_ref":4251,"_type":324},{"_key":12036,"_type":321,"reference":12049,"slug":5468,"type":326},{"_ref":5467,"_type":324},{"_key":12051,"_type":9,"audioSize":4,"audioURL":4,"children":12052,"fileURL":4,"image":4,"markDefs":12057,"style":18},"d175805b93d1",[12053],{"_key":12054,"_type":13,"marks":12055,"text":12056},"be4df96049440",[],"Musically there are no tone rows or mirrors or other unifying devices. Since so many of my works just before this had used such systems, I wanted to do something quite different. I wanted to offer myself, and the performers a good deal more freedom than I had been used to doing. Many sections use approximate pitch notation and where precise pitch is shown it is to produce a fairy tale atmosphere. This is often achieved through the quoting (mostly distorted) of children's songs or folk songs.",[],{"_key":12059,"_type":9,"audioSize":4,"audioURL":4,"children":12060,"fileURL":4,"image":4,"markDefs":12065,"style":18},"3db69883e7ad",[12061],{"_key":12062,"_type":13,"marks":12063,"text":12064},"9a76291fb9a70",[15],"Production",[],{"_key":12067,"_type":9,"audioSize":4,"audioURL":4,"children":12068,"fileURL":4,"image":4,"markDefs":12073,"style":18},"d9ef4eaeac6b",[12069],{"_key":12070,"_type":13,"marks":12071,"text":12072},"a272df25e80a0",[],"The chamber opera should basically be performed as a concert. Costumes and masks set visual accents. The producer may extend the conventional scenes of the classical concert.",[],{"_key":12075,"_type":500,"audioSize":4,"audioURL":4,"caption":12076,"fileURL":4,"image":12077,"markDefs":4},"b733cf684269","One idea for the production was that the figures could be life sized (or bigger) puppets operated like those in Japanese \"Bunraku\" theatre …",{"caption":4,"id":12078,"meta":12079,"parentID":4,"parentType":510,"url":12083},"df31993a256d8c09b826609aeda963afb73db8c6",{"_type":506,"aspectRatio":12080,"height":12081,"width":12082},0.8472840605520926,2246,1903,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fdf31993a256d8c09b826609aeda963afb73db8c6-1903x2246.jpg",{"_key":12085,"_type":500,"audioSize":4,"audioURL":4,"caption":12086,"fileURL":4,"image":12087,"markDefs":4},"0bc12f8d1d5f","… or that the larger figures (die grosse Frau und der starker Stier) could wear \"high shoes\".",{"caption":4,"id":12088,"meta":12089,"parentID":4,"parentType":510,"url":12093},"346c07e634a96ab243d623689f7a99f094042e38",{"_type":506,"aspectRatio":12090,"height":12091,"width":12092},1.9227586206896552,725,1394,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F346c07e634a96ab243d623689f7a99f094042e38-1394x725.jpg",{"_key":12095,"_type":9,"audioSize":4,"audioURL":4,"children":12096,"fileURL":4,"image":4,"markDefs":12101,"style":18},"bef8841b0249",[12097],{"_key":12098,"_type":13,"marks":12099,"text":12100},"7c3d948fafc3",[15],"2021 Version:",[],{"_key":12103,"_type":9,"audioSize":4,"audioURL":4,"children":12104,"fileURL":4,"image":4,"markDefs":12117,"style":18},"3fc0f2e500ba",[12105,12109,12113],{"_key":12106,"_type":13,"marks":12107,"text":12108},"b1e83cc9a655",[],"When the prospect of an 85th birthday concert was discussed (with Peter Siegwart, Vokalensemble Zürich, and Hanspeter Frehner, ensemble neue musik, zürich) I asked if they would do a concert version of this work and at the same time I set about rewriting it for the ",{"_key":12110,"_type":13,"marks":12111,"text":12112},"c2e1554bb211",[73],"enmz",{"_key":12114,"_type":13,"marks":12115,"text":12116},"e7e26b7c7aa9",[]," (see above).",[],{"_key":12119,"_type":9,"audioSize":4,"audioURL":4,"children":12120,"fileURL":4,"image":4,"markDefs":12166,"style":18},"332dbdbc9c44",[12121,12125,12130,12134,12138,12142,12146,12150,12154,12158,12162],{"_key":12122,"_type":13,"marks":12123,"text":12124},"bd6b6eecc2e8",[],"Later, however, it was decided to plan a concert which showed different aspects of my work: the Walser cycle \"",{"_key":12126,"_type":13,"marks":12127,"text":12129},"134a31b0fb01",[12128],"880a0fc1ceb7","Scheint, denn die Sonne heut nicht",{"_key":12131,"_type":13,"marks":12132,"text":12133},"fe16dbcfdf09",[],"\",  the music theatre work: \"",{"_key":12135,"_type":13,"marks":12136,"text":8712},"082b5b47f4c1",[12137],"a3207431dc5e",{"_key":12139,"_type":13,"marks":12140,"text":12141},"90b132cd9d74",[],"\" and just two scenes from the opera:  no. 5 ",{"_key":12143,"_type":13,"marks":12144,"text":12145},"72b714918a06",[73],"Verzaubert",{"_key":12147,"_type":13,"marks":12148,"text":12149},"c60f1fda9590",[]," (bewitched) and no. 9 ",{"_key":12151,"_type":13,"marks":12152,"text":12153},"0aebb8105d03",[73],"Die Wolke Himmelblau",{"_key":12155,"_type":13,"marks":12156,"text":12157},"c9eb75d4796f",[]," (The Cloud Sky-Blue). From the first of these two scenes Peter Siegwart took the phrase \"",{"_key":12159,"_type":13,"marks":12160,"text":12161},"6fbdbe2f59c9",[73],"… ich bin eigentlich ein roter Traktor\"",{"_key":12163,"_type":13,"marks":12164,"text":12165},"370ac2da2cb1",[]," (… I'm actually a red tractor) — spoken by the strong Bull in the scene where he falls in love with the big Woman — as the title for the concert.",[12167,12171],{"_key":12128,"_type":321,"reference":12168,"slug":12170,"type":510},{"_ref":12169,"_type":324},"6c864db4-7e99-4122-a766-c19c8dc2914b","scheint-denn-die-sonne-heut-nicht",{"_key":12137,"_type":321,"reference":12172,"slug":9175,"type":510},{"_ref":8604,"_type":324},{"_key":12174,"_type":9,"audioSize":4,"audioURL":4,"children":12175,"fileURL":4,"image":4,"markDefs":12184,"style":18},"d1c9f0eec15d",[12176,12180],{"_key":12177,"_type":13,"marks":12178,"text":12179},"3bd6a5544c25",[],"Here is a resumé of the 10 scenes of ",{"_key":12181,"_type":13,"marks":12182,"text":12183},"13bf8d35be50",[15],"Hauptsache, man geht zusamen hin",[],{"_key":12186,"_type":9,"audioSize":4,"audioURL":4,"children":12187,"fileURL":4,"image":4,"markDefs":12192,"style":18},"7a8a26103e84",[12188],{"_key":12189,"_type":13,"marks":12190,"text":12191},"4f4c5694913e",[15],"Contents",[],{"_key":12194,"_type":9,"audioSize":4,"audioURL":4,"children":12195,"fileURL":4,"image":4,"level":382,"listItem":4456,"markDefs":12204,"style":18},"7c632610f8ad",[12196,12200],{"_key":12197,"_type":13,"marks":12198,"text":12199},"1a51c8950bd70",[15],"Scene: On the Hill",{"_key":12201,"_type":13,"marks":12202,"text":12203},"1a51c8950bd71",[]," The Girl, the Wolf, the Bull and the Woman meet for the first time. In a threatening thunder storm they experience intuitively, that a feeling of security can arise not just by mastering the difficulties, but also even through collective failure.",[],{"_key":12206,"_type":9,"audioSize":4,"audioURL":4,"children":12207,"fileURL":4,"image":4,"level":382,"listItem":4456,"markDefs":12216,"style":18},"81ab83939783",[12208,12212],{"_key":12209,"_type":13,"marks":12210,"text":12211},"ebc952da928a0",[15],"Scene: The big oven",{"_key":12213,"_type":13,"marks":12214,"text":12215},"ebc952da928a1",[]," (solo Wolf ) From the life story of the Wolf",[],{"_key":12218,"_type":9,"audioSize":4,"audioURL":4,"children":12219,"fileURL":4,"image":4,"level":382,"listItem":4456,"markDefs":12228,"style":18},"21b1a8bdf328",[12220,12224],{"_key":12221,"_type":13,"marks":12222,"text":12223},"923adf59417a0",[15],"Scene: Paris is a beautiful city",{"_key":12225,"_type":13,"marks":12226,"text":12227},"923adf59417a1",[]," The four friends, in order to finally relax, make a visit to Paris. The conventional trip gives rise to a situation comedy and to surprising reflections.",[],{"_key":12230,"_type":9,"audioSize":4,"audioURL":4,"children":12231,"fileURL":4,"image":4,"level":382,"listItem":4456,"markDefs":12240,"style":18},"1b92613424bd",[12232,12236],{"_key":12233,"_type":13,"marks":12234,"text":12235},"9f8989f61bf10",[15],"Scene: The hard of hearing thief",{"_key":12237,"_type":13,"marks":12238,"text":12239},"9f8989f61bf11",[]," (solo Woman) From the life story of the Woman",[],{"_key":12242,"_type":9,"audioSize":4,"audioURL":4,"children":12243,"fileURL":4,"image":4,"level":382,"listItem":4456,"markDefs":12252,"style":18},"e26d9d4523f8",[12244,12248],{"_key":12245,"_type":13,"marks":12246,"text":12247},"b858c4aceb940",[15],"Scene: Enchanted",{"_key":12249,"_type":13,"marks":12250,"text":12251},"b858c4aceb941",[]," Playful natural dialogue between the Bull and the Woman. The lively interest about the other leads to the question: Who are you? Who am I? Who could you be, who could I be?",[],{"_key":12254,"_type":9,"audioSize":4,"audioURL":4,"children":12255,"fileURL":4,"image":4,"level":382,"listItem":4456,"markDefs":12264,"style":18},"90f8a8ada029",[12256,12260],{"_key":12257,"_type":13,"marks":12258,"text":12259},"b796a4c56ba10",[15],"Scene: The Sorrel",{"_key":12261,"_type":13,"marks":12262,"text":12263},"b796a4c56ba11",[]," (solo Bull) From the life story of the Bull",[],{"_key":12266,"_type":9,"audioSize":4,"audioURL":4,"children":12267,"fileURL":4,"image":4,"level":382,"listItem":4456,"markDefs":12276,"style":18},"50dbfaead165",[12268,12272],{"_key":12269,"_type":13,"marks":12270,"text":12271},"5002e9f8e0b00",[15],"Scene: In the winter parlour",{"_key":12273,"_type":13,"marks":12274,"text":12275},"5002e9f8e0b01",[]," Up till now everything takes place outside. Now they retreat into a little house. ln the confined space the friends quarrel like children. The Wolf leaves the house in a huff. The others worry about him all night.",[],{"_key":12278,"_type":9,"audioSize":4,"audioURL":4,"children":12279,"fileURL":4,"image":4,"level":382,"listItem":4456,"markDefs":12288,"style":18},"7ba6c2ac823b",[12280,12284],{"_key":12281,"_type":13,"marks":12282,"text":12283},"8a108be4f08d0",[15],"Scene: At the masked ball",{"_key":12285,"_type":13,"marks":12286,"text":12287},"8a108be4f08d1",[]," Games with one’s own and foreign identities. The Wolf wears a sheep skin to the ball. The big Woman appears as a cow, the Bull as a cowboy. The girl as a witch and by mistake changes a rabbit into a raven.",[],{"_key":12290,"_type":9,"audioSize":4,"audioURL":4,"children":12291,"fileURL":4,"image":4,"level":382,"listItem":4456,"markDefs":12300,"style":18},"c7c5299cae67",[12292,12296],{"_key":12293,"_type":13,"marks":12294,"text":12295},"241a39052acf0",[15],"Scene: The cloud sky-blue",{"_key":12297,"_type":13,"marks":12298,"text":12299},"241a39052acf1",[]," (solo Girl) From the life story of the Girl",[],{"_key":12302,"_type":9,"audioSize":4,"audioURL":4,"children":12303,"fileURL":4,"image":4,"level":382,"listItem":4456,"markDefs":12312,"style":18},"36ef604cb4c5",[12304,12308],{"_key":12305,"_type":13,"marks":12306,"text":12307},"5e5014e514e30",[15],"Scene: A herb against death",{"_key":12309,"_type":13,"marks":12310,"text":12311},"5e5014e514e31",[]," For a long time the friends seemed to be contented with themselves. Ther masked ball opened the circle. A widening of a quite different kind leads finally to the question about the end, to departure and death. This shows how fragile their life together is, and at the same time makes the bonds between them tighter.",[],{"_key":12314,"_type":423,"audio":12315,"audioSize":12318,"audioURL":12319,"caption":12320,"fileURL":4,"image":4,"markDefs":4},"5e0d81213b95",{"_type":416,"asset":12316},{"_ref":12317,"_type":324},"file-df5aa52e981db6f92d190f4b0bcc501a7c7d5814-mp3",7841749,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fdf5aa52e981db6f92d190f4b0bcc501a7c7d5814.mp3"," ‘Paris is a Beautiful City’ (beginning)",{"_key":12322,"_type":9,"audioSize":4,"audioURL":4,"children":12323,"fileURL":4,"image":4,"markDefs":12328,"style":18},"68961014c40c",[12324],{"_key":12325,"_type":13,"marks":12326,"text":12327},"dfe2197212a4",[],"3. Paris ist eine schöne Stadt (Anfang)",[],{"_key":12330,"_type":9,"audioSize":4,"audioURL":4,"children":12331,"fileURL":4,"image":4,"markDefs":12373,"style":634},"7ba96d6ce1de",[12332,12336,12340,12344,12347,12351,12355,12358,12361,12365,12369],{"_key":12333,"_type":13,"marks":12334,"text":12335},"b1d01ecef5ed",[],"SPRECHER: Wozu sind wir eigentlich hier auf dem Berg, kleines Mädchen, starker Stier und grosse Frau? fragte der Wolf eines Tages. Etwa um den Blättern, Vögeln und Wolken zuzuschauen?\nWOLF: (singt) Um den Blättern, Vögeln und Wolken zuzuschauen?\nSPRECHER: “Jawohl, sagte der Stier”\nSTIER: Jawohl\nSPRECHER: Ist das alles?\nWOLF: Ist das alles?\nSTIER: Ja, das ist alles. Und das ist mehr als genug: Blätter, Vögel und Wolken,\nWOLF: Das ist gar nichts. Oder viel zu wenig: Blätter, Vögel und Wolken,\nSPRECHER: Der Wolf wusste dann aber doch nicht zu sagen, was noch fehlte,\nSie zankten sich eine Weile. STIER und WOLF: Blätter, Vögel und Wolken.\nSPRECHER: Als aus dem Streit nichts Rechtes werden wollte, schwiegen sie,\n(Pause)\nFRAU: (singt) Mir ist ganz langweilig,\nSTIER: (singt) Mir auch, und das ist ein sehr (",{"_key":12337,"_type":13,"marks":12338,"text":12339},"f4496915dcef",[73],"gähnt",{"_key":12341,"_type":13,"marks":12342,"text":12343},"75d680f4657e",[],") schönes (",{"_key":12345,"_type":13,"marks":12346,"text":12339},"57cb5aaadfcb",[73],{"_key":12348,"_type":13,"marks":12349,"text":12350},"9b2852acd382",[],") Gefühl.\n(Gähnquartett.)\nWOLF & STIER: (singen) Ja das ist ein sehr (",{"_key":12352,"_type":13,"marks":12353,"text":12354},"09b0661b1b78",[73],"gähnen",{"_key":12356,"_type":13,"marks":12357,"text":12343},"1e4ab0e0e13b",[],{"_key":12359,"_type":13,"marks":12360,"text":12354},"ce12253aa553",[73],{"_key":12362,"_type":13,"marks":12363,"text":12364},"9eae1ca8e4ae",[],") sehr (",{"_key":12366,"_type":13,"marks":12367,"text":12368},"075e5417ed7b",[73],"WOLF gähnt",{"_key":12370,"_type":13,"marks":12371,"text":12372},"53e5e4e7fc56",[],").\nSPRECHER: Sie schauten einander in die offenen Mäuler.\nMÄDCHEN: (spricht zum Wolf:) Dir fehlt ein Zahn, wilder Wolf. Bist du schon alt?\nWOLF: Nicht gerade … und jung noch weniger …\nSTIER: … und das ist ein sehr schönes Gefühl.\nFRAU: (spricht) Wir sollten einmal ausspannen, und zum Beispiel eine Reise machen,\nzum Beispiel nach London, Dort steht ein Königspalast, in dem eine englische Königin wohnt.\nMÄDCHEN: (spricht) Kannst du Englisch? Die Königin versteht wohl kein Deutsch.\nFRAU: (schüttelt den Kopf.)\nSTIER: (spricht) Ich kann ein paar Worte Französisch. Und Paris ist auch schön.\nSPRECHER: So fuhren sie nach Paris, wo die Seine fliesst, wo der Eiffelturm steht und wo das Bild der Mona Lisa zu sehen ist. Im Hotel waren nur noch drei Zimmer frei. Die Frau und der Stier mussten im gleichen Bett schlafen. Am frühen Morgen sagte die Frau:\nFRAU: (singt)\tStarker Stier, ich habe die ganze Nacht kein Auge zugetan, du würdest mich im Schlaf mit einem Huf treten oder mit einem Horn stossen.\nSTIER: (singt) Ich auch. Darum bin ich auch wach geblieben.\nFRAU: Wenn ich gewusst hätte, dass du wach bleibst, hätte ich ja schlafen können.\nSTIER: Ja. Nur wärst du nicht sicher gewesen, ob ich nicht doch auf einmal auch einschlafe und dich dann mit einem Huf trete oder mit einem Horn stosse.\nWOLF: Still!\nSPRECHER: … rief der Wolf aus dem Nebenzimmer.\nWOLF: Ich will schlafen!\nMÄDCHEN: (singt) Still, wilder Wolf, ich will schlafen!\nSPRECHER: … rief das Mädchen aus dem Zimmer neben dem Nebenzimmer.\nWOLF: (spricht:) Ich bin schon still. Die grosse Frau und der starke Stier sind es, die Krach machen!\nALLE ZUSAMMEN:\nFRAU: Ich habe die ganze Nacht —\nSTIER: Ich auch nicht —\nWOLF: (singt) Still!\nFRAU: — kein Auge zugetan.\nMÄDCHEN: Still, wilder Wolf —\nMusiker als HOTELANGESTELLTER: Still! (Plötzliches Schweigen)\nSPRECHER: Still! rief jetzt ein Angestellter des Hotels.",[],{"_key":12375,"_type":9,"audioSize":4,"audioURL":4,"children":12376,"fileURL":4,"image":4,"markDefs":12380,"style":634},"ad1672d01e97",[12377],{"_key":12378,"_type":13,"marks":12379,"text":9418},"e53f17e303a6",[],[],{"_key":12382,"_type":9,"audioSize":4,"audioURL":4,"children":12383,"fileURL":4,"image":4,"markDefs":12387,"style":18},"058fdaf92ba8",[12384],{"_key":12385,"_type":13,"marks":12386,"text":25},"04612294e76a",[],[],{"_key":12389,"_type":9,"audioSize":4,"audioURL":4,"children":12390,"fileURL":4,"image":4,"markDefs":12396,"style":18},"7d20e876019c",[12391],{"_key":12392,"_type":13,"marks":12393,"text":12395},"52205e0665d9",[12394],"067a3d224bdd","Video: (scenes 5 and 9) 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part",{"_type":416,"asset":12488},{"_ref":12489,"_type":324},"file-c69ef3b03596b4917c50e449348e756b62c93d6e-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fc69ef3b03596b4917c50e449348e756b62c93d6e.pdf",{"_key":12492,"_type":9,"audioSize":4,"audioURL":4,"children":12493,"fileURL":4,"image":4,"markDefs":12497,"style":18},"15ab014b8768",[12494],{"_key":12495,"_type":13,"marks":12496,"text":25},"f21ef2e099ce",[],[],{"_key":12499,"_type":413,"audioSize":4,"audioURL":4,"description":12500,"file":12501,"fileURL":12504,"image":4,"markDefs":4},"4ca902e927e8","Hauptsache, man get zusammen hin, Cello 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soprano\nUlrike Andersen, alto\nGerhard Unternährer, tenor\nMarc-Olivier Oetterli\n\nensemble für neue musik, zütich\n\nPeter Siegwart, conductor","… ich bin eigentlich ein roter Traktor","Hauptsache, man geht zusammen hin — Main thing, we go there together\n\nLibretto by Jürg Schubiger — arranged from his own story: Wie man eine Hilfe findet (Jürg Schubiger, Das Löwengebrüll, Beltz Verlag 1988). Later (2012) Jürg reworked this material and published it as a separate book: Überall ist leicht zu verpassen (Verlag Jacoby & Stuart, 2012)\n\nThe four main figures are sung by a quartet of soloists with an additional rôle for a speaker. The instruments are loosely connected with the figures, especially in solo passages:\n\nsoprano: Das kleine Mädchen (Little Girl) — xylophone*\n\nalto: Die grosse Frau (Big Woman) — clarinet (and bass clarinet)*\n\ntenor: Der wilde Wolf (Wild Wolf) — trombone*\n\nbass: Der starke Stier (Strong Bull) — contrabass*\n\nspeaker — percussion\n\n* In the revision of 2021 the singers are no longer connected to an instrument. The new instrumentation is: Flute\u002FPiccolo\u002FBass Flute, Clarinet\u002FBass Clarinet, Trombone, Percussion, Piano, Violin, Cello \n\nFour “mythical” figures (extensions and transformations of basic human possibilities), the Little Girl, the Big Woman, the Wild Wolf and the Strong Bull, meet and decide to live together. They try out simple forms of communication: greetings and farewells, talking and listening, quarrels and forms of endearment, etc. Each character has a major solo in one scene where we learn his or her life story and in the scenes between we see the whole group together in their various adventures.\n\nThis work (one of my biggest) occupied me over more than three years. This was not only a musical preoccupation—I have a large folder of correspondence about it, mainly asking for and not receiving money. When I started, I felt I had to have one scene finished before I could ask for money, and when this wasn't successful I continued until it seemed silly to stop.\n\nIn June 1993 I arranged a performance of three scenes (Nos. 1, 3 & 7) in Rigiblick with the hope that people who could help with a complete performance would see it and be convinced. But very few such people came. Not even Thomas Meyer, the critic who has been so helpful in the past. The performance cost me about Fr. 4'OOO although many good friends performed for nothing: David and Jane Thorner (Stier und grosse Frau), Philip (trombone) and Fiona (das kleine Mädchen), André Fischer (conductor) and Gisela Westphal (Sprecher). Fortunately I got Fr. 3'OOO.- from the Erziehungsdirektion—and I was able to make a good recording. I sent a copy of the score to Hans Werner Henze in Munich to ask if he would like to include it in his next festival of music theatre but never received even a confirmation of its arrival.\n\nMusically there are no tone rows or mirrors or other unifying devices. Since so many of my works just before this had used such systems, I wanted to do something quite different. I wanted to offer myself, and the performers a good deal more freedom than I had been used to doing. Many sections use approximate pitch notation and where precise pitch is shown it is to produce a fairy tale atmosphere. This is often achieved through the quoting (mostly distorted) of children's songs or folk songs.\n\nProduction\n\nThe chamber opera should basically be performed as a concert. Costumes and masks set visual accents. The producer may extend the conventional scenes of the classical concert.\n\n2021 Version:\n\nWhen the prospect of an 85th birthday concert was discussed (with Peter Siegwart, Vokalensemble Zürich, and Hanspeter Frehner, ensemble neue musik, zürich) I asked if they would do a concert version of this work and at the same time I set about rewriting it for the enmz (see above).\n\nLater, however, it was decided to plan a concert which showed different aspects of my work: the Walser cycle \"Scheint, denn die Sonne heut nicht\",  the music theatre work: \"Father's Telescope\" and just two scenes from the opera:  no. 5 Verzaubert (bewitched) and no. 9 Die Wolke Himmelblau (The Cloud Sky-Blue). From the first of these two scenes Peter Siegwart took the phrase \"… ich bin eigentlich ein roter Traktor\" (… I'm actually a red tractor) — spoken by the strong Bull in the scene where he falls in love with the big Woman — as the title for the concert.\n\nHere is a resumé of the 10 scenes of Hauptsache, man geht zusamen hin\n\nContents\n\nScene: On the Hill The Girl, the Wolf, the Bull and the Woman meet for the first time. In a threatening thunder storm they experience intuitively, that a feeling of security can arise not just by mastering the difficulties, but also even through collective failure.\n\nScene: The big oven (solo Wolf ) From the life story of the Wolf\n\nScene: Paris is a beautiful city The four friends, in order to finally relax, make a visit to Paris. The conventional trip gives rise to a situation comedy and to surprising reflections.\n\nScene: The hard of hearing thief (solo Woman) From the life story of the Woman\n\nScene: Enchanted Playful natural dialogue between the Bull and the Woman. The lively interest about the other leads to the question: Who are you? Who am I? Who could you be, who could I be?\n\nScene: The Sorrel (solo Bull) From the life story of the Bull\n\nScene: In the winter parlour Up till now everything takes place outside. Now they retreat into a little house. ln the confined space the friends quarrel like children. The Wolf leaves the house in a huff. The others worry about him all night.\n\nScene: At the masked ball Games with one’s own and foreign identities. The Wolf wears a sheep skin to the ball. The big Woman appears as a cow, the Bull as a cowboy. The girl as a witch and by mistake changes a rabbit into a raven.\n\nScene: The cloud sky-blue (solo Girl) From the life story of the Girl\n\nScene: A herb against death For a long time the friends seemed to be contented with themselves. Ther masked ball opened the circle. A widening of a quite different kind leads finally to the question about the end, to departure and death. This shows how fragile their life together is, and at the same time makes the bonds between them tighter.\n\n3. Paris ist eine schöne Stadt (Anfang)\n\nSPRECHER: Wozu sind wir eigentlich hier auf dem Berg, kleines Mädchen, starker Stier und grosse Frau? fragte der Wolf eines Tages. Etwa um den Blättern, Vögeln und Wolken zuzuschauen?\nWOLF: (singt) Um den Blättern, Vögeln und Wolken zuzuschauen?\nSPRECHER: “Jawohl, sagte der Stier”\nSTIER: Jawohl\nSPRECHER: Ist das alles?\nWOLF: Ist das alles?\nSTIER: Ja, das ist alles. Und das ist mehr als genug: Blätter, Vögel und Wolken,\nWOLF: Das ist gar nichts. Oder viel zu wenig: Blätter, Vögel und Wolken,\nSPRECHER: Der Wolf wusste dann aber doch nicht zu sagen, was noch fehlte,\nSie zankten sich eine Weile. STIER und WOLF: Blätter, Vögel und Wolken.\nSPRECHER: Als aus dem Streit nichts Rechtes werden wollte, schwiegen sie,\n(Pause)\nFRAU: (singt) Mir ist ganz langweilig,\nSTIER: (singt) Mir auch, und das ist ein sehr (gähnt) schönes (gähnt) Gefühl.\n(Gähnquartett.)\nWOLF & STIER: (singen) Ja das ist ein sehr (gähnen) schönes (gähnen) sehr (WOLF gähnt).\nSPRECHER: Sie schauten einander in die offenen Mäuler.\nMÄDCHEN: (spricht zum Wolf:) Dir fehlt ein Zahn, wilder Wolf. Bist du schon alt?\nWOLF: Nicht gerade … und jung noch weniger …\nSTIER: … und das ist ein sehr schönes Gefühl.\nFRAU: (spricht) Wir sollten einmal ausspannen, und zum Beispiel eine Reise machen,\nzum Beispiel nach London, Dort steht ein Königspalast, in dem eine englische Königin wohnt.\nMÄDCHEN: (spricht) Kannst du Englisch? Die Königin versteht wohl kein Deutsch.\nFRAU: (schüttelt den Kopf.)\nSTIER: (spricht) Ich kann ein paar Worte Französisch. Und Paris ist auch schön.\nSPRECHER: So fuhren sie nach Paris, wo die Seine fliesst, wo der Eiffelturm steht und wo das Bild der Mona Lisa zu sehen ist. Im Hotel waren nur noch drei Zimmer frei. Die Frau und der Stier mussten im gleichen Bett schlafen. Am frühen Morgen sagte die Frau:\nFRAU: (singt)\tStarker Stier, ich habe die ganze Nacht kein Auge zugetan, du würdest mich im Schlaf mit einem Huf treten oder mit einem Horn stossen.\nSTIER: (singt) Ich auch. Darum bin ich auch wach geblieben.\nFRAU: Wenn ich gewusst hätte, dass du wach bleibst, hätte ich ja schlafen können.\nSTIER: Ja. Nur wärst du nicht sicher gewesen, ob ich nicht doch auf einmal auch einschlafe und dich dann mit einem Huf trete oder mit einem Horn stosse.\nWOLF: Still!\nSPRECHER: … rief der Wolf aus dem Nebenzimmer.\nWOLF: Ich will schlafen!\nMÄDCHEN: (singt) Still, wilder Wolf, ich will schlafen!\nSPRECHER: … rief das Mädchen aus dem Zimmer neben dem Nebenzimmer.\nWOLF: (spricht:) Ich bin schon still. Die grosse Frau und der starke Stier sind es, die Krach machen!\nALLE ZUSAMMEN:\nFRAU: Ich habe die ganze Nacht —\nSTIER: Ich auch nicht —\nWOLF: (singt) Still!\nFRAU: — kein Auge zugetan.\nMÄDCHEN: Still, wilder Wolf —\nMusiker als HOTELANGESTELLTER: Still! 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end.",[12671,12673],{"_key":12655,"_type":316,"href":12672},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FKaranga_(M%C4%81ori_culture)",{"_key":12664,"_type":316,"href":12674},"https:\u002F\u002Fen.wiktionary.org\u002Fwiki\u002Fhaere_mai",{"_key":12676,"_type":9,"audioSize":4,"audioURL":4,"children":12677,"fileURL":4,"image":4,"markDefs":12681,"style":18},"e0b6be00216c",[12678],{"_key":12679,"_type":13,"marks":12680,"text":6028},"4b369df90cc60",[15],[],{"_key":12683,"_type":9,"audioSize":4,"audioURL":4,"children":12684,"fileURL":4,"image":4,"markDefs":12693,"style":18},"a0386e28f8ca",[12685,12689],{"_key":12686,"_type":13,"marks":12687,"text":12688},"751beeb84e150",[],"A detailed description of the use of Abelian Form for WHALE is given in 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below)",[],{"_key":12753,"_type":500,"audioSize":4,"audioURL":4,"fileURL":4,"image":12754,"markDefs":4},"35c34120b6a2",{"caption":4,"id":12755,"meta":12756,"parentID":4,"parentType":510,"url":12760},"b6e5dac4b267ef0b6b0bdb1816092876af6e108b",{"_type":506,"aspectRatio":12757,"height":12758,"width":12759},1.8998410174880762,629,1195,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fb6e5dac4b267ef0b6b0bdb1816092876af6e108b-1195x629.png",{"_key":12762,"_type":423,"audio":12763,"audioSize":12766,"audioURL":12767,"caption":12768,"fileURL":4,"image":4,"markDefs":4,"musicians":12769},"7b4817ca3350",{"_type":416,"asset":12764},{"_ref":12765,"_type":324},"file-d37fd409a4fc7b026a31439be7661f3fd7f911e3-mp3",11685533,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fd37fd409a4fc7b026a31439be7661f3fd7f911e3.mp3","WHALE","Philip Powell (trombone)",{"_key":12771,"_type":413,"audioSize":4,"audioURL":4,"description":12772,"file":12773,"fileURL":12776,"image":4,"markDefs":4},"d97c49377a4f","WHALE Score",{"_type":416,"asset":12774},{"_ref":12775,"_type":324},"file-0dcbe8ff10e08ed0e8858c4376cc6558ac961963-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F0dcbe8ff10e08ed0e8858c4376cc6558ac961963.pdf",[12778,12780],{"caption":12534,"id":12536,"meta":12779,"parentID":12529,"parentType":510,"url":12541},{"_type":506,"aspectRatio":12538,"height":12539,"width":12540},{"caption":4,"id":12755,"meta":12781,"parentID":12529,"parentType":510,"url":12760},{"_type":506,"aspectRatio":12757,"height":12758,"width":12759},[12783,12787,12791],{"_key":12784,"_type":366,"date":7338,"location":12785,"performers":12786},"6f15621a3f74","Zürich, Switzerland","Philip Powell trombone",{"_key":12788,"_type":366,"date":12789,"location":12790,"performers":12786},"ee44cf97df87","1994-01-01","Bourges, France",{"_key":12792,"_type":366,"date":7491,"location":7492,"performers":12786},"761899c25eed","At the end of 1992 André Fischer invited me to take part with him in a “Podium” concert (organised by the city of Zürich) in December 1993. He wanted to write a large choral work for Heini Roth's vocativ choir and he suggested I write a work for the same choir too.\n\nI had long considered the possibility of using whale song, but the big problem was that the whale song was already perfect! I finally decided on a scenario of a conversation between people and whales, where people imitate (imperfectly) the whales and the whales the people (rather more successfully!) The obvious people for me to use were the Maori people who already have a close affinity to whales.\n\nThe tape uses imitations of whale sounds made with Composers Desktop Project programs and also an fof synthesis program which Gerald Bennett invited me to use his on his much faster Macintosh. He was also able to help me with the formants for the vowels in “Haere mai”, which the whale “says” at the end of the piece. The tape was finished first and Gerald invited me to play it in a concert of his computer music class at the Conservatory. I was reluctant to show it as tape alone so decided to make a version for trombone and tape. This turned out to be more successful than the choral version. I could work closely together with Philip - working from sounds which he suggested. As a result this work was performed a number of times: on the same program with the choral version, in several concerts of the Swiss Computer Music Center and in the 1994 Bourges festival. It also appeared on a CD of the Swiss Center for Computer Music (1999).\n\nWHALE uses Abelian Form with proportions related to the letters: W H A L E (13 8 3 5 3 - numbers from the Fibonacci Series)\n\nOne can imagine an attempt by a man to make contact with a whale. He calls, using a Maori Karanga (call) which the whale finds rather curious but finally obliges by repeating: Haere mai at the end.\n\nAbelian Form\n\nA detailed description of the use of Abelian Form for WHALE is given in Abelian Form\n\nScore of WHALE\n\nThe score uses a colour code to distinguish among the following:\n\nBlack: ‘normally’ played notes\n\nRed: Notes sung through the instrument\n\nGreen: Movements of the plunger mute\n\nYellow: Tape sounds\n\nPink: Boxes in which an activity of repeated notes and plunger movements is repeated (see below)",{"_type":375,"current":12795},"whale",{"date":7338,"instrumentation":12797,"length":1596},"trombone and tape",80,{"_id":12800,"chapters":12801,"content":12802,"images":13003,"performances":13010,"rawPoem":4,"rawText":13021,"slug":13022,"title":12831,"workInfo":13024,"workNumber":13026},"7067f2b4-10c6-46c8-9aaf-25241c57826c",[],[12803,12821,12861,12869,12877,12885,12893,12901,12909,12924,12932,12940,12948,12957,12965,12973,12982,12996],{"_key":12804,"_type":9,"audioSize":4,"audioURL":4,"children":12805,"fileURL":4,"image":4,"markDefs":12818,"style":18},"0468955544f4",[12806,12810,12814],{"_key":12807,"_type":13,"marks":12808,"text":12809},"b878cee37151",[],"These pieces utilise among other forms ",{"_key":12811,"_type":13,"marks":12812,"text":6028},"9f5178fbc06f",[12813],"832d0a9b6549",{"_key":12815,"_type":13,"marks":12816,"text":12817},"885494cada3a",[],", a concept I developed whereby the proportions of a large form are reflected in its constituent parts.",[12819],{"_key":12813,"_type":321,"reference":12820,"slug":6039,"type":528},{"_ref":6038,"_type":324},{"_key":12822,"_type":9,"audioSize":4,"audioURL":4,"children":12823,"fileURL":4,"image":4,"markDefs":12854,"style":18},"6b9c381fcea3",[12824,12828,12832,12836,12841,12845,12850],{"_key":12825,"_type":13,"marks":12826,"text":12827},"cc465aa9589e0",[],"Because of the superficial similarity of ",{"_key":12829,"_type":13,"marks":12830,"text":12831},"cc465aa9589e1",[15],"Piano Poems",{"_key":12833,"_type":13,"marks":12834,"text":12835},"cc465aa9589e2",[]," to the ",{"_key":12837,"_type":13,"marks":12838,"text":12840},"a4e2e91936d2",[12839],"3092312ed305","Lilburn",{"_key":12842,"_type":13,"marks":12843,"text":12844},"41b6c7a5d683",[]," Nine Short Pieces (also for piano) ",{"_key":12846,"_type":13,"marks":12847,"text":12849},"221fbe803abb",[12848],"ad7e767d4427","Jack Body",{"_key":12851,"_type":13,"marks":12852,"text":12853},"522812fa6660",[]," arranged to have them performed at a memorial concert in Wellington after the death of Douglas Lilburn.",[12855,12857],{"_key":12839,"_type":321,"reference":12856,"slug":3485,"type":326},{"_ref":3484,"_type":324},{"_key":12848,"_type":321,"reference":12858,"slug":12860,"type":326},{"_ref":12859,"_type":324},"e05757fe-10f5-4d86-a998-e17830e1157f","jack-body",{"_key":12862,"_type":9,"audioSize":4,"audioURL":4,"children":12863,"fileURL":4,"image":4,"markDefs":12868,"style":18},"203090e79866",[12864],{"_key":12865,"_type":13,"marks":12866,"text":12867},"722b9240a2a60",[15],"Description of the Nine Pieces:",[],{"_key":12870,"_type":9,"audioSize":4,"audioURL":4,"children":12871,"fileURL":4,"image":4,"level":382,"listItem":4456,"markDefs":12876,"style":18},"585064676cb9",[12872],{"_key":12873,"_type":13,"marks":12874,"text":12875},"0e1c03f9b4080",[],"Abelian form (3 X 3 matrix) with overlaps",[],{"_key":12878,"_type":9,"audioSize":4,"audioURL":4,"children":12879,"fileURL":4,"image":4,"level":382,"listItem":4456,"markDefs":12884,"style":18},"d02e2de7864d",[12880],{"_key":12881,"_type":13,"marks":12882,"text":12883},"c0bf35d2f2db0",[],"A mirror piece",[],{"_key":12886,"_type":9,"audioSize":4,"audioURL":4,"children":12887,"fileURL":4,"image":4,"level":382,"listItem":4456,"markDefs":12892,"style":18},"9777ae3c4258",[12888],{"_key":12889,"_type":13,"marks":12890,"text":12891},"5e96842ff3c10",[],"A chance piece: Four different chords (determined by chance) and their order and the interruptions by the fist rolls were also determined by chance",[],{"_key":12894,"_type":9,"audioSize":4,"audioURL":4,"children":12895,"fileURL":4,"image":4,"level":382,"listItem":4456,"markDefs":12900,"style":18},"d2967385d1a4",[12896],{"_key":12897,"_type":13,"marks":12898,"text":12899},"07fbd8e1850c0",[],"Abelian form (4 X 4 matrix): all sections are four bars long. 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of ",{"_key":12990,"_type":13,"marks":12991,"text":12831},"5178ba30f9a4",[73,15],{"_key":12993,"_type":13,"marks":12994,"text":104},"d207430d6781",[],[],{"_key":12997,"_type":413,"audioSize":4,"audioURL":4,"description":12998,"file":12999,"fileURL":13002,"image":4,"markDefs":4},"53a6b552bb6d","Piano Poems, for solo piano",{"_type":416,"asset":13000},{"_ref":13001,"_type":324},"file-51a1711760a549e5814f72fb765b0d36f26e5715-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F51a1711760a549e5814f72fb765b0d36f26e5715.pdf",[13004,13006,13008],{"caption":4,"id":12960,"meta":13005,"parentID":12800,"parentType":510,"url":12964},{"_type":506,"aspectRatio":12962,"height":12963,"width":5751},{"caption":4,"id":12968,"meta":13007,"parentID":12800,"parentType":510,"url":12972},{"_type":506,"aspectRatio":12970,"height":12971,"width":2048},{"caption":4,"id":12976,"meta":13009,"parentID":12800,"parentType":510,"url":12981},{"_type":506,"aspectRatio":12978,"height":12979,"width":12980},[13011,13014,13018],{"_key":13012,"_type":366,"date":7491,"location":13013,"performers":5957},"097fb7bbd132"," Pushkin, Russia ",{"_key":13015,"_type":366,"date":2561,"location":13016,"performers":13017},"c4a9474e347c"," Aarau, Switzerland","Tomas Dratva piano",{"_key":13019,"_type":366,"date":4366,"location":5869,"performers":13020},"1ccaae172025","Daniel Poynton piano","These pieces utilise among other forms Abelian Form, a concept I developed whereby the proportions of a large form are reflected in its constituent parts.\n\nBecause of the superficial similarity of Piano Poems to the Lilburn Nine Short Pieces (also for piano) Jack Body arranged to have them performed at a memorial concert in Wellington after the death of Douglas Lilburn.\n\nDescription of the Nine Pieces:\n\nAbelian form (3 X 3 matrix) with overlaps\n\nA mirror piece\n\nA chance piece: Four different chords (determined by chance) and their order and the interruptions by the fist rolls were also determined by chance\n\nAbelian form (4 X 4 matrix): all sections are four bars long. Subsection Ab is the mirror of subsection Bb, etc\n\nFree form\n\nBogen form: A, B, C, C’, B’, A’, where A’ is the augmentation of A, etc\n\nFree variations on a short melody\n\nAbelian form (3 X 3 matrix): all repetitions are shortened\n\nAbelian form (4 X 4 matrix) using fragments from Pieces 1 to 8\n\nScore of Piano Poems:",{"_type":375,"current":13023},"piano-poems",{"date":7491,"instrumentation":13025},"Solo Piano",81,{"_id":13028,"chapters":13029,"content":13030,"images":13423,"performances":13424,"rawPoem":4,"rawText":13430,"slug":13431,"title":2900,"workInfo":13433,"workNumber":13436},"b9840cf5-173a-40c0-8516-f90041d48f1b",[],[13031,13057,13064,13082,13089,13097,13104,13112,13120,13127,13139,13146,13154,13161,13169,13176,13184,13191,13199,13206,13214,13221,13229,13237,13244,13252,13259,13267,13275,13283,13290,13319,13327,13335,13343,13350,13357,13364,13371,13378,13385,13393,13400,13409,13416],{"_key":13032,"_type":9,"audioSize":4,"audioURL":4,"children":13033,"fileURL":4,"image":4,"markDefs":13054,"style":18},"37f42b308bb0",[13034,13038,13042,13046,13050],{"_key":13035,"_type":13,"marks":13036,"text":13037},"69cfe8b4c242",[],"I was first asked for a work from our Russian friends for children's chorus and piano. It was at the time when the Chechen war was raging and so I wanted my piece to be a protest. I chose texts from ",{"_key":13039,"_type":13,"marks":13040,"text":4224},"f3a153e788f5",[13041],"951e59650964",{"_key":13043,"_type":13,"marks":13044,"text":13045},"95929093ec43",[],"'s father, Konrad Bänninger, ",{"_key":13047,"_type":13,"marks":13048,"text":13049},"d9d683a6aba3",[73],"Dies irae",{"_key":13051,"_type":13,"marks":13052,"text":13053},"b3c2ec733f27",[]," plus the original latin text from the requiem mass. We heard that it had been performed but not how it went!",[13055],{"_key":13041,"_type":321,"reference":13056,"slug":4248,"type":326},{"_ref":4247,"_type":324},{"_key":13058,"_type":9,"audioSize":4,"audioURL":4,"children":13059,"fileURL":4,"image":4,"markDefs":13063,"style":18},"f5bb09b6502b",[13060],{"_key":13061,"_type":13,"marks":13062,"text":25},"2ba516c89d190",[],[],{"_key":13065,"_type":9,"audioSize":4,"audioURL":4,"children":13066,"fileURL":4,"image":4,"markDefs":13079,"style":18},"198fe7288052",[13067,13071,13075],{"_key":13068,"_type":13,"marks":13069,"text":13070},"e7fef6eb2b280",[],"Shortly afterwards I had the call from ",{"_key":13072,"_type":13,"marks":13073,"text":5922},"2c740d58a354",[13074],"e12db88c338f",{"_key":13076,"_type":13,"marks":13077,"text":13078},"2b2515eb0291",[]," asking for a piece for his men's choir. He also wanted to perform a work by Eliot Carter on the same program using flute, clarinet, violin, cello, piano and percussion and so this determined the instruments of the ensemble for my piece. At Dominik's suggestion, there was also a part for solo soprano, for Fiona.",[13080],{"_key":13074,"_type":321,"reference":13081,"slug":5931,"type":326},{"_ref":5930,"_type":324},{"_key":13083,"_type":9,"audioSize":4,"audioURL":4,"children":13084,"fileURL":4,"image":4,"markDefs":13088,"style":18},"00e4fe42d1f5",[13085],{"_key":13086,"_type":13,"marks":13087,"text":25},"b70c64f9462f0",[],[],{"_key":13090,"_type":9,"audioSize":4,"audioURL":4,"children":13091,"fileURL":4,"image":4,"markDefs":13096,"style":18},"ab671dada6d4",[13092],{"_key":13093,"_type":13,"marks":13094,"text":13095},"c6b5d1f863f30",[],"All this meant that the piece had to be completely different from the work for children and piano, only the texts remained.",[],{"_key":13098,"_type":9,"audioSize":4,"audioURL":4,"children":13099,"fileURL":4,"image":4,"markDefs":13103,"style":18},"0ab1c67e13b5",[13100],{"_key":13101,"_type":13,"marks":13102,"text":25},"1d5cd32949220",[],[],{"_key":13105,"_type":9,"audioSize":4,"audioURL":4,"children":13106,"fileURL":4,"image":4,"markDefs":13111,"style":18},"6489c95f9ac3",[13107],{"_key":13108,"_type":13,"marks":13109,"text":13110},"9268e96fd46a0",[],"Dominik worked hard to make the work succeed, which in fact it did, although much of the piece was stylistically foreign for the choir members. However, by the time the choir came together with the instrumentalists and soloist (who were excellent) they started to understand the work and rose to the occasion producing performances which delighted audiences and critics. There were two performances, in Frauenfeld and in Winterthur—the latter was recorded by the Swiss radio. ",[],{"_key":13113,"_type":9,"audioSize":4,"audioURL":4,"children":13114,"fileURL":4,"image":4,"markDefs":13119,"style":18},"6023b59476b0",[13115],{"_key":13116,"_type":13,"marks":13117,"text":13118},"00a9a80ed429",[],"Here are two extracts of reviews of those performances from the local newspaper (plus English translations):",[],{"_key":13121,"_type":9,"audioSize":4,"audioURL":4,"children":13122,"fileURL":4,"image":4,"markDefs":13126,"style":18},"a046b42f7199",[13123],{"_key":13124,"_type":13,"marks":13125,"text":25},"8140ef53244a",[],[],{"_key":13128,"_type":9,"audioSize":4,"audioURL":4,"children":13129,"fileURL":4,"image":4,"markDefs":13138,"style":634},"73c8c4316e36",[13130,13134],{"_key":13131,"_type":13,"marks":13132,"text":13133},"96d4f54c1c1a",[15],"Auftragswerk „Dies Irae“",{"_key":13135,"_type":13,"marks":13136,"text":13137},"310ab1f47486",[],"\n\nDas grösste Interesse an diesem Programm beansprucht aber das Auftragswerk „Dies Irae“ von Kit Powell, auf zwei Pfeilern ruhend: der klassischen „Dies Irae“-Sequenz des „Requiems“ und einem Gedicht von Konrad Bänninger, das der Toten, Verletzten und Vertriebenen des Weltkrieges gedenkt. Der Komponist verbindet sie zu einer Einheit, findet für die fragenden, tröstlichen Worte einfache, zu Herzen gehende Töne für eine Sopranstimme — meisterhaft gesungen von seiner Tochter Fiona Powell —, weist dem Chor sowohl kraftvoll aufwühlende wie auch resignierende Partien zu und setzt gewaltige dramatische Akzente in der Begleitung, namentlich im Schlagzeug.\n\nAuch wenn das Werk beim ersten Zuhören nicht leicht zu verstehen ist: Seiner Wirkung kann sich niemand entziehen. Der Komponist konnte sich nicht nur in Winterthur für herzlichen Beifall bedanken — man wird ihn auch in Frauenfeld feiern.",[],{"_key":13140,"_type":9,"audioSize":4,"audioURL":4,"children":13141,"fileURL":4,"image":4,"markDefs":13145,"style":18},"23df56ec6da7",[13142],{"_key":13143,"_type":13,"marks":13144,"text":25},"91084b74bc54",[],[],{"_key":13147,"_type":9,"audioSize":4,"audioURL":4,"children":13148,"fileURL":4,"image":4,"markDefs":13153,"style":18},"1188aff359e1",[13149],{"_key":13150,"_type":13,"marks":13151,"text":13152},"74bb7156dff2",[],"Werner Raths, «Thurgauer Volkszeitung» 29. Mai, 1997",[],{"_key":13155,"_type":9,"audioSize":4,"audioURL":4,"children":13156,"fileURL":4,"image":4,"markDefs":13160,"style":18},"483603d3da42",[13157],{"_key":13158,"_type":13,"marks":13159,"text":25},"4c43b9b67486",[15],[],{"_key":13162,"_type":9,"audioSize":4,"audioURL":4,"children":13163,"fileURL":4,"image":4,"markDefs":13168,"style":634},"b917fedb9a94",[13164],{"_key":13165,"_type":13,"marks":13166,"text":13167},"368d006f2283",[15],"Commissioned work „Dies Irae“",[],{"_key":13170,"_type":9,"audioSize":4,"audioURL":4,"children":13171,"fileURL":4,"image":4,"markDefs":13175,"style":634},"11207a76cefc",[13172],{"_key":13173,"_type":13,"marks":13174,"text":25},"eef35a66ee35",[],[],{"_key":13177,"_type":9,"audioSize":4,"audioURL":4,"children":13178,"fileURL":4,"image":4,"markDefs":13183,"style":634},"4ebcf6208dc1",[13179],{"_key":13180,"_type":13,"marks":13181,"text":13182},"7b6f5a524268",[],"The greatest interest in this program, however, is the commissioned work \"Dies Irae\" by Kit Powell, resting on two pillars: the classic \"Dies Irae\" sequence of the \"Requiem\" and a poem by Konrad Bänninger that commemorates the dead, injured and displaced of the World War. The composer combines them into a unity, finds simple, heartfelt tones for the questioning, comforting words for a soprano voice — masterfully sung by his daughter Fiona Powell —, assigns the choir both powerfully stirring and reconciling parts and sets huge dramatic accents in the accompaniment, especially in the percussion.",[],{"_key":13185,"_type":9,"audioSize":4,"audioURL":4,"children":13186,"fileURL":4,"image":4,"markDefs":13190,"style":634},"cd7216532840",[13187],{"_key":13188,"_type":13,"marks":13189,"text":25},"476bd04b1754",[],[],{"_key":13192,"_type":9,"audioSize":4,"audioURL":4,"children":13193,"fileURL":4,"image":4,"markDefs":13198,"style":634},"d2d203bfddbc",[13194],{"_key":13195,"_type":13,"marks":13196,"text":13197},"1bb7e4225569",[],"Even if the work is not easy to understand at first hearing, no one can escape its effect. The composer was not only able to thank the audience for the warm applause in Winterthur - he will also be celebrated in Frauenfeld.",[],{"_key":13200,"_type":9,"audioSize":4,"audioURL":4,"children":13201,"fileURL":4,"image":4,"markDefs":13205,"style":18},"79539b0f4b11",[13202],{"_key":13203,"_type":13,"marks":13204,"text":25},"0fe3b09a387e",[],[],{"_key":13207,"_type":9,"audioSize":4,"audioURL":4,"children":13208,"fileURL":4,"image":4,"markDefs":13213,"style":18},"21ce751b8326",[13209],{"_key":13210,"_type":13,"marks":13211,"text":13212},"158fdb0980ad",[],"Werner Raths, «Thurgauer Volkszeitung» 29 May, 1997",[],{"_key":13215,"_type":9,"audioSize":4,"audioURL":4,"children":13216,"fileURL":4,"image":4,"markDefs":13220,"style":18},"5e7a85429f9a",[13217],{"_key":13218,"_type":13,"marks":13219,"text":25},"d809dc8df1e0",[15],[],{"_key":13222,"_type":9,"audioSize":4,"audioURL":4,"children":13223,"fileURL":4,"image":4,"markDefs":13228,"style":634},"3802cf466f3b",[13224],{"_key":13225,"_type":13,"marks":13226,"text":13227},"282dd050f4d6",[15],"Höhepunkt: «Dies Irae»",[],{"_key":13230,"_type":9,"audioSize":4,"audioURL":4,"children":13231,"fileURL":4,"image":4,"markDefs":13236,"style":634},"050deb23a5f6",[13232],{"_key":13233,"_type":13,"marks":13234,"text":13235},"695e2107e5ee",[],"Der Höhepunkt des Konzertes brachte die Uraufführung des etwa eine halbe Stunde dauernden Auftragswerkes: «Dies Irae» für Sopransolo, Männerchor und sechs Instrumentalisten von Kit Powell. Neben der traditionellen Sequenz aus dein liturgischen Requiemtext ist noch ein Gedicht von Konrad Bänninger aus dem Jahre 1918 mitvertont, «Dies Irae», besticht durch die ebenso souveräne wie auch ökonomische Handhabung der eingesetzten Mittel. Der Chor muss bald flüstern und zischen, psalmodiert gelegentlich auf einem einzigen Ton, fächert sich zu wundervoller Vielstimmigkeit auf oder produziert gar clusterartige Klänge. Die melodisch anspruchsvollsten Partien sind dem Solosopran zugewiesen, von der Tochter des Komponisten Fiona Powell mit stimmlicher und intonatorischer Meisterschaft grossartig interpretiert. Starke Akzente setzt dazu aber auch das Instrumentalsextett. Dominik Blum brachte das Werk mit seinen Leuten zu einer imponierenden und eindrucksvollen Wiedergabe, und zum Schluss durften sich Interpreten und Komponist für viel herzlichen Beifall bedanken.",[],{"_key":13238,"_type":9,"audioSize":4,"audioURL":4,"children":13239,"fileURL":4,"image":4,"markDefs":13243,"style":18},"de1ae21b91e4",[13240],{"_key":13241,"_type":13,"marks":13242,"text":25},"702c5ae89282",[],[],{"_key":13245,"_type":9,"audioSize":4,"audioURL":4,"children":13246,"fileURL":4,"image":4,"markDefs":13251,"style":18},"b69166ee95d7",[13247],{"_key":13248,"_type":13,"marks":13249,"text":13250},"d70f70467f87",[],"Rudolf Werner, «Thurgauer Volkszeitung» 4. Juni, 1997",[],{"_key":13253,"_type":9,"audioSize":4,"audioURL":4,"children":13254,"fileURL":4,"image":4,"markDefs":13258,"style":18},"663751d1bdfb",[13255],{"_key":13256,"_type":13,"marks":13257,"text":25},"efd9a0481df6",[15],[],{"_key":13260,"_type":9,"audioSize":4,"audioURL":4,"children":13261,"fileURL":4,"image":4,"markDefs":13266,"style":634},"482f9fe2ec97",[13262],{"_key":13263,"_type":13,"marks":13264,"text":13265},"d8083592a16d",[15],"Highlight: «Dies Irae»",[],{"_key":13268,"_type":9,"audioSize":4,"audioURL":4,"children":13269,"fileURL":4,"image":4,"markDefs":13274,"style":634},"148146d8e943",[13270],{"_key":13271,"_type":13,"marks":13272,"text":13273},"38d32e2fe3cb",[],"The highlight of the concert was the premiere of the half-hour-long commissioned work: «Dies Irae» for soprano solo, male choir and six instrumentalists by Kit Powell. In addition to the traditional sequence from the liturgical requiem text, a poem by Konrad Bänninger from 1918 is also set to music. «Dies Irae» impresses with its confident and economical use of the means used. The choir is required to whisper and hiss, occasionally to intone on a single note, and then fans out into wonderful polyphony or even cluster-like sounds. The most melodically demanding parts are assigned to the solo soprano, brilliantly interpreted by the composer's daughter Fiona Powell with vocal and intonation mastery. The instrumental sextet also sets strong accents. Dominik Blum and his team gave an impressive and splendid performance of the work, and at the end the performers and composer were able to thank everyone for the very enthusiastic applause.",[],{"_key":13276,"_type":9,"audioSize":4,"audioURL":4,"children":13277,"fileURL":4,"image":4,"markDefs":13282,"style":18},"1140beb02529",[13278],{"_key":13279,"_type":13,"marks":13280,"text":13281},"59b6139cba37",[],"Rudolf Werner, «Thurgauer Volkszeitung» June 4, 1997",[],{"_key":13284,"_type":9,"audioSize":4,"audioURL":4,"children":13285,"fileURL":4,"image":4,"markDefs":13289,"style":18},"36b5d4eab0b5",[13286],{"_key":13287,"_type":13,"marks":13288,"text":25},"9b3d04c85ba6",[],[],{"_key":13291,"_type":9,"audioSize":4,"audioURL":4,"children":13292,"fileURL":4,"image":4,"markDefs":13314,"style":18},"f4c85ae2c0f3",[13293,13297,13301,13305,13310],{"_key":13294,"_type":13,"marks":13295,"text":13296},"c85adb52634b0",[],"During the preparation for the concerts, Dominik noticed that there was time for another shorter work and so he ask the flautist to play my ",{"_key":13298,"_type":13,"marks":13299,"text":7837},"531a5116121e",[13300],"caa43473456d",{"_key":13302,"_type":13,"marks":13303,"text":13304},"bbbbe8b45bdb",[],". This was superbly done by ",{"_key":13306,"_type":13,"marks":13307,"text":13309},"1a527f435af7",[13308],"4e9f96dd5d57","Dominique Hunziger",{"_key":13311,"_type":13,"marks":13312,"text":13313},"bdcaf9bbbe9e",[]," (who performed it again later several times) and marks the beginning of our friendship with him and his wife Anne.",[13315,13317],{"_key":13300,"_type":321,"reference":13316,"slug":7956,"type":510},{"_ref":7815,"_type":324},{"_key":13308,"_type":321,"reference":13318,"slug":7919,"type":326},{"_ref":7918,"_type":324},{"_key":13320,"_type":9,"audioSize":4,"audioURL":4,"children":13321,"fileURL":4,"image":4,"markDefs":13326,"style":18},"465e9ca6ad4a",[13322],{"_key":13323,"_type":13,"marks":13324,"text":13325},"236c69599fed",[],"2024",[],{"_key":13328,"_type":9,"audioSize":4,"audioURL":4,"children":13329,"fileURL":4,"image":4,"markDefs":13334,"style":18},"15ec1b9b36b8",[13330],{"_key":13331,"_type":13,"marks":13332,"text":13333},"5d4be25e3984",[],"Since I felt that there was so much good in this piece, I decided to revise it, with a view to making it simpler to perform. This meant making small changes to the men's choir parts, which although well done at the first performance, had sections which I felt were unnecessarily difficult. Especially in the last movement, where much of the choral writing was with \"approximate\" notation — with the idea of producing random clusters, something which was much more difficult for the singers than I had imagined. This has now been replaced with a precisely notated section based on the original plainsong (\"Oro supplex …\" + \"Lacrymosa …\") which is also doubled in the instrumental parts.",[],{"_key":13336,"_type":9,"audioSize":4,"audioURL":4,"children":13337,"fileURL":4,"image":4,"markDefs":13342,"style":18},"28c1b4225b0a",[13338],{"_key":13339,"_type":13,"marks":13340,"text":13341},"f4108c0ebea9",[],"I have added a Piano Reduction (Klavierauszug) which means that the singers will have less to carry for a performance. This and the other performing materials are attached here: ",[],{"_key":13344,"_type":9,"audioSize":4,"audioURL":4,"children":13345,"fileURL":4,"image":4,"markDefs":13349,"style":18},"dc7e2c848b4d",[13346],{"_key":13347,"_type":13,"marks":13348,"text":25},"6d1a7d08f86b",[],[],{"_key":13351,"_type":413,"audioSize":4,"audioURL":4,"description":13352,"file":13353,"fileURL":13356,"image":4,"markDefs":4},"a29dde25e7f9","Dies irae (full score)",{"_type":416,"asset":13354},{"_ref":13355,"_type":324},"file-90c84b924527975cc3d18721cca429a18c61f789-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F90c84b924527975cc3d18721cca429a18c61f789.pdf",{"_key":13358,"_type":9,"audioSize":4,"audioURL":4,"children":13359,"fileURL":4,"image":4,"markDefs":13363,"style":18},"cb1f5035c938",[13360],{"_key":13361,"_type":13,"marks":13362,"text":25},"9b51b4f7f9e4",[],[],{"_key":13365,"_type":413,"audioSize":4,"audioURL":4,"description":13366,"file":13367,"fileURL":13370,"image":4,"markDefs":4},"1ef0e14eb700","Dies irae (vocal score)",{"_type":416,"asset":13368},{"_ref":13369,"_type":324},"file-8bd4252c5d5714dff7c0dda72f73b38991445f19-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F8bd4252c5d5714dff7c0dda72f73b38991445f19.pdf",{"_key":13372,"_type":9,"audioSize":4,"audioURL":4,"children":13373,"fileURL":4,"image":4,"markDefs":13377,"style":18},"569b03bbba2c",[13374],{"_key":13375,"_type":13,"marks":13376,"text":25},"bd1d22a1349a",[],[],{"_key":13379,"_type":413,"audioSize":4,"audioURL":4,"description":13380,"file":13381,"fileURL":13384,"image":4,"markDefs":4},"f954ca81cc16","Dies irae (instrumental parts)",{"_type":416,"asset":13382},{"_ref":13383,"_type":324},"file-cda80e41ba1183bbe7e272565048f13742899973-zip","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fcda80e41ba1183bbe7e272565048f13742899973.zip",{"_key":13386,"_type":9,"audioSize":4,"audioURL":4,"children":13387,"fileURL":4,"image":4,"markDefs":13392,"style":18},"5edec48f35be",[13388],{"_key":13389,"_type":13,"marks":13390,"text":13391},"9abc01e1534f",[],"Here is the Swiss radio recording of the 4th movement. In the revised score I have corrected the curious order of the Latin text verses of the original version, but the mood remains the same:",[],{"_key":13394,"_type":9,"audioSize":4,"audioURL":4,"children":13395,"fileURL":4,"image":4,"markDefs":13399,"style":18},"4979d170645f",[13396],{"_key":13397,"_type":13,"marks":13398,"text":25},"407bdce1bbe3",[],[],{"_key":13401,"_type":423,"audio":13402,"audioSize":13405,"audioURL":13406,"caption":13407,"fileURL":4,"image":4,"markDefs":4,"musicians":13408},"66267a778a71",{"_type":416,"asset":13403},{"_ref":13404,"_type":324},"file-13b4e22d14d8cc893c8a8bebc58b1ee24cdd22bc-mp3",2345168,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F13b4e22d14d8cc893c8a8bebc58b1ee24cdd22bc.mp3","Dies irae 4th movement (original version)","Sängervereinigung Freundschaft, Frauenfeld. Leitung: Dominik Blum, Solosopran: Fiona Powell",{"_key":13410,"_type":9,"audioSize":4,"audioURL":4,"children":13411,"fileURL":4,"image":4,"markDefs":13415,"style":18},"43e93d7f2bc9",[13412],{"_key":13413,"_type":13,"marks":13414,"text":25},"8cb35f1f74800",[],[],{"_key":13417,"_type":9,"audioSize":4,"audioURL":4,"children":13418,"fileURL":4,"image":4,"markDefs":13422,"style":18},"59f58517b172",[13419],{"_key":13420,"_type":13,"marks":13421,"text":25},"3137a4d1c095",[],[],[],[13425,13428],{"_key":13426,"_type":366,"date":7951,"location":13427},"f2c7f85dbf8c","Frauenfeld, Switzerland",{"_key":13429,"_type":366,"date":7951,"location":5732},"ca3daa6fdc20","I was first asked for a work from our Russian friends for children's chorus and piano. It was at the time when the Chechen war was raging and so I wanted my piece to be a protest. I chose texts from Brigitte's father, Konrad Bänninger, Dies irae plus the original latin text from the requiem mass. We heard that it had been performed but not how it went!\n\n\n\nShortly afterwards I had the call from Dominik Blum asking for a piece for his men's choir. He also wanted to perform a work by Eliot Carter on the same program using flute, clarinet, violin, cello, piano and percussion and so this determined the instruments of the ensemble for my piece. At Dominik's suggestion, there was also a part for solo soprano, for Fiona.\n\n\n\nAll this meant that the piece had to be completely different from the work for children and piano, only the texts remained.\n\n\n\nDominik worked hard to make the work succeed, which in fact it did, although much of the piece was stylistically foreign for the choir members. However, by the time the choir came together with the instrumentalists and soloist (who were excellent) they started to understand the work and rose to the occasion producing performances which delighted audiences and critics. There were two performances, in Frauenfeld and in Winterthur—the latter was recorded by the Swiss radio. \n\nHere are two extracts of reviews of those performances from the local newspaper (plus English translations):\n\n\n\nAuftragswerk „Dies Irae“\n\nDas grösste Interesse an diesem Programm beansprucht aber das Auftragswerk „Dies Irae“ von Kit Powell, auf zwei Pfeilern ruhend: der klassischen „Dies Irae“-Sequenz des „Requiems“ und einem Gedicht von Konrad Bänninger, das der Toten, Verletzten und Vertriebenen des Weltkrieges gedenkt. Der Komponist verbindet sie zu einer Einheit, findet für die fragenden, tröstlichen Worte einfache, zu Herzen gehende Töne für eine Sopranstimme — meisterhaft gesungen von seiner Tochter Fiona Powell —, weist dem Chor sowohl kraftvoll aufwühlende wie auch resignierende Partien zu und setzt gewaltige dramatische Akzente in der Begleitung, namentlich im Schlagzeug.\n\nAuch wenn das Werk beim ersten Zuhören nicht leicht zu verstehen ist: Seiner Wirkung kann sich niemand entziehen. Der Komponist konnte sich nicht nur in Winterthur für herzlichen Beifall bedanken — man wird ihn auch in Frauenfeld feiern.\n\n\n\nWerner Raths, «Thurgauer Volkszeitung» 29. Mai, 1997\n\n\n\nCommissioned work „Dies Irae“\n\n\n\nThe greatest interest in this program, however, is the commissioned work \"Dies Irae\" by Kit Powell, resting on two pillars: the classic \"Dies Irae\" sequence of the \"Requiem\" and a poem by Konrad Bänninger that commemorates the dead, injured and displaced of the World War. The composer combines them into a unity, finds simple, heartfelt tones for the questioning, comforting words for a soprano voice — masterfully sung by his daughter Fiona Powell —, assigns the choir both powerfully stirring and reconciling parts and sets huge dramatic accents in the accompaniment, especially in the percussion.\n\n\n\nEven if the work is not easy to understand at first hearing, no one can escape its effect. The composer was not only able to thank the audience for the warm applause in Winterthur - he will also be celebrated in Frauenfeld.\n\n\n\nWerner Raths, «Thurgauer Volkszeitung» 29 May, 1997\n\n\n\nHöhepunkt: «Dies Irae»\n\nDer Höhepunkt des Konzertes brachte die Uraufführung des etwa eine halbe Stunde dauernden Auftragswerkes: «Dies Irae» für Sopransolo, Männerchor und sechs Instrumentalisten von Kit Powell. Neben der traditionellen Sequenz aus dein liturgischen Requiemtext ist noch ein Gedicht von Konrad Bänninger aus dem Jahre 1918 mitvertont, «Dies Irae», besticht durch die ebenso souveräne wie auch ökonomische Handhabung der eingesetzten Mittel. Der Chor muss bald flüstern und zischen, psalmodiert gelegentlich auf einem einzigen Ton, fächert sich zu wundervoller Vielstimmigkeit auf oder produziert gar clusterartige Klänge. Die melodisch anspruchsvollsten Partien sind dem Solosopran zugewiesen, von der Tochter des Komponisten Fiona Powell mit stimmlicher und intonatorischer Meisterschaft grossartig interpretiert. Starke Akzente setzt dazu aber auch das Instrumentalsextett. Dominik Blum brachte das Werk mit seinen Leuten zu einer imponierenden und eindrucksvollen Wiedergabe, und zum Schluss durften sich Interpreten und Komponist für viel herzlichen Beifall bedanken.\n\n\n\nRudolf Werner, «Thurgauer Volkszeitung» 4. Juni, 1997\n\n\n\nHighlight: «Dies Irae»\n\nThe highlight of the concert was the premiere of the half-hour-long commissioned work: «Dies Irae» for soprano solo, male choir and six instrumentalists by Kit Powell. In addition to the traditional sequence from the liturgical requiem text, a poem by Konrad Bänninger from 1918 is also set to music. «Dies Irae» impresses with its confident and economical use of the means used. The choir is required to whisper and hiss, occasionally to intone on a single note, and then fans out into wonderful polyphony or even cluster-like sounds. The most melodically demanding parts are assigned to the solo soprano, brilliantly interpreted by the composer's daughter Fiona Powell with vocal and intonation mastery. The instrumental sextet also sets strong accents. Dominik Blum and his team gave an impressive and splendid performance of the work, and at the end the performers and composer were able to thank everyone for the very enthusiastic applause.\n\nRudolf Werner, «Thurgauer Volkszeitung» June 4, 1997\n\n\n\nDuring the preparation for the concerts, Dominik noticed that there was time for another shorter work and so he ask the flautist to play my Flötenspieler und Fledermäuse. This was superbly done by Dominique Hunziger (who performed it again later several times) and marks the beginning of our friendship with him and his wife Anne.\n\n2024\n\nSince I felt that there was so much good in this piece, I decided to revise it, with a view to making it simpler to perform. This meant making small changes to the men's choir parts, which although well done at the first performance, had sections which I felt were unnecessarily difficult. Especially in the last movement, where much of the choral writing was with \"approximate\" notation — with the idea of producing random clusters, something which was much more difficult for the singers than I had imagined. This has now been replaced with a precisely notated section based on the original plainsong (\"Oro supplex …\" + \"Lacrymosa …\") which is also doubled in the instrumental parts.\n\nI have added a Piano Reduction (Klavierauszug) which means that the singers will have less to carry for a performance. This and the other performing materials are attached here: \n\n\n\n\n\n\n\nHere is the Swiss radio recording of the 4th movement. In the revised score I have corrected the curious order of the Latin text verses of the original version, but the mood remains the same:\n\n\n\n\n\n",{"_type":375,"current":13432},"dies-irae",{"commissioned":13434,"date":7491,"instrumentation":13435},"Sängervereinigung Freundschaft","soprano, men’s chorus TTBB and chamber ensemble",82,{"_id":13438,"chapters":13439,"content":13440,"images":14232,"performances":14235,"rawPoem":14239,"rawText":14240,"slug":14241,"title":13528,"workInfo":14243,"workNumber":14245},"97a4789b-43e5-4feb-9b9e-15c5edc11c4e",[],[13441,13518,13542,13560,13570,13578,13589,13597,13604,13611,13619,13643,13651,13687,13694,13714,13721,13741,13748,13768,13775,13795,13802,13822,13829,13849,13856,13876,13883,13918,13926,13946,13953,13973,13980,14000,14007,14027,14034,14054,14061,14081,14088,14108,14115,14143,14151,14159,14167,14175,14183,14190,14197,14204,14211,14218,14225],{"_key":13442,"_type":9,"audioSize":4,"audioURL":4,"children":13443,"fileURL":4,"image":4,"markDefs":13505,"style":18},"d1a410a9ecc9",[13444,13448,13452,13455,13459,13463,13467,13471,13476,13480,13484,13488,13493,13497,13501],{"_key":13445,"_type":13,"marks":13446,"text":13447},"0c902bb064d2",[],"After years of promising we were invited to Russia. ",{"_key":13449,"_type":13,"marks":13450,"text":10364},"66fd4dba6336",[13451],"6c6708200065",{"_key":13453,"_type":13,"marks":13454,"text":2625},"a0c7ede25c71",[],{"_key":13456,"_type":13,"marks":13457,"text":10390},"1fe3d50f74d7",[13458],"e59771e0f61c",{"_key":13460,"_type":13,"marks":13461,"text":13462},"c567979dc8f9",[]," now had an actors’ school in Pushkin, about 30 Km from St Petersburg and each summer they arranged a festival of performing arts. The theme of this year’s festival was “Babel”. We were offered two concerts, one of my own works and one with Swiss works to the theme Babel. I suggested bringing the brass group that Philip played in (Brasserie) and Fiona as soprano and a pianist, ",{"_key":13464,"_type":13,"marks":13465,"text":5922},"400fbef51e1b",[13466],"f1c9ad5433a0",{"_key":13468,"_type":13,"marks":13469,"text":13470},"06d2c44320c7",[]," and of course Brigitte was also invited. Suddenly I became an organiser, an impresario! I telephoned and faxed constantly with Russia, I put in an application to ",{"_key":13472,"_type":13,"marks":13473,"text":13475},"7e48e1637fa2",[13474,73],"7b698beb0889","pro Helvetia",{"_key":13477,"_type":13,"marks":13478,"text":13479},"b9e465f1e5cd",[]," for a grant (which was approved) for our travel expenses, I applied for visas for the whole troupe and even had to drive twice to Bern to the Russian Embassy in this connection. I also suggested that ",{"_key":13481,"_type":13,"marks":13482,"text":3405},"f99caa37d631",[13483],"c302c6ca606c",{"_key":13485,"_type":13,"marks":13486,"text":13487},"93c2f1bc4361",[]," should write texts and be invited. He wrote them and they invited him but he failed to get a travel grant from New Zealand. The only Swiss work I found on the theme was a work which Dominik knew from his once teacher: ",{"_key":13489,"_type":13,"marks":13490,"text":13492},"4556ce968dd1",[13491],"93f73f362355","Urs Peter Schneider",{"_key":13494,"_type":13,"marks":13495,"text":13496},"092d0d860212",[],". It was called ",{"_key":13498,"_type":13,"marks":13499,"text":13500},"d6a7405c3c96",[73],"Babel",{"_key":13502,"_type":13,"marks":13503,"text":13504},"266fcc386041",[]," and was an open form piece and therefore could be easily adapted to our group of instruments.",[13506,13508,13510,13512,13514,13516],{"_key":13474,"_type":316,"href":13507},"https:\u002F\u002Fprohelvetia.ch\u002Fen\u002F",{"_key":13491,"_type":316,"href":13509},"https:\u002F\u002Fde.wikipedia.org\u002Fwiki\u002FUrs_Peter_Schneider",{"_key":13451,"_type":321,"reference":13511,"slug":9521,"type":326},{"_ref":9520,"_type":324},{"_key":13458,"_type":321,"reference":13513,"slug":9517,"type":326},{"_ref":9516,"_type":324},{"_key":13466,"_type":321,"reference":13515,"slug":5931,"type":326},{"_ref":5930,"_type":324},{"_key":13483,"_type":321,"reference":13517,"slug":3414,"type":326},{"_ref":3413,"_type":324},{"_key":13519,"_type":9,"audioSize":4,"audioURL":4,"children":13520,"fileURL":4,"image":4,"markDefs":13541,"style":18},"a424b45e550a",[13521,13525,13529,13533,13537],{"_key":13522,"_type":13,"marks":13523,"text":13524},"f18ae4f322b90",[],"Michael’s idea for ",{"_key":13526,"_type":13,"marks":13527,"text":13528},"f18ae4f322b91",[73],"After Babel",{"_key":13530,"_type":13,"marks":13531,"text":13532},"f18ae4f322b92",[]," was the recreation of language, but how the texts actually showed this was not always clear. This, however, was no problem, I know his style so well and enjoy setting his texts and, as always, he made very concrete suggestions of musical ideas to them. One of his suggestions which I was able to realise, was the use of a tape as a frame before and after the piece in which one would hear a collage of voices dictating the alphabet in their own language and this Babel of alphabets would lead into the first (at the beginning) and the last (at the end) stanzas of the ",{"_key":13534,"_type":13,"marks":13535,"text":13536},"f18ae4f322b93",[73],"Divine Comedy",{"_key":13538,"_type":13,"marks":13539,"text":13540},"f18ae4f322b94",[],". Among my students and friends I found French, German, English, Czech, Turkish and Italian. Our Italian-speaker neighbour also read the Dante texts which were heard and the beginning and end of the piece.",[],{"_key":13543,"_type":9,"audioSize":4,"audioURL":4,"children":13544,"fileURL":4,"image":4,"markDefs":13557,"style":18},"04f34c0a87bd",[13545,13549,13553],{"_key":13546,"_type":13,"marks":13547,"text":13548},"f0d906b3f77b0",[],"I was concerned that the piece should not sound like a concatination of songs and so suggested to Michael that we use my ",{"_key":13550,"_type":13,"marks":13551,"text":6028},"0a0e2a6181f2",[13552],"095c7fea1f7c",{"_key":13554,"_type":13,"marks":13555,"text":13556},"230f791da2de",[]," and that his six texts be halved so that one would hear the second half of each song as a ‘reflection’ of its first half. 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Menuett 2",[],{"_key":13947,"_type":423,"audio":13948,"audioSize":13951,"audioURL":13952,"caption":13944,"fileURL":4,"image":4,"markDefs":4},"79058a9c4459",{"_type":416,"asset":13949},{"_ref":13950,"_type":324},"file-cbf54c872f031e1345ffbfb3c611e10bd2560ee1-mp3",2229769,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fcbf54c872f031e1345ffbfb3c611e10bd2560ee1.mp3",{"_key":13954,"_type":754,"audioSize":4,"audioURL":4,"fileURL":4,"hideTitle":3086,"image":4,"markDefs":4,"poem":13955,"title":13964},"f75fc04008b0",[13956],{"_key":13957,"_type":9,"children":13958,"markDefs":13963,"style":18},"daf8698297ad",[13959],{"_key":13960,"_type":13,"marks":13961,"text":13962},"172cbba16f790",[],"Who cannot fly, cannot imagine\ncannot fly, cannot imagine.\nOh, put the world together\nbut not with your hands\nevery sentence is a sound\nLike the earth itself\nHië, Hië, the song we hear …\nlike the earth itself\nevery word was once a poem",[],[13965],{"_key":13966,"_type":9,"children":13967,"markDefs":13972,"style":18},"5a705ff9ab2d",[13968],{"_key":13969,"_type":13,"marks":13970,"text":13971},"f2ba26968d6c",[15,73],"11. Earth",[],{"_key":13974,"_type":423,"audio":13975,"audioSize":13978,"audioURL":13979,"caption":13971,"fileURL":4,"image":4,"markDefs":4},"fc235e024876",{"_type":416,"asset":13976},{"_ref":13977,"_type":324},"file-98a65f2556618501cd3c1a05520678d0ac6ca97e-mp3",1607428,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F98a65f2556618501cd3c1a05520678d0ac6ca97e.mp3",{"_key":13981,"_type":754,"audioSize":4,"audioURL":4,"fileURL":4,"hideTitle":3086,"image":4,"markDefs":4,"poem":13982,"title":13991},"45891f4f11fc",[13983],{"_key":13984,"_type":9,"children":13985,"markDefs":13990,"style":18},"7537405f945c",[13986],{"_key":13987,"_type":13,"marks":13988,"text":13989},"169a23b4bb460",[],"At the House of Babel, someone\nHas to be first, and since\nYou are the last, at the end\nIs our beginning, at the end\nIs our beginning, stepping out\nOf an old story, you are stepping out \nOf an old story, you remember\nHow it was, at the end is our beginning, \nHow it was the voices of our children \nNot yet torn in the whirlwind of words, \nNot yet dumb under the tongue,\nThe voices of our children\nThe lost noises of the sun . . .",[],[13992],{"_key":13993,"_type":9,"children":13994,"markDefs":13999,"style":18},"10e2c11492b6",[13995],{"_key":13996,"_type":13,"marks":13997,"text":13998},"f552d58904c4",[15,73],"12. At the House of Babel 1",[],{"_key":14001,"_type":423,"audio":14002,"audioSize":14005,"audioURL":14006,"caption":13998,"fileURL":4,"image":4,"markDefs":4},"ed998a7ecdb7",{"_type":416,"asset":14003},{"_ref":14004,"_type":324},"file-3a98cf101ae6591702458b3402b1bc13df73e60a-mp3",1283927,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F3a98cf101ae6591702458b3402b1bc13df73e60a.mp3",{"_key":14008,"_type":754,"audioSize":4,"audioURL":4,"fileURL":4,"hideTitle":3086,"image":4,"markDefs":4,"poem":14009,"title":14018},"623dba16649c",[14010],{"_key":14011,"_type":9,"children":14012,"markDefs":14017,"style":18},"d40690c605c0",[14013],{"_key":14014,"_type":13,"marks":14015,"text":14016},"91a394f0fb9b0",[],"Such wonder-wit of body-talk\nLogo-grammatikos, of body-talk\nIn undulating signs, but once\nIn special at a Gipsy Fair in Whakatane\nThis T-shirt Logogram, inside\nThe lining of a word, just walking by\nA philosophic owl, you read across\nA body that is a book, I don't know\nWhy or how, or why it is, but oh,\nYou make my penis whistle—dear heart,\nHow like you this…?",[],[14019],{"_key":14020,"_type":9,"children":14021,"markDefs":14026,"style":18},"d53d4c2efc27",[14022],{"_key":14023,"_type":13,"marks":14024,"text":14025},"d75f92d57e31",[15,73],"13. T-Shirt Logogrammatikos 2",[],{"_key":14028,"_type":423,"audio":14029,"audioSize":14032,"audioURL":14033,"caption":14025,"fileURL":4,"image":4,"markDefs":4},"f4a6e50103d9",{"_type":416,"asset":14030},{"_ref":14031,"_type":324},"file-bd7d08601d6e81ddd65e6d41c0bbd9451323aa47-mp3",1557273,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fbd7d08601d6e81ddd65e6d41c0bbd9451323aa47.mp3",{"_key":14035,"_type":754,"audioSize":4,"audioURL":4,"fileURL":4,"hideTitle":3086,"image":4,"markDefs":4,"poem":14036,"title":14045},"c08280e54da2",[14037],{"_key":14038,"_type":9,"children":14039,"markDefs":14044,"style":18},"73dab26ae42f",[14040],{"_key":14041,"_type":13,"marks":14042,"text":14043},"819f8930f3430",[],"Oh, speechbearer of the dark\nI hear rising under your tongue\nA small sound; this…this…this…\nThe running-water-fall\nOf your words: let one word fly\nTo another with astonishing desire\nI believe you when you say\nYou would like to appear, and right now\nAs a constellation in a northern sky,\nYou say, speechbearer of the dark,\nYou say, let us peel with our hands\nCucumbers and mad-apples for our\nSimple dinner…",[],[14046],{"_key":14047,"_type":9,"children":14048,"markDefs":14053,"style":18},"d5c08642d19c",[14049],{"_key":14050,"_type":13,"marks":14051,"text":14052},"6e4ea0a07593",[],"14. Cucumbers and Mad Apples 2",[],{"_key":14055,"_type":423,"audio":14056,"audioSize":14059,"audioURL":14060,"caption":14052,"fileURL":4,"image":4,"markDefs":4},"e2424ec89f88",{"_type":416,"asset":14057},{"_ref":14058,"_type":324},"file-ce3b79efcd31d0b9b881ef28d674dc30f1465e19-mp3",2611366,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fce3b79efcd31d0b9b881ef28d674dc30f1465e19.mp3",{"_key":14062,"_type":754,"audioSize":4,"audioURL":4,"fileURL":4,"hideTitle":3086,"image":4,"markDefs":4,"poem":14063,"title":14072},"23441bba05c2",[14064],{"_key":14065,"_type":9,"children":14066,"markDefs":14071,"style":18},"6f75c8a61fde",[14067],{"_key":14068,"_type":13,"marks":14069,"text":14070},"47f40b3391ef0",[],"At the counting-house when you\nArrive, such dark birds against\nThe light, you remember how it was\nYou are shaking hands\nWith the front door, with the back door,\nAnd you brush the window with your sleeve\nThis halo of light, and you peer\nInside, and you see: the dead are seated\nIn their chairs, small hills of salt\nBeside them, in their hands an offering\nOf stones, and rising on the air,\nTheir voices, one by one, you hear\nTheir voices, they are calling out\nTheir names, and the lost noises of the sun.",[],[14073],{"_key":14074,"_type":9,"children":14075,"markDefs":14080,"style":18},"6a8c8ca21efe",[14076],{"_key":14077,"_type":13,"marks":14078,"text":14079},"d1ca38717174",[15,73],"15. At the House of Babel 2",[],{"_key":14082,"_type":423,"audio":14083,"audioSize":14086,"audioURL":14087,"caption":14079,"fileURL":4,"image":4,"markDefs":4},"e9fad5c0d8b9",{"_type":416,"asset":14084},{"_ref":14085,"_type":324},"file-99f9f6893186beef60e371827cd5be7338313e44-mp3",1159794,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F99f9f6893186beef60e371827cd5be7338313e44.mp3",{"_key":14089,"_type":754,"audioSize":4,"audioURL":4,"fileURL":4,"hideTitle":3086,"image":4,"markDefs":4,"poem":14090,"title":14099},"cbaf043d42fe",[14091],{"_key":14092,"_type":9,"children":14093,"markDefs":14098,"style":18},"afdf5221f5c1",[14094],{"_key":14095,"_type":13,"marks":14096,"text":14097},"1846ea2be9270",[],"Words need to dream again\nto dream again,\nlike the fire itself\nwords need to dream again\nWho cannot fly, cannot imagine\nevery sentence is a sound\nwords need to dream again, dream again\nevery word was once a poem\nevery word was once a poem",[],[14100],{"_key":14101,"_type":9,"children":14102,"markDefs":14107,"style":18},"6782546eb3cb",[14103],{"_key":14104,"_type":13,"marks":14105,"text":14106},"5574b92337fa",[15,73],"16. Fire",[],{"_key":14109,"_type":423,"audio":14110,"audioSize":14113,"audioURL":14114,"caption":14106,"fileURL":4,"image":4,"markDefs":4},"74bfae7f8bed",{"_type":416,"asset":14111},{"_ref":14112,"_type":324},"file-a70f2e7c2bbd6fc163514acd5833c2a535aa7463-mp3",2305420,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fa70f2e7c2bbd6fc163514acd5833c2a535aa7463.mp3",{"_key":14116,"_type":754,"audioSize":4,"audioURL":4,"fileURL":4,"hideTitle":3086,"image":4,"markDefs":4,"poem":14117,"title":14134},"81bf2c7e38c7",[14118,14126],{"_key":14119,"_type":9,"children":14120,"markDefs":14125,"style":18},"4f28bb697403",[14121],{"_key":14122,"_type":13,"marks":14123,"text":14124},"96b2ed6de7a40",[],"Alphabeths",[],{"_key":14127,"_type":9,"children":14128,"markDefs":14133,"style":18},"195ab4c2f452",[14129],{"_key":14130,"_type":13,"marks":14131,"text":14132},"661257e10277",[],"A l'alta fantasia qui mancò possa:\nma già volgeva il mio disìo e ‘l velle,\nsi come rota ch' igualmente è mossa,\nl'amor che move il sole e l'altre stelle.",[],[14135],{"_key":14136,"_type":9,"children":14137,"markDefs":14142,"style":18},"ef93d24fa696",[14138],{"_key":14139,"_type":13,"marks":14140,"text":14141},"f2b634c5639c",[],"Epilogue from Dante",[],{"_key":14144,"_type":9,"audioSize":4,"audioURL":4,"children":14145,"fileURL":4,"image":4,"markDefs":14150,"style":18},"c3ac55beed46",[14146],{"_key":14147,"_type":13,"marks":14148,"text":14149},"97b60953b1cf",[15],"Revision 2024",[],{"_key":14152,"_type":9,"audioSize":4,"audioURL":4,"children":14153,"fileURL":4,"image":4,"markDefs":14158,"style":18},"f0b1f1297ec2",[14154],{"_key":14155,"_type":13,"marks":14156,"text":14157},"728114521c0e",[],"The main purpose was to produce a clearer score which any interested group could perform and to correct passages which were unnecessarily complicated. I also decided to include a version in which the approximate notation (AP) for the sung part is replaced by a precise notation (PN) version for sopranos who \"do not wish to risk singing their own notes\". ",[],{"_key":14160,"_type":9,"audioSize":4,"audioURL":4,"children":14161,"fileURL":4,"image":4,"markDefs":14166,"style":18},"7c644aca7319",[14162],{"_key":14163,"_type":13,"marks":14164,"text":14165},"43ef1e26421e",[15],"Performing Material for \"After Babel\":",[],{"_key":14168,"_type":9,"audioSize":4,"audioURL":4,"children":14169,"fileURL":4,"image":4,"markDefs":14174,"style":18},"43ca44692c56",[14170],{"_key":14171,"_type":13,"marks":14172,"text":14173},"351be4d34a99",[],"There is no separate Piano Part. It is expected that the pianist will play from the full score.",[],{"_key":14176,"_type":9,"audioSize":4,"audioURL":4,"children":14177,"fileURL":4,"image":4,"markDefs":14182,"style":18},"130fc80794c0",[14178],{"_key":14179,"_type":13,"marks":14180,"text":14181},"57bc2d66a8fb",[],"I have a tape which we used for the Russian performance, but I would encourage performers to make their own Prologue and Epilogue",[],{"_key":14184,"_type":9,"audioSize":4,"audioURL":4,"children":14185,"fileURL":4,"image":4,"markDefs":14189,"style":18},"09146b7b1dbd",[14186],{"_key":14187,"_type":13,"marks":14188,"text":25},"137dd66aca7b",[],[],{"_key":14191,"_type":413,"audioSize":4,"audioURL":4,"description":14192,"file":14193,"fileURL":14196,"image":4,"markDefs":4},"9a214be607d1","After Babel (AN) full score",{"_type":416,"asset":14194},{"_ref":14195,"_type":324},"file-7e71bd0aff154291c598d46b3e6c60d7dc0139d2-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F7e71bd0aff154291c598d46b3e6c60d7dc0139d2.pdf",{"_key":14198,"_type":9,"audioSize":4,"audioURL":4,"children":14199,"fileURL":4,"image":4,"markDefs":14203,"style":18},"ddf7c7f112d5",[14200],{"_key":14201,"_type":13,"marks":14202,"text":25},"179a6fb1689f",[],[],{"_key":14205,"_type":413,"audioSize":4,"audioURL":4,"description":14206,"file":14207,"fileURL":14210,"image":4,"markDefs":4},"8f626d6e9a3e","After Babel (PN) full score",{"_type":416,"asset":14208},{"_ref":14209,"_type":324},"file-30ee583b209dc860ec7ca770bdfd9034475bdd12-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F30ee583b209dc860ec7ca770bdfd9034475bdd12.pdf",{"_key":14212,"_type":9,"audioSize":4,"audioURL":4,"children":14213,"fileURL":4,"image":4,"markDefs":14217,"style":18},"b164d6e7b74a",[14214],{"_key":14215,"_type":13,"marks":14216,"text":25},"c410a0ae498e",[],[],{"_key":14219,"_type":413,"audioSize":4,"audioURL":4,"description":14220,"file":14221,"fileURL":14224,"image":4,"markDefs":4},"8e192da18a70","After Babel (brass parts)",{"_type":416,"asset":14222},{"_ref":14223,"_type":324},"file-ab4a206c930aaefef4cf2744f6f1e603d54cec85-zip","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fab4a206c930aaefef4cf2744f6f1e603d54cec85.zip",{"_key":14226,"_type":9,"audioSize":4,"audioURL":4,"children":14227,"fileURL":4,"image":4,"markDefs":14231,"style":18},"41bca055f514",[14228],{"_key":14229,"_type":13,"marks":14230,"text":25},"ebf85d94dd6b",[],[],[14233],{"caption":13562,"id":13564,"meta":14234,"parentID":13438,"parentType":510,"url":13569},{"_type":506,"aspectRatio":13566,"height":13567,"width":13568},[14236],{"_key":14237,"_type":366,"date":7491,"location":7492,"performers":14238},"ff627769d78d","Fiona Powell and Ensemble ","Nel mezzo del cammin di nostra vita\nmi ritrovai per una selva oscura,\nché la diritta via era smarrita\n\n𝚰𝜼, 𝚰𝜼, 𝚷𝛼ιηο𝛎, Ά𝛋ο𝛎ο𝛍𝛆𝛎\n\nHië, Hië, the song we hear…\nHië, Hië, the song we hear…\n\nLike the air itself\nwords want wings\nWho cannot fly, cannot imagine\ncannot fly, cannot imagine.\nOh, put the world together\nbut not with your hands\nevery sentence is a sound\n​words want wings\n\nHurry up and slow down\nThis deep down darkness of wood\n         ​​Hurry up and slow down\nHaving nowhere to go, nowhere\nat all, we hurry to arrive there\non time, Hurry up and slow down\nTrying to climb into our heaven on our\n​​​​​                                                 own\n\nKorimako sings:\nGott kann mir sagen,\n​en archài o logos\n​inside the lining of a word\n​a word. . . a word. . . a word\n​(remember that half the lies\n​are true, and truer still,\n​the other half are, too)\n\nYou say the body is a book\nAnd you would like to walk it\n​Round the world, that somewhere\n​You are being read, yes, someone\n​Is touching you with her eyes,\n​Such syllables of heart rippling\n​Down the line, just what you've\n​Had in mind when you say the body\n​Is a book, oh, T-Shirt Logogrammatikos,\n​Logo-grammatikos\n\nOh, this rousing darkness of wood\n          Hurry up and slow down\nAs if we would, as if we could\n          Hurry up and slow down\nour heel-tapping shadow, out-step\nour heel-tapping shadow, out-step\n          into the night\n          into the night\nhurry up and slow down\n          the light comes stealing\n\nLike the water itself\nthe silence is\nthe song we hear\nlike the water itself\nchasing time\nevery sentence is a sound \nOh, put the world together \nbut not with your hands\n\nAuge geht and Ego – ist\nMein eye goes on a walk to see \nItself in miniature, and yes\nThe world returns itself in small,\nAnd all of this before the Fall,\nOh Microzoic Menuett, Microzoic Menuett;\nAnd all of this before the Fall,\n\nOh, speechbearer of the dark\nYou would make luminous, let us \nPeel with our hands cucumbers\nAnd mad-apples, you declare\nThat we live in a time of too\nMany words without wings—\nAlready there is heavy traffic\nIn the dark, the jargon-tumbrils\nHeavy and dumb, sharpened\nAt all hours is the knife…\n\nSings Korimako:\nAm Anfang war die Tat\nOne word, world-word\nIn the beginning the deep history\nof a word … a word, world-word\ninto the night, into the night\nthe light comes stealing\nTe ao hurihuri, Ahi . . .\n\n(the evercircling light)\n\nAnd so you see in Microzoic Menuett\nThat looking aus is looking in\nUnd Ego — ist out walking zu,\nTo Seele itself in miniature,\nTo Seele itself in kleinen so,\nOh, Microzoic Menuett, Ego — ist\nOut walking zu, and all of this\nBefore the Fall …\n\nWho cannot fly, cannot imagine\ncannot fly, cannot imagine.\nOh, put the world together\nbut not with your hands\nevery sentence is a sound\nLike the earth itself\nHië, Hië, the song we hear …\nlike the earth itself\nevery word was once a poem\n\nAt the House of Babel, someone\nHas to be first, and since\nYou are the last, at the end\nIs our beginning, at the end\nIs our beginning, stepping out\nOf an old story, you are stepping out \nOf an old story, you remember\nHow it was, at the end is our beginning, \nHow it was the voices of our children \nNot yet torn in the whirlwind of words, \nNot yet dumb under the tongue,\nThe voices of our children\nThe lost noises of the sun . . .\n\nSuch wonder-wit of body-talk\nLogo-grammatikos, of body-talk\nIn undulating signs, but once\nIn special at a Gipsy Fair in Whakatane\nThis T-shirt Logogram, inside\nThe lining of a word, just walking by\nA philosophic owl, you read across\nA body that is a book, I don't know\nWhy or how, or why it is, but oh,\nYou make my penis whistle—dear heart,\nHow like you this…?\n\nOh, speechbearer of the dark\nI hear rising under your tongue\nA small sound; this…this…this…\nThe running-water-fall\nOf your words: let one word fly\nTo another with astonishing desire\nI believe you when you say\nYou would like to appear, and right now\nAs a constellation in a northern sky,\nYou say, speechbearer of the dark,\nYou say, let us peel with our hands\nCucumbers and mad-apples for our\nSimple dinner…\n\nAt the counting-house when you\nArrive, such dark birds against\nThe light, you remember how it was\nYou are shaking hands\nWith the front door, with the back door,\nAnd you brush the window with your sleeve\nThis halo of light, and you peer\nInside, and you see: the dead are seated\nIn their chairs, small hills of salt\nBeside them, in their hands an offering\nOf stones, and rising on the air,\nTheir voices, one by one, you hear\nTheir voices, they are calling out\nTheir names, and the lost noises of the sun.\n\nWords need to dream again\nto dream again,\nlike the fire itself\nwords need to dream again\nWho cannot fly, cannot imagine\nevery sentence is a sound\nwords need to dream again, dream again\nevery word was once a poem\nevery word was once a poem\n\nAlphabeths\n\nA l'alta fantasia qui mancò possa:\nma già volgeva il mio disìo e ‘l velle,\nsi come rota ch' igualmente è mossa,\nl'amor che move il sole e l'altre stelle.","After years of promising we were invited to Russia. Mischa and Yuri now had an actors’ school in Pushkin, about 30 Km from St Petersburg and each summer they arranged a festival of performing arts. The theme of this year’s festival was “Babel”. We were offered two concerts, one of my own works and one with Swiss works to the theme Babel. I suggested bringing the brass group that Philip played in (Brasserie) and Fiona as soprano and a pianist, Dominik Blum and of course Brigitte was also invited. Suddenly I became an organiser, an impresario! I telephoned and faxed constantly with Russia, I put in an application to pro Helvetia for a grant (which was approved) for our travel expenses, I applied for visas for the whole troupe and even had to drive twice to Bern to the Russian Embassy in this connection. I also suggested that Michael Harlow should write texts and be invited. He wrote them and they invited him but he failed to get a travel grant from New Zealand. The only Swiss work I found on the theme was a work which Dominik knew from his once teacher: Urs Peter Schneider. It was called Babel and was an open form piece and therefore could be easily adapted to our group of instruments.\n\nMichael’s idea for After Babel was the recreation of language, but how the texts actually showed this was not always clear. This, however, was no problem, I know his style so well and enjoy setting his texts and, as always, he made very concrete suggestions of musical ideas to them. One of his suggestions which I was able to realise, was the use of a tape as a frame before and after the piece in which one would hear a collage of voices dictating the alphabet in their own language and this Babel of alphabets would lead into the first (at the beginning) and the last (at the end) stanzas of the Divine Comedy. Among my students and friends I found French, German, English, Czech, Turkish and Italian. Our Italian-speaker neighbour also read the Dante texts which were heard and the beginning and end of the piece.\n\nI was concerned that the piece should not sound like a concatination of songs and so suggested to Michael that we use my Abelian Form and that his six texts be halved so that one would hear the second half of each song as a ‘reflection’ of its first half. We also decided to use the \"4 Elements\" as a basis for the texts which would form the \"Leading Diagonal\" of the Abelian Form:\n\nHe agreed and told me where to cut.\n\nHere is a recording of the complete work \n\nPerformed in Pushkin, near St Petersburg, Russia, in 1995,  solo soprano: Fiona Powell, Piano: Dominik Blum, Ensemble: Brasserie\n\nAfter Babel\n\n\n\nMichael Harlow Texts 1 – 16\n\nRevision 2024\n\nThe main purpose was to produce a clearer score which any interested group could perform and to correct passages which were unnecessarily complicated. I also decided to include a version in which the approximate notation (AP) for the sung part is replaced by a precise notation (PN) version for sopranos who \"do not wish to risk singing their own notes\". \n\nPerforming Material for \"After Babel\":\n\nThere is no separate Piano Part. It is expected that the pianist will play from the full score.\n\nI have a tape which we used for the Russian performance, but I would encourage performers to make their own Prologue and Epilogue\n\n\n\n\n\n\n\n",{"_type":375,"current":14242},"after-babel",{"date":7491,"instrumentation":14244,"length":3615},"soprano, piano & brass quartet",83,{"_id":14247,"chapters":14248,"content":14249,"images":14297,"performances":4,"rawPoem":4,"rawText":14300,"slug":14301,"title":14303,"workInfo":14304,"workNumber":14307},"8e825187-72c5-4f5d-ba74-55a358b9472e",[],[14250,14267,14274,14283,14290],{"_key":14251,"_type":9,"audioSize":4,"audioURL":4,"children":14252,"fileURL":4,"image":4,"markDefs":14264,"style":18},"c7f02eaa53f0",[14253,14257,14261],{"_key":14254,"_type":13,"marks":14255,"text":14256},"3dadc3182d9f",[],"Arranged from the section of the same name in ",{"_key":14258,"_type":13,"marks":14259,"text":13528},"4bdf1c3f7774",[14260],"a17d94aac857",{"_key":14262,"_type":13,"marks":14263,"text":2020},"d565ac9115b0",[],[14265],{"_key":14260,"_type":321,"reference":14266,"slug":14242,"type":510},{"_ref":13438,"_type":324},{"_key":14268,"_type":9,"audioSize":4,"audioURL":4,"children":14269,"fileURL":4,"image":4,"markDefs":14273,"style":18},"42b701af29a7",[14270],{"_key":14271,"_type":13,"marks":14272,"text":25},"5c1d30b53cb8",[],[],{"_key":14275,"_type":500,"audioSize":4,"audioURL":4,"caption":14276,"fileURL":4,"image":14277,"markDefs":4},"45a5555c8737","Korimako, Māori for \"Bellbird\"",{"caption":4,"id":14278,"meta":14279,"parentID":4,"parentType":510,"url":14282},"dba023e59fdcb93febc3cfd113015b99a7ec8a96",{"_type":506,"aspectRatio":14280,"height":1064,"width":14281},0.7159763313609467,605,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fdba023e59fdcb93febc3cfd113015b99a7ec8a96-605x845.jpg",{"_key":14284,"_type":413,"audioSize":4,"audioURL":4,"description":14285,"file":14286,"fileURL":14289,"image":4,"markDefs":4},"4e80b568eb63","Full Score",{"_type":416,"asset":14287},{"_ref":14288,"_type":324},"file-8b187a9dd0b566aa7969e400b784e63a06c0b0f0-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F8b187a9dd0b566aa7969e400b784e63a06c0b0f0.pdf",{"_key":14291,"_type":413,"audioSize":4,"audioURL":4,"description":14292,"file":14293,"fileURL":14296,"image":4,"markDefs":4},"4ef4653463f1","Flute Part",{"_type":416,"asset":14294},{"_ref":14295,"_type":324},"file-9b1b2bfeefaffa04ec3d9dbb3b99db97df11c100-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F9b1b2bfeefaffa04ec3d9dbb3b99db97df11c100.pdf",[14298],{"caption":14276,"id":14278,"meta":14299,"parentID":14247,"parentType":510,"url":14282},{"_type":506,"aspectRatio":14280,"height":1064,"width":14281},"Arranged from the section of the same name in After Babel.\n\n",{"_type":375,"current":14302},"korimako","Korimako",{"date":3998,"instrumentation":14305,"text":14306},"Flute, Piano (& Ratchet)","Inspired by Michael Harlow's Poem \"Korimako\"",83.1,{"_id":14309,"chapters":14310,"content":14311,"images":14353,"performances":14354,"rawPoem":4,"rawText":14361,"slug":14362,"title":14364,"workInfo":14365,"workNumber":14367},"b51a6a3a-59d2-43a1-bebc-dd2b4142817f",[],[14312,14320,14345],{"_key":14313,"_type":9,"audioSize":4,"audioURL":4,"children":14314,"fileURL":4,"image":4,"markDefs":14319,"style":18},"e4c87c57c5a0",[14315],{"_key":14316,"_type":13,"marks":14317,"text":14318},"0c77eaed8e33",[],"While in Düsseldorf, Schumann was plagued with mental seizures that could happen in the middle of a performance or of a rehearsal. There are reports that say he would suddenly stand, frozen in front of the choir or orchestra and remain immobile for a few minutes. After this happened a number of times, Clara accompanied him and was ready to take over the baton if such a seizure took place.",[],{"_key":14321,"_type":9,"audioSize":4,"audioURL":4,"children":14322,"fileURL":4,"image":4,"markDefs":14340,"style":18},"5acaa90e933a",[14323,14328,14332,14336],{"_key":14324,"_type":13,"marks":14325,"text":14327},"9ba7e0cc81e40",[14326],"6dbb2d63ef5a","Peter Siegwart",{"_key":14329,"_type":13,"marks":14330,"text":14331},"9ba7e0cc81e41",[]," planned a performance of the Schumann Mass, which would illustrate this psychological state of Schumann at the time of composition. He wanted computer music, a tape, that would be interpolated into breaks in the performance. For this computer music he had first asked ",{"_key":14333,"_type":13,"marks":14334,"text":5833},"d02e3128530c",[14335],"cf759075a516",{"_key":14337,"_type":13,"marks":14338,"text":14339},"4a72a4f96abe",[],", who was unable to do it and suggested me. So it was that we met, together with a ‘speaker’, Danièla Sandoz, and planned the whole performance. The breaks would also include readings of texts by Schumann and others from the same time. This meant that all three of us searched the available literature for suitable texts. Finally it was decided that we should let Schumann alone speak, with exception of one text from Marie Schumann, the daughter who witnessed the events leading to Schumann’s suicide attempt.",[14341,14343],{"_key":14326,"_type":316,"href":14342},"https:\u002F\u002Fkitpowell.ch\u002Fpeople\u002Fpetersiegwart\u002F",{"_key":14335,"_type":321,"reference":14344,"slug":5842,"type":326},{"_ref":5841,"_type":324},{"_key":14346,"_type":9,"audioSize":4,"audioURL":4,"children":14347,"fileURL":4,"image":4,"markDefs":14352,"style":18},"4541a6331aa5",[14348],{"_key":14349,"_type":13,"marks":14350,"text":14351},"826e83d3d0c70",[],"The mass was performed with breaks in all movements in which my tape sounds or fragments for STBB soloists, two performances, one in Zurich (St Peter) and one in Lucerne in January 1996. Alec Loretto was present at the latter and greatly impressed, although as he said later, the last interpolations could have been more intense, more disturbing (he was moved to say this as a result of his experience in looking after his wife, Ruth, who had suffered from Parkinson’s and died a year or so before in a rather similar mental state).",[],[],[14355,14357],{"_key":14356,"_type":366,"date":7491,"location":2558},"e7b00f73a3dc",{"_key":14358,"_type":366,"date":14359,"location":14360},"577e5f6cb97a","1996-01-01","Lucerne, Switzerland","While in Düsseldorf, Schumann was plagued with mental seizures that could happen in the middle of a performance or of a rehearsal. There are reports that say he would suddenly stand, frozen in front of the choir or orchestra and remain immobile for a few minutes. After this happened a number of times, Clara accompanied him and was ready to take over the baton if such a seizure took place.\n\nPeter Siegwart planned a performance of the Schumann Mass, which would illustrate this psychological state of Schumann at the time of composition. He wanted computer music, a tape, that would be interpolated into breaks in the performance. For this computer music he had first asked Gerald Bennett, who was unable to do it and suggested me. So it was that we met, together with a ‘speaker’, Danièla Sandoz, and planned the whole performance. The breaks would also include readings of texts by Schumann and others from the same time. This meant that all three of us searched the available literature for suitable texts. Finally it was decided that we should let Schumann alone speak, with exception of one text from Marie Schumann, the daughter who witnessed the events leading to Schumann’s suicide attempt.\n\nThe mass was performed with breaks in all movements in which my tape sounds or fragments for STBB soloists, two performances, one in Zurich (St Peter) and one in Lucerne in January 1996. Alec Loretto was present at the latter and greatly impressed, although as he said later, the last interpolations could have been more intense, more disturbing (he was moved to say this as a result of his experience in looking after his wife, Ruth, who had suffered from Parkinson’s and died a year or so before in a rather similar mental state).",{"_type":375,"current":14363},"innere-stimmen-robert-schumanns","Innere Stimmen Robert Schumanns",{"date":7491,"instrumentation":14366},"choir and tape",84,{"_id":14369,"chapters":14370,"content":14371,"images":14564,"performances":4,"rawPoem":4,"rawText":14565,"slug":14566,"title":14568,"workInfo":14569,"workNumber":14571},"5c334cca-d72d-4636-a008-ab8d1e12cde1",[],[14372,14399,14422,14430,14468,14484,14499,14508,14520,14556],{"_key":14373,"_type":9,"audioSize":4,"audioURL":4,"children":14374,"fileURL":4,"image":4,"markDefs":14396,"style":18},"b3ba65b9efec",[14375,14379,14384,14388,14392],{"_key":14376,"_type":13,"marks":14377,"text":14378},"0959b65051fa",[],"After the experience with the ",{"_key":14380,"_type":13,"marks":14381,"text":14383},"525e888aa190",[14382],"7b13e2978c7d","Robert Schumann",{"_key":14385,"_type":13,"marks":14386,"text":14387},"84d99d81d210",[]," project, I had a big collection of texts which I found most interesting, but which we had never used, because of the decision to let Schumann himself speak in the mass-interpolations. I therefore set about making a setting of the Clara Schumann texts (mainly from her diary entries, but also from letters), which would give a picture or her life in these last years of her husband’s life and in particular of her growing friendship with the young Johannes Brahms. It was in fact only Brahms (along with Joachim, the violinist) who was able to visit Schumann in his last years in ",{"_key":14389,"_type":13,"marks":14390,"text":14391},"493d72eea7a1",[73],"Enderich",{"_key":14393,"_type":13,"marks":14394,"text":14395},"77e8f9fac2a3",[]," —the immediate family were forbidden contact with the patient—and it was Brahms who often looked after the seven young Schumann children when Clara was on tour.",[14397],{"_key":14382,"_type":321,"reference":14398,"slug":14363,"type":510},{"_ref":14309,"_type":324},{"_key":14400,"_type":9,"audioSize":4,"audioURL":4,"children":14401,"fileURL":4,"image":4,"markDefs":14421,"style":18},"b048109b7317",[14402,14406,14410,14414,14418],{"_key":14403,"_type":13,"marks":14404,"text":14405},"b25d3d8787040",[],"I decided on a variation form (using the theme that Schumann claimed to have received from the long since dead Schubert), the variations being interspersed with recitatives. The variations were for piano and voice alone and the recitatives for piano, voice and tape—the tape material often citing late Schumann (",{"_key":14407,"_type":13,"marks":14408,"text":14409},"b25d3d8787041",[73],"Gesänge der Frühe",{"_key":14411,"_type":13,"marks":14412,"text":14413},"b25d3d8787042",[],") or Brahms (",{"_key":14415,"_type":13,"marks":14416,"text":14417},"b25d3d8787043",[73],"First Symphony",{"_key":14419,"_type":13,"marks":14420,"text":9601},"b25d3d8787044",[],[],{"_key":14423,"_type":9,"audioSize":4,"audioURL":4,"children":14424,"fileURL":4,"image":4,"markDefs":14429,"style":18},"39dc301eef31",[14425],{"_key":14426,"_type":13,"marks":14427,"text":14428},"c7047cbc37280",[],"One major problem was Schumann’s suicide attempt in 1854 where he threw himself into the Rhine in Düsseldorf but was immediately dragged out again by fishermen who had watched him. The only report I could find of this central event (since as a result he was interned in the mental hospital for the rest of his life) was by a friend of the family—curiously Clara seems to have repressed this fact, it is never mentioned in anything she wrote, and so it was, that I decided to have this text, by Rupert Becker read by the pianist (Dominik Blum—read it very well but unfortunately not into the microphone so that the only recording I have is disappointing).",[],{"_key":14431,"_type":9,"audioSize":4,"audioURL":4,"children":14432,"fileURL":4,"image":4,"markDefs":14461,"style":18},"900dc26c9083",[14433,14437,14441,14444,14449,14453,14457],{"_key":14434,"_type":13,"marks":14435,"text":14436},"cdaca435159b0",[],"The only performance was in a computer music concert in the Zurich Conservatory in which ",{"_key":14438,"_type":13,"marks":14439,"text":4239},"51e1156dfa1d",[14440],"ed0fc8ad8b6c",{"_key":14442,"_type":13,"marks":14443,"text":2625},"10525e1e59a7",[],{"_key":14445,"_type":13,"marks":14446,"text":14448},"e72172651c7f",[14447],"9b48c5770529","Dominik",{"_key":14450,"_type":13,"marks":14451,"text":14452},"bf0c74d8e327",[]," gave an excellent performance. ",{"_key":14454,"_type":13,"marks":14455,"text":5436},"5d51f73d27b4",[14456],"2f48d39987cf",{"_key":14458,"_type":13,"marks":14459,"text":14460},"3e527ba302b8",[]," said he thought this was the best work of mine he had heard.",[14462,14464,14466],{"_key":14440,"_type":321,"reference":14463,"slug":4252,"type":326},{"_ref":4251,"_type":324},{"_key":14447,"_type":321,"reference":14465,"slug":5931,"type":326},{"_ref":5930,"_type":324},{"_key":14456,"_type":321,"reference":14467,"slug":5468,"type":326},{"_ref":5467,"_type":324},{"_key":14469,"_type":9,"audioSize":4,"audioURL":4,"children":14470,"fileURL":4,"image":4,"markDefs":14483,"style":634},"24136ba2c63c",[14471,14475,14479],{"_key":14472,"_type":13,"marks":14473,"text":14474},"ee315f7edd0e0",[],"\nFebruar 1854 (Tagebuch) BB: S. 244 ",{"_key":14476,"_type":13,"marks":14477,"text":14478},"79f3f40148f3",[15],"Rezitativ 1",{"_key":14480,"_type":13,"marks":14481,"text":14482},"8a7e1caef5af",[]," Mein armer Robert leidet schrecklich! Alles Geräusch klingt ihm wie Musik! Er sagt, es sei Musik mit so wundervoll klingenden Instrumenten, wie man auf der Erde nie hörte! Aber es greift ihn natürlich furchtbar an. Der Arzt sagt, er könne gar nichts tun. Die nächtsfolgenden Nächte waren sehr schlimm—wir schliefen fast gar nicht. . . Den Tag über versuchte er zu arbeiten, doch es gelang ihm nur mit entsetzlicher Anstrengung. Er äusserte mehrmals, wenn das nicht aufhöre, müsse es seinen Geist zerstören.",[],{"_key":14485,"_type":9,"audioSize":4,"audioURL":4,"children":14486,"fileURL":4,"image":4,"markDefs":14498,"style":634},"080c8bd8ca41",[14487,14491,14494],{"_key":14488,"_type":13,"marks":14489,"text":14490},"88cf162bb10d0",[73],"Ach, und nichts konnte man tun zu seiner Erleichterung. Die Gehörtäuschungen",{"_key":14492,"_type":13,"marks":14493,"text":6652},"88cf162bb10d1",[],{"_key":14495,"_type":13,"marks":14496,"text":14497},"88cf162bb10d2",[73],"steigerten sich vom 10. bis 17. Februar in hohem Grade.",[],{"_key":14500,"_type":423,"audio":14501,"audioSize":14504,"audioURL":14505,"caption":14506,"fileURL":4,"image":4,"markDefs":4,"musicians":14507},"e55a291ec706",{"_type":416,"asset":14502},{"_ref":14503,"_type":324},"file-cbfe2371e52cf575c4e2e4535d4e5571d5bd8517-mp3",2593017,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fcbfe2371e52cf575c4e2e4535d4e5571d5bd8517.mp3","Clara Schumann (Rezitativ 1)","Fiona Powell soprano, Dominik Blum piano",{"_key":14509,"_type":9,"audioSize":4,"audioURL":4,"children":14510,"fileURL":4,"image":4,"markDefs":14519,"style":634},"9a4a37e51511",[14511,14515],{"_key":14512,"_type":13,"marks":14513,"text":14514},"f897b4887c07",[15],"Rezitativ 2",{"_key":14516,"_type":13,"marks":14517,"text":14518},"a6b63c6e2f59",[]," Freitag, den 17, nachts, als wir nicht lange zu Bett waren, stand Robert wieder auf und schrieb ein Thema auf, welches, wie er sagte, ihm die Engel vorsangen. Nachdem er es beendet, legte er sich nieder und phantasierte nun die ganze Nacht, immer mit offenen, zum Himmel aufgeschlagenen Blicken; er war des festen Glaubens, Engel überschweben ihn und machen ihm die herrlichsten Offenbarungen, alles das in wundervoller Musik; sie riefen uns Willkommen zu, und wir würden beide vereint, noch ehe das Jahr verflossen, bei ihnen sein. Der Morgen kam, und mit ihm eine furchtbare Veränderung. Die Engelstimmen verwandelt sich in Dämonenstimmen mit grässlicher Musik; sie sagten ihm, er sei ein Sünder, und wollen ihn in die Hölle werfen. Er schrie vor Schmerzen. Nie will ich diesen Anblick vergessen, ich litt mit ihm wahre Folterqualen.",[],{"_key":14521,"_type":9,"audioSize":4,"audioURL":4,"children":14522,"fileURL":4,"image":4,"markDefs":14555,"style":634},"bbb90587542f",[14523,14527,14530,14534,14537,14541,14544,14548,14551],{"_key":14524,"_type":13,"marks":14525,"text":14526},"ef69f2f869cd0",[73],"In den Nächten hatte er oft Momente, wo er mich bat, von ihm zu gehen, weil er mir",{"_key":14528,"_type":13,"marks":14529,"text":6652},"ef69f2f869cd1",[],{"_key":14531,"_type":13,"marks":14532,"text":14533},"ef69f2f869cd2",[73],"ein Leid antun könnte. Ich ging dann wohl auf Augenblicke, um ihn zu beruhigen.",{"_key":14535,"_type":13,"marks":14536,"text":6652},"ef69f2f869cd3",[],{"_key":14538,"_type":13,"marks":14539,"text":14540},"ef69f2f869cd4",[73],"Oft klagte er, dass es in seinem Gehirn herumwühle, und dann behauptete er, es sei",{"_key":14542,"_type":13,"marks":14543,"text":6652},"ef69f2f869cd5",[],{"_key":14545,"_type":13,"marks":14546,"text":14547},"ef69f2f869cd6",[73],"in kurzer Zeit aus mit ihm, nahm dann Abschied von mir, traf allerlei Vorordnungen",{"_key":14549,"_type":13,"marks":14550,"text":6652},"ef69f2f869cd7",[],{"_key":14552,"_type":13,"marks":14553,"text":14554},"ef69f2f869cd8",[73],"über sein Geld und seine Kompositionen.",[],{"_key":14557,"_type":423,"audio":14558,"audioSize":14561,"audioURL":14562,"caption":14563,"fileURL":4,"image":4,"markDefs":4,"musicians":14507},"9824483e6779",{"_type":416,"asset":14559},{"_ref":14560,"_type":324},"file-74cd0cc4201d1bd3b8f1d66a41773460d3794e34-mp3",3904991,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F74cd0cc4201d1bd3b8f1d66a41773460d3794e34.mp3"," Clara Schumann (Rezitativ 2)",[],"After the experience with the Robert Schumann project, I had a big collection of texts which I found most interesting, but which we had never used, because of the decision to let Schumann himself speak in the mass-interpolations. I therefore set about making a setting of the Clara Schumann texts (mainly from her diary entries, but also from letters), which would give a picture or her life in these last years of her husband’s life and in particular of her growing friendship with the young Johannes Brahms. It was in fact only Brahms (along with Joachim, the violinist) who was able to visit Schumann in his last years in Enderich —the immediate family were forbidden contact with the patient—and it was Brahms who often looked after the seven young Schumann children when Clara was on tour.\n\nI decided on a variation form (using the theme that Schumann claimed to have received from the long since dead Schubert), the variations being interspersed with recitatives. The variations were for piano and voice alone and the recitatives for piano, voice and tape—the tape material often citing late Schumann (Gesänge der Frühe) or Brahms (First Symphony).\n\nOne major problem was Schumann’s suicide attempt in 1854 where he threw himself into the Rhine in Düsseldorf but was immediately dragged out again by fishermen who had watched him. The only report I could find of this central event (since as a result he was interned in the mental hospital for the rest of his life) was by a friend of the family—curiously Clara seems to have repressed this fact, it is never mentioned in anything she wrote, and so it was, that I decided to have this text, by Rupert Becker read by the pianist (Dominik Blum—read it very well but unfortunately not into the microphone so that the only recording I have is disappointing).\n\nThe only performance was in a computer music concert in the Zurich Conservatory in which Fiona and Dominik gave an excellent performance. André Fischer said he thought this was the best work of mine he had heard.\n\n\nFebruar 1854 (Tagebuch) BB: S. 244 Rezitativ 1 Mein armer Robert leidet schrecklich! Alles Geräusch klingt ihm wie Musik! Er sagt, es sei Musik mit so wundervoll klingenden Instrumenten, wie man auf der Erde nie hörte! Aber es greift ihn natürlich furchtbar an. Der Arzt sagt, er könne gar nichts tun. Die nächtsfolgenden Nächte waren sehr schlimm—wir schliefen fast gar nicht. . . Den Tag über versuchte er zu arbeiten, doch es gelang ihm nur mit entsetzlicher Anstrengung. Er äusserte mehrmals, wenn das nicht aufhöre, müsse es seinen Geist zerstören.\n\nAch, und nichts konnte man tun zu seiner Erleichterung. Die Gehörtäuschungen steigerten sich vom 10. bis 17. Februar in hohem Grade.\n\nRezitativ 2 Freitag, den 17, nachts, als wir nicht lange zu Bett waren, stand Robert wieder auf und schrieb ein Thema auf, welches, wie er sagte, ihm die Engel vorsangen. Nachdem er es beendet, legte er sich nieder und phantasierte nun die ganze Nacht, immer mit offenen, zum Himmel aufgeschlagenen Blicken; er war des festen Glaubens, Engel überschweben ihn und machen ihm die herrlichsten Offenbarungen, alles das in wundervoller Musik; sie riefen uns Willkommen zu, und wir würden beide vereint, noch ehe das Jahr verflossen, bei ihnen sein. Der Morgen kam, und mit ihm eine furchtbare Veränderung. Die Engelstimmen verwandelt sich in Dämonenstimmen mit grässlicher Musik; sie sagten ihm, er sei ein Sünder, und wollen ihn in die Hölle werfen. Er schrie vor Schmerzen. Nie will ich diesen Anblick vergessen, ich litt mit ihm wahre Folterqualen.\n\nIn den Nächten hatte er oft Momente, wo er mich bat, von ihm zu gehen, weil er mir ein Leid antun könnte. Ich ging dann wohl auf Augenblicke, um ihn zu beruhigen. Oft klagte er, dass es in seinem Gehirn herumwühle, und dann behauptete er, es sei in kurzer Zeit aus mit ihm, nahm dann Abschied von mir, traf allerlei Vorordnungen über sein Geld und seine Kompositionen.",{"_type":375,"current":14567},"clara-schumann","Clara Schumann",{"date":14359,"instrumentation":14570,"length":4636,"text":14568},"soprano, piano and tape",85,{"_id":14573,"chapters":14574,"content":14575,"images":14608,"performances":14609,"rawPoem":4,"rawText":14616,"slug":14617,"title":14619,"workInfo":14620,"workNumber":14622},"a058b43f-dd1a-4e04-a036-818e820740f3",[],[14576,14592,14600],{"_key":14577,"_type":9,"audioSize":4,"audioURL":4,"children":14578,"fileURL":4,"image":4,"markDefs":14591,"style":18},"146b68c982e2",[14579,14583,14587],{"_key":14580,"_type":13,"marks":14581,"text":14582},"3464d9792263",[],"An earlier ‘early music-education’ pupil, Annemarie Kind, who was also a violinist and committee member of the Schaffhausen Chamber Orchestra suggested I write a work for their Jubilee concert. Their conductor, Andreas Schmid, son of the more famous Erich Schmid (once conductor of the Tonhalle Orchestra) visited me to discuss the work. He was conductor of two orchestras, one in Schaffhausen and one in Singen (not far from SH but on the German side of the border). He wanted a work that would combine the two groups and suggested both the idea of the two groups placed left and right on the stage being connected by a percussionist in the middle and also the idea that it should be ",{"_key":14584,"_type":13,"marks":14585,"text":14586},"4d909b9064f4",[73],"grenzüberschreitend",{"_key":14588,"_type":13,"marks":14589,"text":14590},"d02ca9b70e59",[]," (crossing borders) not only physically (German and Swiss groups) but in the musical content.",[],{"_key":14593,"_type":9,"audioSize":4,"audioURL":4,"children":14594,"fileURL":4,"image":4,"markDefs":14599,"style":18},"dbc885960206",[14595],{"_key":14596,"_type":13,"marks":14597,"text":14598},"42b080bf18890",[],"At that time I was travelling by bicycle to and from to Bülach several times a week through the Hardwald—a stretch of very dense traffic—and I was fascinated by the sounds of the vehicles as they thundered past me, especially by the Doppler effect that I experienced. This Doppler-traffic-noise found its way into the piece. There was also a lot of bird song, both real birds and fantasy ones (Stravinsky; L’oiseau de feu) and folksongs from both sides of the border.",[],{"_key":14601,"_type":9,"audioSize":4,"audioURL":4,"children":14602,"fileURL":4,"image":4,"markDefs":14607,"style":18},"43c26fbc8850",[14603],{"_key":14604,"_type":13,"marks":14605,"text":14606},"751d5b8cc67c0",[],"The work was performed twice: in Schaffhausen and in Singen with interest from the local media in both places. The rhythms towards the end (mixtures of 2s and 3s) were too difficult, especially for the Singen group, which meant that the end fell a bit flat.",[],[],[14610,14613],{"_key":14611,"_type":366,"date":7951,"location":14612},"afa5d9c16adc","Singen, Germany",{"_key":14614,"_type":366,"date":7951,"location":14615},"27aa94de4e2f","Schaffhausen, Switzerland","An earlier ‘early music-education’ pupil, Annemarie Kind, who was also a violinist and committee member of the Schaffhausen Chamber Orchestra suggested I write a work for their Jubilee concert. Their conductor, Andreas Schmid, son of the more famous Erich Schmid (once conductor of the Tonhalle Orchestra) visited me to discuss the work. He was conductor of two orchestras, one in Schaffhausen and one in Singen (not far from SH but on the German side of the border). He wanted a work that would combine the two groups and suggested both the idea of the two groups placed left and right on the stage being connected by a percussionist in the middle and also the idea that it should be grenzüberschreitend (crossing borders) not only physically (German and Swiss groups) but in the musical content.\n\nAt that time I was travelling by bicycle to and from to Bülach several times a week through the Hardwald—a stretch of very dense traffic—and I was fascinated by the sounds of the vehicles as they thundered past me, especially by the Doppler effect that I experienced. This Doppler-traffic-noise found its way into the piece. There was also a lot of bird song, both real birds and fantasy ones (Stravinsky; L’oiseau de feu) and folksongs from both sides of the border.\n\nThe work was performed twice: in Schaffhausen and in Singen with interest from the local media in both places. The rhythms towards the end (mixtures of 2s and 3s) were too difficult, especially for the Singen group, which meant that the end fell a bit flat.",{"_type":375,"current":14618},"boundaries","Boundaries",{"date":14359,"instrumentation":14621},"2 string orchestras and percussion",86,{"_id":14624,"chapters":14625,"content":14626,"images":14691,"performances":14694,"rawPoem":4,"rawText":14704,"slug":14705,"title":14681,"workInfo":14707,"workNumber":14709},"7e3e4c21-cf5d-486f-a918-164b3a1ae2ef",[],[14627,14645,14674,14682],{"_key":14628,"_type":9,"audioSize":4,"audioURL":4,"children":14629,"fileURL":4,"image":4,"markDefs":14642,"style":18},"c96506b8b64c",[14630,14634,14638],{"_key":14631,"_type":13,"marks":14632,"text":14633},"a79da0e819e90",[],"I am indebted to my colleague at the ",{"_key":14635,"_type":13,"marks":14636,"text":8214},"34a9523b430c",[14637],"019a5846cca9",{"_key":14639,"_type":13,"marks":14640,"text":14641},"8d5f0ba8b70c",[]," (as it was called then), Martin Neukom, whose impressive recordings of sounds from a metal foundry are the basic material of this piece. As is often the case, when the inspiration-material is so good, one hesitates to do anything at all, the music is already there, to add to it would be gilding the lily. Finally I decided to do the opposite. Where the original was overwhelmingly loud, my piece would be soft, where it was exceedingly dense, mine would be porous. I would make a piece of dots, of blotches, a pointillistic, dappled piece.",[14643],{"_key":14637,"_type":321,"reference":14644,"slug":8243,"type":968},{"_ref":8242,"_type":324},{"_key":14646,"_type":9,"audioSize":4,"audioURL":4,"children":14647,"fileURL":4,"image":4,"markDefs":14667,"style":18},"1971a2a2136f",[14648,14652,14656,14660,14664],{"_key":14649,"_type":13,"marks":14650,"text":14651},"3515c94283a60",[],"There are nine sections, each approximately a minute long. The sections are organised according to ",{"_key":14653,"_type":13,"marks":14654,"text":6028},"d5aa104248bc",[14655],"3be7c21535c7",{"_key":14657,"_type":13,"marks":14658,"text":14659},"93b50b16614d",[],": sections 1, 5, and 9 are related, also sections 2 and 4, 3 and 7, 6 and 8. Just before the end we hear a foreign voice, a comment from the depths of the sea — a ",{"_key":14661,"_type":13,"marks":14662,"text":12795},"f46992d1fa5d",[14663],"e20b11b4d661",{"_key":14665,"_type":13,"marks":14666,"text":2020},"b72e652aa61a",[],[14668,14670],{"_key":14655,"_type":321,"reference":14669,"slug":6039,"type":528},{"_ref":6038,"_type":324},{"_key":14663,"_type":321,"reference":14671,"slug":14673,"type":528},{"_ref":14672,"_type":324},"de056a22-a9e0-48ba-ba37-2038b44cd953","animal-and-bird-song",{"_key":14675,"_type":423,"audio":14676,"audioSize":14679,"audioURL":14680,"caption":14681,"fileURL":4,"image":4,"markDefs":4},"1aea9536e2a3",{"_type":416,"asset":14677},{"_ref":14678,"_type":324},"file-c8a6229e924139a5ec718ff9bf0e994d967dbfa5-mp3",8781321,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fc8a6229e924139a5ec718ff9bf0e994d967dbfa5.mp3","Dapple Metal",{"_key":14683,"_type":500,"alt":14684,"audioSize":4,"audioURL":4,"caption":14684,"fileURL":4,"image":14685,"markDefs":4},"4d28984ff2c4","Flyer for the Concert in Lucerne (27. 01. 2001) organised by Martin Neukom where ‘Dapple Metal’ was also heard.",{"caption":4,"id":14686,"meta":14687,"parentID":4,"parentType":510,"url":14690},"3758f71811f67c86764a8a1bf5c22785b5a5023a",{"_type":506,"aspectRatio":14688,"height":14689,"width":4977},1.4181818181818182,440,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F3758f71811f67c86764a8a1bf5c22785b5a5023a-624x440.jpg",[14692],{"caption":14684,"id":14686,"meta":14693,"parentID":14624,"parentType":510,"url":14690},{"_type":506,"aspectRatio":14688,"height":14689,"width":4977},[14695,14698,14701],{"_key":14696,"_type":366,"date":14359,"location":14697},"b7f61e64108c","Alte Giesserei, Schaffhausen, Switzerland",{"_key":14699,"_type":366,"date":7951,"location":14700},"8def14859526","27e Festival international des musiques et créations électroniques, Bourges, France",{"_key":14702,"_type":366,"date":14703,"location":14360},"0f2f45f0bcb8","2001-01-01","I am indebted to my colleague at the Swiss Computer Music Centre (as it was called then), Martin Neukom, whose impressive recordings of sounds from a metal foundry are the basic material of this piece. As is often the case, when the inspiration-material is so good, one hesitates to do anything at all, the music is already there, to add to it would be gilding the lily. Finally I decided to do the opposite. Where the original was overwhelmingly loud, my piece would be soft, where it was exceedingly dense, mine would be porous. I would make a piece of dots, of blotches, a pointillistic, dappled piece.\n\nThere are nine sections, each approximately a minute long. The sections are organised according to Abelian Form: sections 1, 5, and 9 are related, also sections 2 and 4, 3 and 7, 6 and 8. Just before the end we hear a foreign voice, a comment from the depths of the sea — a whale.",{"_type":375,"current":14706},"dapple-metal",{"date":14359,"instrumentation":14708,"length":1293},"tape",87,{"_id":14711,"chapters":14712,"content":14713,"images":14841,"performances":14844,"rawPoem":4,"rawText":14849,"slug":14850,"title":14780,"workInfo":14852,"workNumber":14854},"762656d6-f72d-4425-aaa0-d2480fd224d5",[],[14714,14732,14740,14748,14756,14764,14774,14786,14798,14806,14818,14827,14834],{"_key":14715,"_type":9,"audioSize":4,"audioURL":4,"children":14716,"fileURL":4,"image":4,"markDefs":14729,"style":18},"42194a023fa1",[14717,14721,14725],{"_key":14718,"_type":13,"marks":14719,"text":14720},"7f400e292e76",[],"Four texts by ",{"_key":14722,"_type":13,"marks":14723,"text":9418},"8824ebdb01a3",[14724],"88af046a86ac",{"_key":14726,"_type":13,"marks":14727,"text":14728},"83b5d73cbbcb",[]," which are all about different animals: an Elephant, a Blue Falcon, a Camel and a Dromedary, Various Pigs. The texts are all very witty, with word-plays that only work in German (making them impossible to translate). The harmony (and often the melody) is based largely on the interval of a minor seventh.",[14730],{"_key":14724,"_type":321,"reference":14731,"slug":11907,"type":326},{"_ref":11906,"_type":324},{"_key":14733,"_type":9,"audioSize":4,"audioURL":4,"children":14734,"fileURL":4,"image":4,"level":382,"listItem":4456,"markDefs":14739,"style":18},"c3bf1d3fc0dd",[14735],{"_key":14736,"_type":13,"marks":14737,"text":14738},"586e0e5e90f00",[],"Die Geschichte des Elefanten (The Story of the Elephant)",[],{"_key":14741,"_type":9,"audioSize":4,"audioURL":4,"children":14742,"fileURL":4,"image":4,"level":382,"listItem":4456,"markDefs":14747,"style":18},"4f85ca5cceaf",[14743],{"_key":14744,"_type":13,"marks":14745,"text":14746},"1a9c0db89a0f0",[],"Das Kamel und das Dromedar (The Camel and the Dromedary)",[],{"_key":14749,"_type":9,"audioSize":4,"audioURL":4,"children":14750,"fileURL":4,"image":4,"level":382,"listItem":4456,"markDefs":14755,"style":18},"06b0248645f5",[14751],{"_key":14752,"_type":13,"marks":14753,"text":14754},"4327b4f5770f0",[],"Der blaue Falke (The Blue Falcon)",[],{"_key":14757,"_type":9,"audioSize":4,"audioURL":4,"children":14758,"fileURL":4,"image":4,"level":382,"listItem":4456,"markDefs":14763,"style":18},"a64460c4ba24",[14759],{"_key":14760,"_type":13,"marks":14761,"text":14762},"8fe03234e4610",[],"Verschiedene Schweine (Various Pigs)",[],{"_key":14765,"_type":500,"audioSize":4,"audioURL":4,"caption":14766,"fileURL":4,"image":14767,"markDefs":4,"size":1662},"597d8bdeec79","Rotraut Susanne Berner: Als die Welt noch jung war",{"caption":4,"id":14768,"meta":14769,"parentID":4,"parentType":510,"url":14773},"c100004b2a1195ca409d6a68b6f0fb21310b04b1",{"_type":506,"aspectRatio":14770,"height":14771,"width":14772},1.5329512893982808,349,535,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fc100004b2a1195ca409d6a68b6f0fb21310b04b1-535x349.jpg",{"_key":14775,"_type":9,"audioSize":4,"audioURL":4,"children":14776,"fileURL":4,"image":4,"markDefs":14785,"style":18},"2de3c6d2e711",[14777,14781],{"_key":14778,"_type":13,"marks":14779,"text":14780},"9f399dba2e220",[15],"Verschiedene Tiere",{"_key":14782,"_type":13,"marks":14783,"text":14784},"9f399dba2e221",[]," – Texte von Jürg Schubiger",[],{"_key":14787,"_type":9,"audioSize":4,"audioURL":4,"children":14788,"fileURL":4,"image":4,"markDefs":14797,"style":634},"e0d7a3dc2f9f",[14789,14793],{"_key":14790,"_type":13,"marks":14791,"text":14792},"a84f409432210",[15],"Die Geschichte des Elefanten",{"_key":14794,"_type":13,"marks":14795,"text":14796},"a84f409432211",[],"\nEin Elefant kam, ich weiß nicht mehr, von wo. Und ich habe vergessen, wohin er ging. Sein Name tönte so fremdländisch, daß ich ihn nicht behalten konnte. Fest steht aber, daß er kam, daß er ging. Auch daß es ein Elefant war, ist sicher. Ein Elefant also, zu Fuß, allein und grau, kam und ging. Das war irgendwie das Herz der Geschichte des Elefanten. Und in der Mitte dieses Herzens, das weiß ich noch, war etwas so unbegreiflich schwer und dunkel, daß ich es nicht erzählen könnte, selbst wenn ich es noch wüßte. ",[],{"_key":14799,"_type":9,"audioSize":4,"audioURL":4,"children":14800,"fileURL":4,"image":4,"markDefs":14805,"style":634},"9688a9c98bb4",[14801],{"_key":14802,"_type":13,"marks":14803,"text":14804},"30e215deb431",[],"Aus: Als die Welt noch jung war, von Jürg Schubiger, Beltz Verlag, Weinheim 1995 Various Animals – Texts by Jürg Schubiger",[],{"_key":14807,"_type":9,"audioSize":4,"audioURL":4,"children":14808,"fileURL":4,"image":4,"markDefs":14817,"style":634},"a7b8c05ba27c",[14809,14813],{"_key":14810,"_type":13,"marks":14811,"text":14812},"b5f03b8be6d50",[15],"The Story of the Elephant",{"_key":14814,"_type":13,"marks":14815,"text":14816},"b5f03b8be6d51",[],"\nAn Elephant came, I don’t recall, where from. And I’ve forgotten, where it went. Its name sounded so foreign, that I couldn’t remember it. Certain is, that it came, that it went. Also, that it was an elephant is certain. An elephant then, on foot, alone and gray, came and went. That was more or less the heart of the story of the elephant. And in the middle of this heart, I still remember this, was something so unbelievably heavy and dark, that I couldn’t tell you, even if I still knew it.",[],{"_key":14819,"_type":423,"audio":14820,"audioSize":14823,"audioURL":14824,"caption":14825,"fileURL":4,"image":4,"markDefs":4,"musicians":14826},"fafa79947391",{"_type":416,"asset":14821},{"_ref":14822,"_type":324},"file-c47d8039afb3f798ef21a3d5408187e4d12044d3-mp3",5205598,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fc47d8039afb3f798ef21a3d5408187e4d12044d3.mp3","1. Die Geschichte des Elefanten","Fiona Powell; soprano, Philip Powell; trombone, Tomas Dratva; Piano",{"_key":14828,"_type":9,"audioSize":4,"audioURL":4,"children":14829,"fileURL":4,"image":4,"markDefs":14833,"style":18},"629935021aae",[14830],{"_key":14831,"_type":13,"marks":14832,"text":25},"4e2944173b59",[],[],{"_key":14835,"_type":413,"audioSize":4,"audioURL":4,"description":14836,"file":14837,"fileURL":14840,"image":4,"markDefs":4},"7eecfeb99714","Verschiedene Tiere (sop., trom., piano) Score",{"_type":416,"asset":14838},{"_ref":14839,"_type":324},"file-aba938a8277ab7dfb0e9c3b02428e8557a63e528-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Faba938a8277ab7dfb0e9c3b02428e8557a63e528.pdf",[14842],{"caption":14766,"id":14768,"meta":14843,"parentID":14711,"parentType":510,"url":14773},{"_type":506,"aspectRatio":14770,"height":14771,"width":14772},[14845],{"_key":14846,"_type":366,"date":14847,"location":2558,"performers":14848},"822af8fc0957","2018-10-28","Katriona Bühler Soprano, Dominik Blum piano, Philip Powell trombone","Four texts by Jürg Schubiger which are all about different animals: an Elephant, a Blue Falcon, a Camel and a Dromedary, Various Pigs. The texts are all very witty, with word-plays that only work in German (making them impossible to translate). The harmony (and often the melody) is based largely on the interval of a minor seventh.\n\nDie Geschichte des Elefanten (The Story of the Elephant)\n\nDas Kamel und das Dromedar (The Camel and the Dromedary)\n\nDer blaue Falke (The Blue Falcon)\n\nVerschiedene Schweine (Various Pigs)\n\nVerschiedene Tiere – Texte von Jürg Schubiger\n\nDie Geschichte des Elefanten\nEin Elefant kam, ich weiß nicht mehr, von wo. Und ich habe vergessen, wohin er ging. Sein Name tönte so fremdländisch, daß ich ihn nicht behalten konnte. Fest steht aber, daß er kam, daß er ging. Auch daß es ein Elefant war, ist sicher. Ein Elefant also, zu Fuß, allein und grau, kam und ging. Das war irgendwie das Herz der Geschichte des Elefanten. Und in der Mitte dieses Herzens, das weiß ich noch, war etwas so unbegreiflich schwer und dunkel, daß ich es nicht erzählen könnte, selbst wenn ich es noch wüßte. \n\nAus: Als die Welt noch jung war, von Jürg Schubiger, Beltz Verlag, Weinheim 1995 Various Animals – Texts by Jürg Schubiger\n\nThe Story of the Elephant\nAn Elephant came, I don’t recall, where from. And I’ve forgotten, where it went. Its name sounded so foreign, that I couldn’t remember it. Certain is, that it came, that it went. Also, that it was an elephant is certain. An elephant then, on foot, alone and gray, came and went. That was more or less the heart of the story of the elephant. And in the middle of this heart, I still remember this, was something so unbelievably heavy and dark, that I couldn’t tell you, even if I still knew it.\n\n",{"_type":375,"current":14851},"verschiedene-tiere",{"date":7951,"instrumentation":14853,"length":2267,"text":9418},"soprano, trombone (or horn) and piano",88,{"_id":14856,"chapters":14857,"content":14858,"images":15005,"performances":15008,"rawPoem":4,"rawText":15014,"slug":15015,"title":14865,"workInfo":15017,"workNumber":15020},"1298d1e1-2a19-44ee-8c61-65b91d0abeef",[],[14859,14871,14890,14897,14904,14912,14919,14927,14935,14942,14950,14967,14981,14988,14997],{"_key":14860,"_type":9,"audioSize":4,"audioURL":4,"children":14861,"fileURL":4,"image":4,"markDefs":14870,"style":18},"9cfc346d4744",[14862,14866],{"_key":14863,"_type":13,"marks":14864,"text":14865},"4b1036871dbc",[15],"Der Wal",{"_key":14867,"_type":13,"marks":14868,"text":14869},"5e7bcf1e19c7",[]," (The Whale) was a commission from the Swiss Musikpädagogischen Verband (Music Teachers’ Club), Aarau. They wanted a work for spoken chorus which could also be accompanied by young performers.",[],{"_key":14872,"_type":9,"audioSize":4,"audioURL":4,"children":14873,"fileURL":4,"image":4,"markDefs":14887,"style":18},"f2bcdf343f04",[14874,14878,14883],{"_key":14875,"_type":13,"marks":14876,"text":14877},"26f08354d0c80",[],"The poem was originally written by ",{"_key":14879,"_type":13,"marks":14880,"text":14882},"ef2733a01104",[14881],"9aca4e6be55c","Jürg",{"_key":14884,"_type":13,"marks":14885,"text":14886},"3dc21e103d68",[]," for my 65th birthday, because of my interest in whales.",[14888],{"_key":14881,"_type":321,"reference":14889,"slug":11907,"type":326},{"_ref":11906,"_type":324},{"_key":14891,"_type":9,"audioSize":4,"audioURL":4,"children":14892,"fileURL":4,"image":4,"markDefs":14896,"style":18},"4fae58913ef5",[14893],{"_key":14894,"_type":13,"marks":14895,"text":25},"c0e3791a44ee",[],[],{"_key":14898,"_type":9,"audioSize":4,"audioURL":4,"children":14899,"fileURL":4,"image":4,"markDefs":14903,"style":634},"e1f751cfefec",[14900],{"_key":14901,"_type":13,"marks":14902,"text":14865},"7a7c92e819a7",[],[],{"_key":14905,"_type":9,"audioSize":4,"audioURL":4,"children":14906,"fileURL":4,"image":4,"markDefs":14911,"style":634},"130c5a507c8d",[14907],{"_key":14908,"_type":13,"marks":14909,"text":14910},"83629e0fb9dd0",[],"Es war einmal ein Wal.\nAusgerechnet ein Wal?\nJa. Auch ein Löwe war einmal, gewiss, ein Fuchs, ein Esel, ein Wolf, sogar mehrere Wölfe, ein ganzes Rudel. Fast alles war einmal.\nOder auch mehrmals!\nJa. Aber einmal, da war es eben ein Wal, ein Buckelwal, ein alter Buckelwal.\nEin einziger?\nEiner, ja. Es gab auch andere, aber dieses eine Mal, da war es einer.\nUnd was ist mit ihm?\nEr sang.\nDas hab’ ich mir gedacht: er sang.\nJa, das tat er: Er schwamm im Meer und sang.\nUnd?\nUnd schwamm und schwamm und sang. Das war's. —Und wie er sang!\nWie dann?\nLang und schön.\nDu hast ihn gehört?\nNur die Geschichte. Es sei einmal ein alter Buckelwal gewesen, habe ich gehört, der schwamm und sang. Und sein Gesang sei so—\nWas?\nLang und schön gewesen.",[],{"_key":14913,"_type":9,"audioSize":4,"audioURL":4,"children":14914,"fileURL":4,"image":4,"markDefs":14918,"style":18},"c40de512ce0c",[14915],{"_key":14916,"_type":13,"marks":14917,"text":25},"f2289ef98b4c",[],[],{"_key":14920,"_type":9,"audioSize":4,"audioURL":4,"children":14921,"fileURL":4,"image":4,"markDefs":14926,"style":634},"4b4c7e8f4740",[14922],{"_key":14923,"_type":13,"marks":14924,"text":14925},"f9f7d4793e7b",[],"The Whale",[],{"_key":14928,"_type":9,"audioSize":4,"audioURL":4,"children":14929,"fileURL":4,"image":4,"markDefs":14934,"style":634},"5d1f90168134",[14930],{"_key":14931,"_type":13,"marks":14932,"text":14933},"832ccdffdecd0",[],"Once upon a time there was a whale.\nReally—a whale?\nYes. Once upon a time there was a lion too, certainly, also a fox, a donkey, a wolf, even lots of wolves, a whole pack. Almost everything was once upon a time!\nOr even once upon more times!\nYes. But once there was just this whale, a hunchback whale, an old hunchback.\nJust one?\nOne, yes. There were others, but upon this time there was one.\nAnd what happened?\nHe sang.\nI just thought so: he sang.\nYes, he did that. He swam in the sea and sang.\nAnd then?\nAnd swam and swam and sang. That’s it. And how he sang!\nHow then?\nLong and beautiful.\nYou heard him?\nJust the story. Once upon a time there was an old hunchback whale, so I heard, who swam and sang. And his song was so—\nWhat?\nLong and beautiful.",[],{"_key":14936,"_type":9,"audioSize":4,"audioURL":4,"children":14937,"fileURL":4,"image":4,"markDefs":14941,"style":18},"02c819866bf0",[14938],{"_key":14939,"_type":13,"marks":14940,"text":25},"55e78ebd9142",[],[],{"_key":14943,"_type":9,"audioSize":4,"audioURL":4,"children":14944,"fileURL":4,"image":4,"markDefs":14949,"style":18},"6757d9254410",[14945],{"_key":14946,"_type":13,"marks":14947,"text":14948},"84a3d85b1936",[],"The actual whale song which is heard at the end of this work was also used in two other works:",[],{"_key":14951,"_type":9,"audioSize":4,"audioURL":4,"children":14952,"fileURL":4,"image":4,"level":382,"listItem":2078,"markDefs":14962,"style":18},"902c8f9d0fd7",[14953,14958],{"_key":14954,"_type":13,"marks":14955,"text":14957},"d29040565f6e0",[14956],"59c4729cbd15","Whale Fantasy",{"_key":14959,"_type":13,"marks":14960,"text":14961},"d29040565f6e1",[]," (for See Siang Wong)",[14963],{"_key":14956,"_type":321,"reference":14964,"slug":14966,"type":510},{"_ref":14965,"_type":324},"bbaff89d-471f-4c28-8b87-50d1806205d1","whale-fantasy",{"_key":14968,"_type":9,"audioSize":4,"audioURL":4,"children":14969,"fileURL":4,"image":4,"level":382,"listItem":2078,"markDefs":14979,"style":18},"3b34f01c9857",[14970,14975],{"_key":14971,"_type":13,"marks":14972,"text":14974},"fa8d7cf790610",[14973],"50c6a44d728c","Whale Song",{"_key":14976,"_type":13,"marks":14977,"text":14978},"cd98dc2deaff",[]," (a piece for piano beginners)",[14980],{"_key":14973,"_type":321,"slug":4,"type":4},{"_key":14982,"_type":9,"audioSize":4,"audioURL":4,"children":14983,"fileURL":4,"image":4,"markDefs":14987,"style":18},"2c2f1c44aca9",[14984],{"_key":14985,"_type":13,"marks":14986,"text":25},"d8fce0eb37cb",[],[],{"_key":14989,"_type":500,"audioSize":4,"audioURL":4,"fileURL":4,"image":14990,"markDefs":4},"649c4d752264",{"caption":4,"id":14991,"meta":14992,"parentID":4,"parentType":510,"url":14996},"fbf677e970c74bc642cbcac97c9206b40e6fda8b",{"_type":506,"aspectRatio":14993,"height":14994,"width":14995},0.7081377151799687,1278,905,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Ffbf677e970c74bc642cbcac97c9206b40e6fda8b-905x1278.jpg",{"_key":14998,"_type":423,"audio":14999,"audioSize":15002,"audioURL":15003,"caption":15004,"fileURL":4,"image":4,"markDefs":4},"b11277525c51",{"_type":416,"asset":15000},{"_ref":15001,"_type":324},"file-b2336de1c3a277e862f915e4456ce11519f4c3fb-mp3",1344155,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fb2336de1c3a277e862f915e4456ce11519f4c3fb.mp3","Sunrise - Music from New Zealand for Young Pianists",[15006],{"caption":4,"id":14991,"meta":15007,"parentID":14856,"parentType":510,"url":14996},{"_type":506,"aspectRatio":14993,"height":14994,"width":14995},[15009,15012],{"_key":15010,"_type":366,"date":7951,"location":15011},"4879ec37c5e7","Aarau, Switzerland",{"_key":15013,"_type":366,"date":4366,"location":5732},"f503505286b1","Der Wal (The Whale) was a commission from the Swiss Musikpädagogischen Verband (Music Teachers’ Club), Aarau. They wanted a work for spoken chorus which could also be accompanied by young performers.\n\nThe poem was originally written by Jürg for my 65th birthday, because of my interest in whales.\n\n\n\nDer Wal\n\nEs war einmal ein Wal.\nAusgerechnet ein Wal?\nJa. Auch ein Löwe war einmal, gewiss, ein Fuchs, ein Esel, ein Wolf, sogar mehrere Wölfe, ein ganzes Rudel. Fast alles war einmal.\nOder auch mehrmals!\nJa. Aber einmal, da war es eben ein Wal, ein Buckelwal, ein alter Buckelwal.\nEin einziger?\nEiner, ja. Es gab auch andere, aber dieses eine Mal, da war es einer.\nUnd was ist mit ihm?\nEr sang.\nDas hab’ ich mir gedacht: er sang.\nJa, das tat er: Er schwamm im Meer und sang.\nUnd?\nUnd schwamm und schwamm und sang. Das war's. —Und wie er sang!\nWie dann?\nLang und schön.\nDu hast ihn gehört?\nNur die Geschichte. Es sei einmal ein alter Buckelwal gewesen, habe ich gehört, der schwamm und sang. Und sein Gesang sei so—\nWas?\nLang und schön gewesen.\n\n\n\nThe Whale\n\nOnce upon a time there was a whale.\nReally—a whale?\nYes. Once upon a time there was a lion too, certainly, also a fox, a donkey, a wolf, even lots of wolves, a whole pack. Almost everything was once upon a time!\nOr even once upon more times!\nYes. But once there was just this whale, a hunchback whale, an old hunchback.\nJust one?\nOne, yes. There were others, but upon this time there was one.\nAnd what happened?\nHe sang.\nI just thought so: he sang.\nYes, he did that. He swam in the sea and sang.\nAnd then?\nAnd swam and swam and sang. That’s it. And how he sang!\nHow then?\nLong and beautiful.\nYou heard him?\nJust the story. Once upon a time there was an old hunchback whale, so I heard, who swam and sang. And his song was so—\nWhat?\nLong and beautiful.\n\n\n\nThe actual whale song which is heard at the end of this work was also used in two other works:\n\nWhale Fantasy (for See Siang Wong)\n\nWhale Song (a piece for piano beginners)\n\n",{"_type":375,"current":15016},"der-wal",{"commissioned":15018,"date":7951,"instrumentation":15019,"length":713,"text":9418},"Swiss Musikpädagogischen Verband","spoken chorus and piano duet",89,{"_id":15022,"chapters":15023,"content":15024,"images":15048,"performances":4,"rawPoem":4,"rawText":25,"slug":15051,"title":14974,"workInfo":15053,"workNumber":15056},"d7107082-9b78-4202-9654-c5188ed46cde",[],[15025,15032,15041,15046],{"_key":15026,"_type":9,"audioSize":4,"audioURL":4,"children":15027,"fileURL":4,"image":4,"markDefs":15031,"style":18},"214936932b1a",[15028],{"_key":15029,"_type":13,"marks":15030,"text":25},"e0cdae21940f",[],[],{"_key":15033,"_type":500,"audioSize":4,"audioURL":4,"fileURL":4,"image":15034,"markDefs":4},"6c4ebacf0321",{"caption":4,"id":15035,"meta":15036,"parentID":4,"parentType":510,"url":15040},"a4e28070db51cb44b42181ffb1b109bff1b6f721",{"_type":506,"aspectRatio":15037,"height":15038,"width":15039},0.7075256556442417,1754,1241,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fa4e28070db51cb44b42181ffb1b109bff1b6f721-1241x1754.png",{"_key":15042,"_type":423,"audio":15043,"audioSize":15002,"audioURL":15003,"caption":15045,"fileURL":4,"image":4,"markDefs":4},"3dc9c38d1b5c",{"_type":416,"asset":15044},{"_ref":15001,"_type":324},"Whale Song, played by Gillian Bibby",{"_key":15047,"_type":413,"audioSize":4,"audioURL":4,"description":14974,"fileURL":4,"image":4,"markDefs":4},"9d96945f0200",[15049],{"caption":4,"id":15035,"meta":15050,"parentID":15022,"parentType":510,"url":15040},{"_type":506,"aspectRatio":15037,"height":15038,"width":15039},{"_type":375,"current":15052},"whale-song",{"commissioned":15054,"date":15055},"Sunrise, Wellington Piano and Instrumental Group","2007-01-01",89.1,{"_id":15058,"chapters":15059,"content":15060,"images":15143,"performances":4,"rawPoem":4,"rawText":15144,"slug":15145,"title":15147,"workInfo":15148,"workNumber":12525},"644e3dd5-a0a2-49f5-b705-f1882dcb2aea",[],[15061,15072,15089,15108,15134],{"_key":15062,"_type":9,"audioSize":4,"audioURL":4,"children":15063,"fileURL":4,"image":4,"markDefs":15068,"style":18},"940199ee0a8d",[15064],{"_key":15065,"_type":13,"marks":15066,"text":15067},"c5be36277751",[],"Through a student, Jürg Meili, from my first year at the Winterthur Conservatory, I was invited to work with children and teachers in Wattwil, Toggenburg. This led to a “river” tape-piece for a Toggenburg Festival plus some short canons for Flute, ",[15069],{"_key":15070,"_type":316,"href":15071},"333623fb8747","http:\u002F\u002Fwww.ilmosaico.ch",{"_key":15073,"_type":9,"audioSize":4,"audioURL":4,"children":15074,"fileURL":4,"image":4,"markDefs":15087,"style":18},"0ab171d0eb88",[15075,15079,15083],{"_key":15076,"_type":13,"marks":15077,"text":15078},"a2295eba0efb",[],"Oboe and Bassoon which Hermann Ostendarp conducted. Hermann was also conductor of a youth orchestra, ",{"_key":15080,"_type":13,"marks":15081,"text":15082},"d02d339b84e1",[15070,73],"il mosaico",{"_key":15084,"_type":13,"marks":15085,"text":15086},"e89ec47ac487",[]," and later asked me for a work for percussion and orchestra, which he could take on a tour of France and Spain.",[15088],{"_key":15070,"_type":316,"href":15071},{"_key":15090,"_type":9,"audioSize":4,"audioURL":4,"children":15091,"fileURL":4,"image":4,"markDefs":15105,"style":18},"450a1545a556",[15092,15096,15101],{"_key":15093,"_type":13,"marks":15094,"text":15095},"2d0678d966b40",[],"On the same program would be the Händel ",{"_key":15097,"_type":13,"marks":15098,"text":15100},"2d0678d966b41",[15099,73],"9a5309884e02","Dettinger Te Deum",{"_key":15102,"_type":13,"marks":15103,"text":15104},"2d0678d966b42",[],", and it would therefore be interesting if my work had a thematic connection to the Te Deum. This idea attracted me and in fact all three movements (traditional fast, slow, fast) have such connections. In particular rhythmic similarities, because pitch relationships were distorted. The percussion group was centred in Chur (the teacher, Eckart Fritz-Schocher, also taught in Wattwil) and I made a couple of trips there to hear their rehearsals —very lively events, since all five were very enthusiastic.",[15106],{"_key":15099,"_type":316,"href":15107},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FDettingen_Te_Deum",{"_key":15109,"_type":9,"audioSize":4,"audioURL":4,"children":15110,"fileURL":4,"image":4,"markDefs":15131,"style":18},"f5816d6f873a",[15111,15115,15120,15124,15128],{"_key":15112,"_type":13,"marks":15113,"text":15114},"feb8222220f30",[],"I heard the work on two occasions in Switzerland (March, 1998, in Chur and in Jona) and they did it very well. In the summer of that year, the projected tour took place. A curious coincidence led to our friends, ",{"_key":15116,"_type":13,"marks":15117,"text":15119},"a8374773f307",[15118],"51e9181a1b86","Gennie",{"_key":15121,"_type":13,"marks":15122,"text":15123},"0edec31efbc6",[]," and Rick Donald, hearing a performance in Barcelona, an account of which is given in Rick’s book: ",{"_key":15125,"_type":13,"marks":15126,"text":15127},"feb8222220f33",[73],"French Leave",{"_key":15129,"_type":13,"marks":15130,"text":2020},"feb8222220f34",[],[15132],{"_key":15118,"_type":321,"reference":15133,"slug":4623,"type":326},{"_ref":4622,"_type":324},{"_key":15135,"_type":423,"audio":15136,"audioSize":15139,"audioURL":15140,"caption":15141,"fileURL":4,"image":4,"markDefs":4,"musicians":15142},"d2fd593fbe5c",{"_type":416,"asset":15137},{"_ref":15138,"_type":324},"file-6e97e21f9da941a21f76a3224f1dfeef6b668db8-mp3",5759894,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F6e97e21f9da941a21f76a3224f1dfeef6b668db8.mp3","Concerto for 5 Percussionists and Orchestra (1. movement)","Hermann Ostendarp (conductor) il mosaico",[],"Through a student, Jürg Meili, from my first year at the Winterthur Conservatory, I was invited to work with children and teachers in Wattwil, Toggenburg. This led to a “river” tape-piece for a Toggenburg Festival plus some short canons for Flute, \n\nOboe and Bassoon which Hermann Ostendarp conducted. Hermann was also conductor of a youth orchestra, il mosaico and later asked me for a work for percussion and orchestra, which he could take on a tour of France and Spain.\n\nOn the same program would be the Händel Dettinger Te Deum, and it would therefore be interesting if my work had a thematic connection to the Te Deum. This idea attracted me and in fact all three movements (traditional fast, slow, fast) have such connections. In particular rhythmic similarities, because pitch relationships were distorted. The percussion group was centred in Chur (the teacher, Eckart Fritz-Schocher, also taught in Wattwil) and I made a couple of trips there to hear their rehearsals —very lively events, since all five were very enthusiastic.\n\nI heard the work on two occasions in Switzerland (March, 1998, in Chur and in Jona) and they did it very well. In the summer of that year, the projected tour took place. A curious coincidence led to our friends, Gennie and Rick Donald, hearing a performance in Barcelona, an account of which is given in Rick’s book: French Leave.",{"_type":375,"current":15146},"concerto-for-5-percussionists-and-orchestra","Concerto for 5 Percussionists and Orchestra",{"date":7951,"instrumentation":15149,"length":3040},"youth orchestra and percussion",{"_id":15151,"chapters":15152,"content":15153,"images":15280,"performances":4,"rawPoem":4,"rawText":15283,"slug":15284,"title":15231,"workInfo":15286,"workNumber":15288},"af4a1415-a856-467e-91f9-2d0039dbb220",[],[15154,15183,15212,15220,15249,15256,15266,15273],{"_key":15155,"_type":9,"audioSize":4,"audioURL":4,"children":15156,"fileURL":4,"image":4,"markDefs":15178,"style":18},"38d4b98bc0bf",[15157,15161,15165,15169,15174],{"_key":15158,"_type":13,"marks":15159,"text":15160},"7ad05f49e49e",[],"The flute-playing couple ",{"_key":15162,"_type":13,"marks":15163,"text":13309},"4a737a3c7f6e",[15164],"29121402e8ce",{"_key":15166,"_type":13,"marks":15167,"text":15168},"ab4ad172f234",[]," and Anne Utagawa had a flute group ",{"_key":15170,"_type":13,"marks":15171,"text":15173},"d4724a2f8ff1",[15172],"562da2d3511e","Les joueurs de flûte",{"_key":15175,"_type":13,"marks":15176,"text":15177},"293acff8df0d",[]," comprising all sizes from piccolo to subcontrabass – all very good players. Dominique asked me for a piece which they would also take on tour. I visited him in his atelier (he is also a painter) in Aarau where I could see and hear most instruments—especially the very big one which is mounted on a stand and can only be played standing. What especially delighted me were the air sounds which the larger instruments can produce so well.",[15179,15181],{"_key":15172,"_type":316,"href":15180},"https:\u002F\u002Fwww.joueurs.ch\u002F",{"_key":15164,"_type":321,"reference":15182,"slug":7919,"type":326},{"_ref":7918,"_type":324},{"_key":15184,"_type":9,"audioSize":4,"audioURL":4,"children":15185,"fileURL":4,"image":4,"markDefs":15207,"style":18},"67cd14943758",[15186,15190,15194,15198,15203],{"_key":15187,"_type":13,"marks":15188,"text":15189},"b1ef6fa42eb80",[],"I decided to make a transcription of my tape piece ",{"_key":15191,"_type":13,"marks":15192,"text":14681},"c7e90de384b4",[15193],"69ec445c4788",{"_key":15195,"_type":13,"marks":15196,"text":15197},"5767aa6acec5",[],", for these 8 players, many of whom played several instruments. The group would stand in a long line across the stage and special effects (sounds moving from left to right and back again) would be a feature of the work. Although the ",{"_key":15199,"_type":13,"marks":15200,"text":15202},"b1ef6fa42eb83",[15201],"1464925d0197","white and pink noise",{"_key":15204,"_type":13,"marks":15205,"text":15206},"b1ef6fa42eb84",[]," was very easily imitated on these instruments, many of the other sounds were almost impossible and so I had to invent other material to replace these sounds— one example of the new material being the speaking of (Māori) texts through the flutes.",[15208,15210],{"_key":15201,"_type":316,"href":15209},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FColors_of_noise",{"_key":15193,"_type":321,"reference":15211,"slug":14706,"type":510},{"_ref":14624,"_type":324},{"_key":15213,"_type":9,"audioSize":4,"audioURL":4,"children":15214,"fileURL":4,"image":4,"markDefs":15219,"style":18},"3bce177e5913",[15215],{"_key":15216,"_type":13,"marks":15217,"text":15218},"fb9b6d9e2c010",[],"The first performance was on Sunday, 27. September 1998 in Wetzikon. It was a thrilling performance and our Müeti (Brigitte’s mother), who also came, said she thought it should be called “die Entstehung des Klangs” (the birth of sound). This struck me as a very good description, since the progression from “noise” to melodic sound (the transcription of a whale song, with which the piece ends) is a major component of this 10 minute long piece.",[],{"_key":15221,"_type":9,"audioSize":4,"audioURL":4,"children":15222,"fileURL":4,"image":4,"markDefs":15244,"style":18},"32dd07022842",[15223,15227,15232,15236,15241],{"_key":15224,"_type":13,"marks":15225,"text":15226},"c024819449a30",[],"The name ",{"_key":15228,"_type":13,"marks":15229,"text":15231},"c024819449a31",[15230],"c7de9e38cfe2","Kōauau",{"_key":15233,"_type":13,"marks":15234,"text":15235},"c024819449a32",[]," (a Māori flute) came only after the piece was finished. It seemed to me appropriate, since the work contained flute sounds and Maori poetry (",{"_key":15237,"_type":13,"marks":15238,"text":15240},"c024819449a33",[15239],"f2989aea9eb4","Rimu-rimu",{"_key":15242,"_type":13,"marks":15243,"text":9601},"c024819449a34",[],[15245,15247],{"_key":15230,"_type":316,"href":15246},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FK%C5%8Dauau",{"_key":15239,"_type":316,"href":15248},"http:\u002F\u002Ffolksong.org.nz\u002Frimurimu\u002Findex.html",{"_key":15250,"_type":423,"audio":15251,"audioSize":15254,"audioURL":15255,"caption":15231,"fileURL":4,"image":4,"markDefs":4,"musicians":15173},"60d93770ae17",{"_type":416,"asset":15252},{"_ref":15253,"_type":324},"file-bec70ee39725101e08af28125c33b75da2302545-mp3",12513092,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fbec70ee39725101e08af28125c33b75da2302545.mp3",{"_key":15257,"_type":500,"alt":15258,"audioSize":4,"audioURL":4,"caption":15258,"fileURL":4,"image":15259,"markDefs":4,"size":1662},"024b049be3c4","Anne 3rd from left and Dominique 5th from left with a contrabass flute",{"caption":4,"id":15260,"meta":15261,"parentID":4,"parentType":510,"url":15265},"00baf865c412a539307931eb2e3287713b941248",{"_type":506,"aspectRatio":15262,"height":15263,"width":15264},2.5,512,1280,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F00baf865c412a539307931eb2e3287713b941248-1280x512.jpg",{"_key":15267,"_type":9,"audioSize":4,"audioURL":4,"children":15268,"fileURL":4,"image":4,"markDefs":15272,"style":18},"ca67a30d37b7",[15269],{"_key":15270,"_type":13,"marks":15271,"text":25},"308c23e36973",[],[],{"_key":15274,"_type":413,"audioSize":4,"audioURL":4,"description":15275,"file":15276,"fileURL":15279,"image":4,"markDefs":4},"954913e3422e","Koauau, Score",{"_type":416,"asset":15277},{"_ref":15278,"_type":324},"file-11350851e6ae64896cdb5102af661b694e46488e-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F11350851e6ae64896cdb5102af661b694e46488e.pdf",[15281],{"caption":15258,"id":15260,"meta":15282,"parentID":15151,"parentType":510,"url":15265},{"_type":506,"aspectRatio":15262,"height":15263,"width":15264},"The flute-playing couple Dominique Hunziger and Anne Utagawa had a flute group Les joueurs de flûte comprising all sizes from piccolo to subcontrabass – all very good players. Dominique asked me for a piece which they would also take on tour. I visited him in his atelier (he is also a painter) in Aarau where I could see and hear most instruments—especially the very big one which is mounted on a stand and can only be played standing. What especially delighted me were the air sounds which the larger instruments can produce so well.\n\nI decided to make a transcription of my tape piece Dapple Metal, for these 8 players, many of whom played several instruments. The group would stand in a long line across the stage and special effects (sounds moving from left to right and back again) would be a feature of the work. Although the white and pink noise was very easily imitated on these instruments, many of the other sounds were almost impossible and so I had to invent other material to replace these sounds— one example of the new material being the speaking of (Māori) texts through the flutes.\n\nThe first performance was on Sunday, 27. September 1998 in Wetzikon. It was a thrilling performance and our Müeti (Brigitte’s mother), who also came, said she thought it should be called “die Entstehung des Klangs” (the birth of sound). This struck me as a very good description, since the progression from “noise” to melodic sound (the transcription of a whale song, with which the piece ends) is a major component of this 10 minute long piece.\n\nThe name Kōauau (a Māori flute) came only after the piece was finished. It seemed to me appropriate, since the work contained flute sounds and Maori poetry (Rimu-rimu).\n\n",{"_type":375,"current":15285},"koauau",{"commissioned":15173,"date":3998,"instrumentation":15287,"length":1596},"8 Flautists with 16 Flutes",91,{"_id":15290,"chapters":15291,"content":15292,"images":15353,"performances":15354,"rawPoem":4,"rawText":15361,"slug":15362,"title":15299,"workInfo":15364,"workNumber":15366},"2166e64e-f5ec-4fdd-9457-c9fe4274f76b",[],[15293,15313,15321,15329,15337,15345],{"_key":15294,"_type":9,"audioSize":4,"audioURL":4,"children":15295,"fileURL":4,"image":4,"markDefs":15312,"style":18},"99f63557ae59",[15296,15300,15304,15308],{"_key":15297,"_type":13,"marks":15298,"text":15299},"492676bd3cf4",[15],"Salmagundi",{"_key":15301,"_type":13,"marks":15302,"text":15303},"da059b2fd2d0",[]," presents fragments of familiar German and English folksongs in an atonal texture. The sections are arranged in an alternating chain of four slow and four fast tempi, the slow parts being concerned with a dodecophonic ",{"_key":15305,"_type":13,"marks":15306,"text":15307},"864055f3719e",[73],"Hänschen klein",{"_key":15309,"_type":13,"marks":15310,"text":15311},"7b7ad772d5d2",[]," (who also creeps into the third fast section) and the fast parts with:",[],{"_key":15314,"_type":9,"audioSize":4,"audioURL":4,"children":15315,"fileURL":4,"image":4,"level":382,"listItem":4456,"markDefs":15320,"style":18},"3ea9f903d54f",[15316],{"_key":15317,"_type":13,"marks":15318,"text":15319},"d89b67a5ed2a0",[],"Ein Männchen steht im Walde,",[],{"_key":15322,"_type":9,"audioSize":4,"audioURL":4,"children":15323,"fileURL":4,"image":4,"level":382,"listItem":4456,"markDefs":15328,"style":18},"65f6e6905718",[15324],{"_key":15325,"_type":13,"marks":15326,"text":15327},"1015dce3526c0",[],"This Old Man,",[],{"_key":15330,"_type":9,"audioSize":4,"audioURL":4,"children":15331,"fileURL":4,"image":4,"level":382,"listItem":4456,"markDefs":15336,"style":18},"009577aa2845",[15332],{"_key":15333,"_type":13,"marks":15334,"text":15335},"ea079ba5e9930",[],"76 Trombones, and",[],{"_key":15338,"_type":9,"audioSize":4,"audioURL":4,"children":15339,"fileURL":4,"image":4,"level":382,"listItem":4456,"markDefs":15344,"style":18},"8a148251e0e7",[15340],{"_key":15341,"_type":13,"marks":15342,"text":15343},"1e797488f4620",[],"What Shall We Do with the Drunken Sailor?",[],{"_key":15346,"_type":423,"audio":15347,"audioSize":15350,"audioURL":15351,"caption":15299,"fileURL":4,"image":4,"markDefs":4,"musicians":15352},"09ed87c1395e",{"_type":416,"asset":15348},{"_ref":15349,"_type":324},"file-d96c52f5e33bb980186fb126ad0576f186cf2a07-mp3",8933458,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fd96c52f5e33bb980186fb126ad0576f186cf2a07.mp3","Brass Connection",[],[15355,15358],{"_key":15356,"_type":366,"date":3998,"location":2558,"performers":15357},"bd02db9aac36","The Brass Connection",{"_key":15359,"_type":366,"date":15360,"location":5281,"performers":15357},"caa45d11d6d7","1999-01-01","Salmagundi presents fragments of familiar German and English folksongs in an atonal texture. The sections are arranged in an alternating chain of four slow and four fast tempi, the slow parts being concerned with a dodecophonic Hänschen klein (who also creeps into the third fast section) and the fast parts with:\n\nEin Männchen steht im Walde,\n\nThis Old Man,\n\n76 Trombones, and\n\nWhat Shall We Do with the Drunken Sailor?",{"_type":375,"current":15363},"salmagundi",{"commissioned":15357,"date":3998,"instrumentation":15365,"length":1596},"Brass Ensemble: 4 tpts, 2 hns, 4 tbns, tuba & percussion",92,{"_id":15368,"chapters":15369,"content":15370,"images":15516,"performances":4,"rawPoem":4,"rawText":15517,"slug":15518,"title":15381,"workInfo":15520,"workNumber":15522},"e405a01f-9ee3-463f-bf53-5749b8c2ac6c",[],[15371,15383,15395,15403,15425,15471,15479,15501,15509],{"_key":15372,"_type":9,"audioSize":4,"audioURL":4,"children":15373,"fileURL":4,"image":4,"markDefs":15382,"style":18},"bb934e0e1d47",[15374,15378],{"_key":15375,"_type":13,"marks":15376,"text":15377},"fe45f0345a74",[],"There are two works with the name ",{"_key":15379,"_type":13,"marks":15380,"text":15381},"64feed9eb73e",[15],"Credo",[],{"_key":15384,"_type":9,"audioSize":4,"audioURL":4,"children":15385,"fileURL":4,"image":4,"level":382,"listItem":2078,"markDefs":15394,"style":18},"8efaffd92bae",[15386,15390],{"_key":15387,"_type":13,"marks":15388,"text":15389},"82ba219823840",[],"Credo — tape and organ, the third movement of a group composition ",{"_key":15391,"_type":13,"marks":15392,"text":15393},"82ba219823841",[73],"Missa Digitalis",[],{"_key":15396,"_type":9,"audioSize":4,"audioURL":4,"children":15397,"fileURL":4,"image":4,"level":382,"listItem":2078,"markDefs":15402,"style":18},"7db807e54240",[15398],{"_key":15399,"_type":13,"marks":15400,"text":15401},"adbf476d6afd0",[],"Credo — for organ solo",[],{"_key":15404,"_type":9,"audioSize":4,"audioURL":4,"children":15405,"fileURL":4,"image":4,"markDefs":15424,"style":18},"95851fecd549",[15406,15410,15413,15417,15420],{"_key":15407,"_type":13,"marks":15408,"text":15409},"ee9d84c7d0a70",[],"The material for the organ piece came from fragments I had written for my ",{"_key":15411,"_type":13,"marks":15412,"text":15381},"ee9d84c7d0a71",[73],{"_key":15414,"_type":13,"marks":15415,"text":15416},"ee9d84c7d0a72",[]," movement of the ",{"_key":15418,"_type":13,"marks":15419,"text":15393},"ee9d84c7d0a73",[73],{"_key":15421,"_type":13,"marks":15422,"text":15423},"ee9d84c7d0a74",[]," (see below):",[],{"_key":15426,"_type":9,"audioSize":4,"audioURL":4,"children":15427,"fileURL":4,"image":4,"markDefs":15470,"style":18},"57201247a77f",[15428,15432,15436,15440,15444,15448,15451,15455,15458,15462,15466],{"_key":15429,"_type":13,"marks":15430,"text":15431},"279e49050e370",[],"I took part in a Computer Music Project organised by Michael Heisch, whose contact with a very liberal cleric (called Felix Felix!!) led him to suggest a group composition of the liturgical mass. Michael found four churches which were prepared to have the mass performed in their buildings: Mulhouse (Fr), Basel- and St Gallen- Elisabethen churches and the Wasserkirche (ZH). After several meetings we settled on an “accompaniment” of an organ (played by Susanne Kern, Basel) and that there would be recordings made of a soprano singing and speaking part of the mass-text. Fortunately the number of composers wanting to take part settled down quite early on to five—the same number of movements in the mass: ",{"_key":15433,"_type":13,"marks":15434,"text":15435},"279e49050e371",[73],"Kyrie",{"_key":15437,"_type":13,"marks":15438,"text":15439},"279e49050e372",[],": Junghae Lee (a Korean composer), ",{"_key":15441,"_type":13,"marks":15442,"text":15443},"279e49050e373",[73],"Gloria",{"_key":15445,"_type":13,"marks":15446,"text":15447},"279e49050e374",[],": Philippe Kocher, ",{"_key":15449,"_type":13,"marks":15450,"text":15381},"279e49050e375",[73],{"_key":15452,"_type":13,"marks":15453,"text":15454},"279e49050e376",[],": myself, ",{"_key":15456,"_type":13,"marks":15457,"text":2103},"279e49050e377",[73],{"_key":15459,"_type":13,"marks":15460,"text":15461},"279e49050e378",[],": Martin Neukom and ",{"_key":15463,"_type":13,"marks":15464,"text":15465},"279e49050e379",[73],"Agnus Dei",{"_key":15467,"_type":13,"marks":15468,"text":15469},"279e49050e3710",[],": Michael Heisch, who also included an electric guitar in his movement.",[],{"_key":15472,"_type":9,"audioSize":4,"audioURL":4,"children":15473,"fileURL":4,"image":4,"markDefs":15478,"style":18},"803e97e682a6",[15474],{"_key":15475,"_type":13,"marks":15476,"text":15477},"32509445b12d0",[],"Following the performances, Michael Heisch arranged for a recording (of the live instruments) and a mixture was sent to the Tonkünstlerverein who published the whole work on CD.",[],{"_key":15480,"_type":9,"audioSize":4,"audioURL":4,"children":15481,"fileURL":4,"image":4,"markDefs":15500,"style":18},"29ee3df3305f",[15482,15486,15489,15493,15496],{"_key":15483,"_type":13,"marks":15484,"text":15485},"b6d8c4df28a40",[],"About my ",{"_key":15487,"_type":13,"marks":15488,"text":15381},"b6d8c4df28a41",[73],{"_key":15490,"_type":13,"marks":15491,"text":15492},"b6d8c4df28a42",[]," movement in the ",{"_key":15494,"_type":13,"marks":15495,"text":15393},"b6d8c4df28a43",[73],{"_key":15497,"_type":13,"marks":15498,"text":15499},"b6d8c4df28a44",[]," I wrote:",[],{"_key":15502,"_type":9,"audioSize":4,"audioURL":4,"children":15503,"fileURL":4,"image":4,"markDefs":15508,"style":634},"a9e3b055da3e",[15504],{"_key":15505,"_type":13,"marks":15506,"text":15507},"a31965281b4f0",[],"It is a testimony to Life in all its forms on our Earth. The main material of this 3-part piece is the human voice which contrasts with the artificial electronic sounds. In the middle section we hear whale cries, which bemoan the death of Christ (Crucifixus) and in the third part the happy quacking of frogs and the twittering of the chiffchaff give hope for new life (Resurrexit).",[],{"_key":15510,"_type":9,"audioSize":4,"audioURL":4,"children":15511,"fileURL":4,"image":4,"markDefs":15515,"style":18},"311e77f89197",[15512],{"_key":15513,"_type":13,"marks":15514,"text":4878},"587f1525e5680",[],[],[],"There are two works with the name Credo\n\nCredo — tape and organ, the third movement of a group composition Missa Digitalis\n\nCredo — for organ solo\n\nThe material for the organ piece came from fragments I had written for my Credo movement of the Missa Digitalis (see below):\n\nI took part in a Computer Music Project organised by Michael Heisch, whose contact with a very liberal cleric (called Felix Felix!!) led him to suggest a group composition of the liturgical mass. Michael found four churches which were prepared to have the mass performed in their buildings: Mulhouse (Fr), Basel- and St Gallen- Elisabethen churches and the Wasserkirche (ZH). After several meetings we settled on an “accompaniment” of an organ (played by Susanne Kern, Basel) and that there would be recordings made of a soprano singing and speaking part of the mass-text. Fortunately the number of composers wanting to take part settled down quite early on to five—the same number of movements in the mass: Kyrie: Junghae Lee (a Korean composer), Gloria: Philippe Kocher, Credo: myself, Sanctus: Martin Neukom and Agnus Dei: Michael Heisch, who also included an electric guitar in his movement.\n\nFollowing the performances, Michael Heisch arranged for a recording (of the live instruments) and a mixture was sent to the Tonkünstlerverein who published the whole work on CD.\n\nAbout my Credo movement in the Missa Digitalis I wrote:\n\nIt is a testimony to Life in all its forms on our Earth. The main material of this 3-part piece is the human voice which contrasts with the artificial electronic sounds. In the middle section we hear whale cries, which bemoan the death of Christ (Crucifixus) and in the third part the happy quacking of frogs and the twittering of the chiffchaff give hope for new life (Resurrexit).\n\n\n",{"_type":375,"current":15519},"credo",{"date":15360,"instrumentation":15521,"length":713},"Organ",93,{"_id":15524,"chapters":15525,"content":15526,"images":15621,"performances":4,"rawPoem":4,"rawText":15624,"slug":15625,"title":15544,"workInfo":15627,"workNumber":15628},"fd1d38b2-4b6d-415d-9f3b-a5e83947be7e",[],[15527,15537,15545,15553,15572,15587],{"_key":15528,"_type":500,"alt":15529,"audioSize":4,"audioURL":4,"caption":15529,"fileURL":4,"image":15530,"markDefs":4},"9998063972e5","Credo Natura Score",{"caption":4,"id":15531,"meta":15532,"parentID":4,"parentType":510,"url":15536},"f8714ad146d7b53ab46eb9d84a07116ff4c6f1fe",{"_type":506,"aspectRatio":15533,"height":15534,"width":15535},0.7306629834254144,724,529,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Ff8714ad146d7b53ab46eb9d84a07116ff4c6f1fe-529x724.jpg",{"_key":15538,"_type":423,"audio":15539,"audioSize":15542,"audioURL":15543,"caption":15544,"fileURL":4,"image":4,"markDefs":4},"d8a7aa3ba4a2",{"_type":416,"asset":15540},{"_ref":15541,"_type":324},"file-e2194cb77d94d045209ae8b2510ba1e1ca83b94b-mp3",7233200,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fe2194cb77d94d045209ae8b2510ba1e1ca83b94b.mp3","Credo in unam Naturam",{"_key":15546,"_type":9,"audioSize":4,"audioURL":4,"children":15547,"fileURL":4,"image":4,"markDefs":15552,"style":18},"1e1d9ef442b2",[15548],{"_key":15549,"_type":13,"marks":15550,"text":15551},"db8f150497ea",[],"This is the voice of one who doubts the traditional religions but who loves the world around him, the natural and the unnatural and the delicate balance between these worlds. This piece tries to combine these two, the natural and the unnatural, in such a way that one can enhance the other, but also to warn of the disastrous consequences of an unconsidered combination, the dominance of one over the other can cause.",[],{"_key":15554,"_type":9,"audioSize":4,"audioURL":4,"children":15555,"fileURL":4,"image":4,"markDefs":15569,"style":18},"7efd75d5e1d6",[15556,15560,15565],{"_key":15557,"_type":13,"marks":15558,"text":15559},"b150bb56064a0",[],"It is also an admission of nostalgia—a longing for the natural voices of the composer's country of origin, New Zealand: four bird songs are included (Kiwi, ",{"_key":15561,"_type":13,"marks":15562,"text":15564},"b150bb56064a1",[15563],"3939b2623a9f","Bellbird",{"_key":15566,"_type":13,"marks":15567,"text":15568},"b150bb56064a2",[],", Fantail and the Little Grey Warbler) not to mention the plaintive sound of the Humpback Whale.",[15570],{"_key":15563,"_type":316,"href":15571},"http:\u002F\u002Fwww.doc.govt.nz\u002Fnature\u002Fnative-animals\u002Fbirds\u002Fbirds-a-z\u002Fbellbird-korimako\u002F",{"_key":15573,"_type":9,"audioSize":4,"audioURL":4,"children":15574,"fileURL":4,"image":4,"markDefs":15586,"style":18},"6ff2023164b1",[15575,15579,15583],{"_key":15576,"_type":13,"marks":15577,"text":15578},"960e2dcb644b0",[],"Some of the material of this piece was used originally for the Credo in the collective Work of five Swiss composers: ",{"_key":15580,"_type":13,"marks":15581,"text":15582},"960e2dcb644b1",[73],"Missa digitalis",{"_key":15584,"_type":13,"marks":15585,"text":2020},"960e2dcb644b2",[],[],{"_key":15588,"_type":9,"audioSize":4,"audioURL":4,"children":15589,"fileURL":4,"image":4,"markDefs":15612,"style":18},"ce3253ac6a5f",[15590,15594,15599,15603,15608],{"_key":15591,"_type":13,"marks":15592,"text":15593},"31d84b41056f0",[],"This work was never published (although I like it even more than ",{"_key":15595,"_type":13,"marks":15596,"text":15598},"014690d818be",[15597],"3cf144f4f645","Contrasts",{"_key":15600,"_type":13,"marks":15601,"text":15602},"6a6086d584fc",[]," to which it is similar in many ways). Recently, however, I have used much of it again in the ‘tape’ part of ",{"_key":15604,"_type":13,"marks":15605,"text":15607},"fea47d77e27d",[15606],"dcc8ac2918d7","Schubert 1828",{"_key":15609,"_type":13,"marks":15610,"text":15611},"aeecd3f90b0f",[],", 3rd movement.",[15613,15617],{"_key":15597,"_type":321,"reference":15614,"slug":15616,"type":510},{"_ref":15615,"_type":324},"db927938-e3d4-4aaf-a429-6caa72f02b09","contrasts",{"_key":15606,"_type":321,"reference":15618,"slug":15620,"type":510},{"_ref":15619,"_type":324},"fd6c6492-6c55-49a5-8e3c-1ea20b5f7697","schubert-1828",[15622],{"caption":15529,"id":15531,"meta":15623,"parentID":15524,"parentType":510,"url":15536},{"_type":506,"aspectRatio":15533,"height":15534,"width":15535},"This is the voice of one who doubts the traditional religions but who loves the world around him, the natural and the unnatural and the delicate balance between these worlds. This piece tries to combine these two, the natural and the unnatural, in such a way that one can enhance the other, but also to warn of the disastrous consequences of an unconsidered combination, the dominance of one over the other can cause.\n\nIt is also an admission of nostalgia—a longing for the natural voices of the composer's country of origin, New Zealand: four bird songs are included (Kiwi, Bellbird, Fantail and the Little Grey Warbler) not to mention the plaintive sound of the Humpback Whale.\n\nSome of the material of this piece was used originally for the Credo in the collective Work of five Swiss composers: Missa digitalis.\n\nThis work was never published (although I like it even more than Contrasts to which it is similar in many ways). Recently, however, I have used much of it again in the ‘tape’ part of Schubert 1828, 3rd movement.",{"_type":375,"current":15626},"credo-in-unam-naturam",{"date":15360,"instrumentation":14708,"length":883},94,{"_id":15630,"chapters":15631,"content":15632,"images":16188,"performances":16189,"rawPoem":16192,"rawText":16193,"slug":16194,"title":15640,"workInfo":16196,"workNumber":16198},"cb33a8b0-2450-4161-82e1-d02274a926c5",[],[15633,15641,15901,15909,15928],{"_key":15634,"_type":423,"audio":15635,"audioSize":15638,"audioURL":15639,"caption":15640,"fileURL":4,"image":4,"markDefs":4,"musicians":8609},"f9968ee23c6c",{"_type":416,"asset":15636},{"_ref":15637,"_type":324},"file-3f54a345b37ed6b69ff87f4f0f07aeb3d473a718-mp3",16157883,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F3f54a345b37ed6b69ff87f4f0f07aeb3d473a718.mp3","Die Poppa",{"_key":15642,"_type":754,"audioSize":4,"audioURL":4,"author":10631,"fileURL":4,"image":4,"markDefs":4,"poem":15643,"title":15893},"e9b9b4c9188b",[15644,15652,15660,15668,15676,15684,15692,15700,15708,15716,15724,15737,15745,15753,15761,15783,15791,15811,15819,15841,15849,15869,15877,15885],{"_key":15645,"_type":9,"children":15646,"markDefs":15651,"style":18},"a3d231775fd8",[15647],{"_key":15648,"_type":13,"marks":15649,"text":15650},"2bc6651a99e80",[],"Er war ein Senn\nEin Senn von der Alp\nWie ich\nMilch Kühe Glocken Rahm\nSein Leben\nEin Milch-Kühe-Glocken-Rahm-Leben\nUnd die Stille unter den Sternen\nSternenstille\nRauschender Bach\nHarte Steine\nDann kommt die Langeweile\nAuf Sammetpfoten\nSchlüpfrig im Rahm\nKuheuter und warmer Bauch\nEine grosse Sehnsucht",[],{"_key":15653,"_type":9,"children":15654,"markDefs":15659,"style":18},"084f39c5eea0",[15655],{"_key":15656,"_type":13,"marks":15657,"text":15658},"957cda9dcb220",[],"Mit seinen Kumpanen\nBastelt er eine Puppe\nAus Langeweile\nAus einem Arvenast\nLebensgross\nEine Poppa – ein Tuntsch\nEine Frau eine Frau eine Frau\nMit allem was dazu gehört\nZu einer Frau\nZum Milch-Kühe-Glocken-Rahm-Leben\nAus Langeweile und aus Einsamkeit\nAus Sehnsucht",[],{"_key":15661,"_type":9,"children":15662,"markDefs":15667,"style":18},"03ef57642560",[15663],{"_key":15664,"_type":13,"marks":15665,"text":15666},"1ec8519490e50",[],"Sie füttern die Poppa\nDie Poppa gefällt ihm\nDie Augen die Erinnerung der Traum\nDie Poppa schleckt den Rahm\nGenüsslich und wild\nDie Poppa lächelt\nDie Poppa verscheucht die\nEinsamkeit",[],{"_key":15669,"_type":9,"children":15670,"markDefs":15675,"style":18},"78557441b158",[15671],{"_key":15672,"_type":13,"marks":15673,"text":15674},"a89114fa128d0",[],"Die Poppa erwacht",[],{"_key":15677,"_type":9,"children":15678,"markDefs":15683,"style":18},"dff0232a89d5",[15679],{"_key":15680,"_type":13,"marks":15681,"text":15682},"ac2212eecfda0",[73],"Essen fressen fressen essen",[],{"_key":15685,"_type":9,"children":15686,"markDefs":15691,"style":18},"a90b52f78996",[15687],{"_key":15688,"_type":13,"marks":15689,"text":15690},"0cffa9a45ae90",[],"Sie folgt ihm auf Schritt und Tritt\nLiegt mit ihm im Heu\nUnter knurrenden Kuhmägen\nTropfenden Kuheutern\nDer Senn träumt\nDie Poppa träumt mit",[],{"_key":15693,"_type":9,"children":15694,"markDefs":15699,"style":18},"fe69b5bc2a91",[15695],{"_key":15696,"_type":13,"marks":15697,"text":15698},"c48b0b4981c70",[73],"Schlafen und Heu und Heu und schlafen",[],{"_key":15701,"_type":9,"children":15702,"markDefs":15707,"style":18},"c88e95fa067a",[15703],{"_key":15704,"_type":13,"marks":15705,"text":15706},"cd701b5086f80",[],"Mit seinen Kumpanen\nWird sie getauft\nKuhglocken und Taufbecken\nVater Sohn und heiliger Geist\nWildes frevelhaftes Getue\nDer Senn tanzt\nUnd wächst ins Unermessliche",[],{"_key":15709,"_type":9,"children":15710,"markDefs":15715,"style":18},"168f3bb75e6a",[15711],{"_key":15712,"_type":13,"marks":15713,"text":15714},"d3893216b2c00",[73],"Tanzen tanzen immer tanzen",[],{"_key":15717,"_type":9,"children":15718,"markDefs":15723,"style":18},"b94d96c10f12",[15719],{"_key":15720,"_type":13,"marks":15721,"text":15722},"3c2a1196fa960",[],"Aber die Poppa verwandelt sich\nTanzt und schläft und frisst\nRahm und Milch\nMilch und Rahm\nMilch-Kühe-Glocken-Rahm-Leben\nLässt ihnen keine Ruhe\nFrisst alles isst alles\nDie Augen rollen\nAuch sie wächst\nWird zum Monster",[],{"_key":15725,"_type":9,"children":15726,"markDefs":15736,"style":18},"f95cb1ea6cef",[15727,15730,15733],{"_key":15728,"_type":13,"marks":15729,"text":15682},"1b77b92cba270",[73],{"_key":15731,"_type":13,"marks":15732,"text":4878},"1b77b92cba271",[],{"_key":15734,"_type":13,"marks":15735,"text":15698},"1b77b92cba272",[73],[],{"_key":15738,"_type":9,"children":15739,"markDefs":15744,"style":18},"8e6f739a67fe",[15740],{"_key":15741,"_type":13,"marks":15742,"text":15743},"6c02cd60a01c0",[],"Die Angst zieht ein\nDie Sennen zittern\nPlanen eine Flucht\nAlpabfahrt\nAllein ohne sie\nOhne die Poppa\nDie Kühe warten\nDer Wind heult wild",[],{"_key":15746,"_type":9,"children":15747,"markDefs":15752,"style":18},"e69eea584770",[15748],{"_key":15749,"_type":13,"marks":15750,"text":15751},"f62ca1f3925e0",[],"Ihre Poppa\nWollen sie zurücklassen\nSie brauchen sie nicht mehr\nSie ist ihnen im Wege\nEine Plage geworden\nNicht mehr nötig\nüberflüssig",[],{"_key":15754,"_type":9,"children":15755,"markDefs":15760,"style":18},"2df3f11b1820",[15756],{"_key":15757,"_type":13,"marks":15758,"text":15759},"bdcd395b99800",[],"Die Kühe bimmeln bergabwärts\nDie Euter leer die Glocken alt\nDie Sennen fliehen\nDie Poppa erwacht",[],{"_key":15762,"_type":9,"children":15763,"markDefs":15782,"style":18},"6f709263eefa",[15764,15768,15771,15775,15778],{"_key":15765,"_type":13,"marks":15766,"text":15767},"9d3159b2fc9d0",[73],"Einer von Euch muss bleiben",{"_key":15769,"_type":13,"marks":15770,"text":4878},"9d3159b2fc9d1",[],{"_key":15772,"_type":13,"marks":15773,"text":15774},"9d3159b2fc9d2",[73],"Der Aergste von allen",{"_key":15776,"_type":13,"marks":15777,"text":4878},"9d3159b2fc9d3",[],{"_key":15779,"_type":13,"marks":15780,"text":15781},"9d3159b2fc9d4",[73],"Einer nur einer",[],{"_key":15784,"_type":9,"children":15785,"markDefs":15790,"style":18},"0421bcab6919",[15786],{"_key":15787,"_type":13,"marks":15788,"text":15789},"12c21c5c30c90",[],"Die Sennen zittern\nDie Zähne klappern\nDas Vieh lärmt\nDie dunkle Dohle\nschreit auf dem Stein",[],{"_key":15792,"_type":9,"children":15793,"markDefs":15810,"style":18},"253a3cf9dc6e",[15794,15797,15800,15803,15806],{"_key":15795,"_type":13,"marks":15796,"text":15767},"f32ea2a87c600",[73],{"_key":15798,"_type":13,"marks":15799,"text":4878},"f32ea2a87c601",[],{"_key":15801,"_type":13,"marks":15802,"text":15774},"f32ea2a87c602",[73],{"_key":15804,"_type":13,"marks":15805,"text":4878},"f32ea2a87c603",[],{"_key":15807,"_type":13,"marks":15808,"text":15809},"f32ea2a87c604",[73],"Der Senn",[],{"_key":15812,"_type":9,"children":15813,"markDefs":15818,"style":18},"aad74d2eb625",[15814],{"_key":15815,"_type":13,"marks":15816,"text":15817},"e1ecb1c06a780",[],"Der Schrecken lähmt\nEr spürt ihre Hand\nAn der Gurgel",[],{"_key":15820,"_type":9,"children":15821,"markDefs":15840,"style":18},"1353ebe6ba3b",[15822,15826,15829,15833,15836],{"_key":15823,"_type":13,"marks":15824,"text":15825},"61a1a9f84c140",[73],"Ihr andern aber",{"_key":15827,"_type":13,"marks":15828,"text":4878},"61a1a9f84c141",[],{"_key":15830,"_type":13,"marks":15831,"text":15832},"61a1a9f84c142",[73],"Schaut ja nicht zurück",{"_key":15834,"_type":13,"marks":15835,"text":4878},"61a1a9f84c143",[],{"_key":15837,"_type":13,"marks":15838,"text":15839},"61a1a9f84c144",[73],"Nicht vor dem dritten Tobel",[],{"_key":15842,"_type":9,"children":15843,"markDefs":15848,"style":18},"11b6088aa12a",[15844],{"_key":15845,"_type":13,"marks":15846,"text":15847},"99a26641976b0",[],"Er spürt ihre Rache\nRache in der Hand\nUnd träumt den furchtbarsten\nletzten Traum",[],{"_key":15850,"_type":9,"children":15851,"markDefs":15868,"style":18},"8cd76a04463e",[15852,15855,15858,15862,15865],{"_key":15853,"_type":13,"marks":15854,"text":15774},"268c0be0baaa0",[73],{"_key":15856,"_type":13,"marks":15857,"text":4878},"268c0be0baaa1",[],{"_key":15859,"_type":13,"marks":15860,"text":15861},"268c0be0baaa2",[73],"Erst nach dem dritten Tobel",{"_key":15863,"_type":13,"marks":15864,"text":4878},"268c0be0baaa3",[],{"_key":15866,"_type":13,"marks":15867,"text":15781},"268c0be0baaa4",[73],[],{"_key":15870,"_type":9,"children":15871,"markDefs":15876,"style":18},"1e9973aebfa2",[15872],{"_key":15873,"_type":13,"marks":15874,"text":15875},"88e20fdd6a120",[],"Dann wird es still\nUm den Sennen\nDer Wind schweigt\nUnd die Dohle schläft",[],{"_key":15878,"_type":9,"children":15879,"markDefs":15884,"style":18},"95ab109f2cef",[15880],{"_key":15881,"_type":13,"marks":15882,"text":15883},"fa2075b5b0350",[],"Aber die Blicke der andern\nNach dem dritten Tobel\nErstarren vor Schreck",[],{"_key":15886,"_type":9,"children":15887,"markDefs":15892,"style":18},"89d52d9ea3a9",[15888],{"_key":15889,"_type":13,"marks":15890,"text":15891},"6c75c4e7de2e0",[],"Ein grinsendes Ungeheuer\nSitzt auf dem Dach\nDie blutige Haut ausgebreitet\nEin Mahnmal\nHoch oben\nUnter den Felsen\nWo die Stille schmerzt",[],[15894],{"_key":15895,"_type":9,"children":15896,"markDefs":15900,"style":18},"aa0ffa4d2f1a",[15897],{"_key":15898,"_type":13,"marks":15899,"text":15640},"54fd7c34233b",[15,73],[],{"_key":15902,"_type":9,"audioSize":4,"audioURL":4,"children":15903,"fileURL":4,"image":4,"markDefs":15908,"style":18},"5096db4bfeff",[15904],{"_key":15905,"_type":13,"marks":15906,"text":15907},"6a0009644c83",[],"Translation Note",[],{"_key":15910,"_type":9,"audioSize":4,"audioURL":4,"children":15911,"fileURL":4,"image":4,"markDefs":15925,"style":18},"434d18efa2b9",[15912,15916,15921],{"_key":15913,"_type":13,"marks":15914,"text":15915},"9bd1c942dcfd0",[],"“Die Poppa” is a legend from the mountainous parts of Switzerland—also told as ",{"_key":15917,"_type":13,"marks":15918,"text":15920},"9bd1c942dcfd1",[15919,73],"25ec6e135d75","Das Sennentuntschi",{"_key":15922,"_type":13,"marks":15923,"text":15924},"9bd1c942dcfd2",[],". It tells of a Senn, a Swiss mountain farmer, and his comrades who build a life sized puppet (the Poppa) of a woman, which comes to life. Every summer these mountain farmers take their cattle up to the high mountain pastures and live with them there until the cold weather drives them back home again. While up on the “Alp” (or “Alm”) they are often separated from their families for months on end. They watch over their animals, milk them and make cheese. But it is a lonely existence—something which the Senn of this story found hard to stand. Interesting from a modern point of view is that the greater sin, that the Senn and his mates committed, was not a sexual one but a religious one: They baptized the Poppa—and for this they are severely punished—and for his gross unfaithfulness the Senn is skinned alive.",[15926],{"_key":15919,"_type":316,"href":15927},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FSennentuntschi",{"_key":15929,"_type":754,"audioSize":4,"audioURL":4,"author":15930,"fileURL":4,"image":4,"markDefs":4,"poem":15931,"title":16180},"d2a0ea30e175","Translation KP",[15932,15940,15948,15956,15964,15972,15980,15988,15996,16004,16012,16025,16033,16041,16049,16071,16079,16099,16107,16129,16137,16156,16164,16172],{"_key":15933,"_type":9,"children":15934,"markDefs":15939,"style":18},"43dffef78dcc",[15935],{"_key":15936,"_type":13,"marks":15937,"text":15938},"fd063fa91c32",[],"He was a Senn\nA Senn from the mountains\nLike me\nMilk cows bells cream\nHis life\nA milk-cow-bell-cream-life\nAnd the silence under the stars\nStar silence\nBabbling brook\nHard stones\nThen comes the boredom\nOn velvet paws\nSlippery in cream\nCow udder and warm belly\nA huge longing",[],{"_key":15941,"_type":9,"children":15942,"markDefs":15947,"style":18},"04a63d177945",[15943],{"_key":15944,"_type":13,"marks":15945,"text":15946},"6e70d76601150",[],"With his mates\nHe builds a doll\nOut of boredom\nOut of a pine branch\nLife size\nA poppa – a wench\nA woman a woman a woman\nWith all that belongs\nTo a woman\nTo a milk-cow-bell-cream-life\nOut of boredom and\nLoneliness\nOut of longing",[],{"_key":15949,"_type":9,"children":15950,"markDefs":15955,"style":18},"d18398acf99c",[15951],{"_key":15952,"_type":13,"marks":15953,"text":15954},"ff8a02527fff0",[],"They feed the Poppa\nHe likes the Poppa\nThe eyes the memory the dream\nThe Poppa licks the cream\nPleasurably and wild\nThe Poppa smiles\nThe Poppa shoos off\nthe loneliness",[],{"_key":15957,"_type":9,"children":15958,"markDefs":15963,"style":18},"3171ff9b23e6",[15959],{"_key":15960,"_type":13,"marks":15961,"text":15962},"b2f8906a4ed40",[],"The Poppa awakes",[],{"_key":15965,"_type":9,"children":15966,"markDefs":15971,"style":18},"e4739fd54f64",[15967],{"_key":15968,"_type":13,"marks":15969,"text":15970},"b49163cf5a670",[73],"Eating gorging gorging eating",[],{"_key":15973,"_type":9,"children":15974,"markDefs":15979,"style":18},"ead8400ab6a2",[15975],{"_key":15976,"_type":13,"marks":15977,"text":15978},"29adefcdda080",[],"She follows him at every turn\nLies with him in the hay Under rumbling cow bellies\nDripping udders\nThe Senn dreams\nThe Poppa dreams too",[],{"_key":15981,"_type":9,"children":15982,"markDefs":15987,"style":18},"cc5bb33bbbe3",[15983],{"_key":15984,"_type":13,"marks":15985,"text":15986},"8934642f15560",[73],"Sleep and hay and hay and sleep",[],{"_key":15989,"_type":9,"children":15990,"markDefs":15995,"style":18},"eaee328c90cf",[15991],{"_key":15992,"_type":13,"marks":15993,"text":15994},"f97b4219469a0",[],"With his mates\nThey christen her\nCowbells and baptismal font\nFather Son and Holy Ghost\nWild and outrageous ado\nThe Senn dances\nAnd grows immeasurably",[],{"_key":15997,"_type":9,"children":15998,"markDefs":16003,"style":18},"12a822ef5eec",[15999],{"_key":16000,"_type":13,"marks":16001,"text":16002},"3b91083f1eee0",[73],"Dancing dancing always dancing",[],{"_key":16005,"_type":9,"children":16006,"markDefs":16011,"style":18},"e46614ea0d47",[16007],{"_key":16008,"_type":13,"marks":16009,"text":16010},"f8b9889bc63d0",[],"But the Poppa changes\nDances and sleeps and gorges\nCream and milk\nMilk and cream\nMilk-cow-bell-cream-life\nLeaves them no peace\nEats everything in sight\nThe eyes roll\nShe grows too\nGrows into a monster",[],{"_key":16013,"_type":9,"children":16014,"markDefs":16024,"style":18},"6fbff601afc2",[16015,16018,16021],{"_key":16016,"_type":13,"marks":16017,"text":15970},"35e49baaf1670",[73],{"_key":16019,"_type":13,"marks":16020,"text":4878},"35e49baaf1671",[],{"_key":16022,"_type":13,"marks":16023,"text":15986},"35e49baaf1672",[73],[],{"_key":16026,"_type":9,"children":16027,"markDefs":16032,"style":18},"511e216acf27",[16028],{"_key":16029,"_type":13,"marks":16030,"text":16031},"bf91df8edf090",[],"Fears overcome them\nThe herdsmen tremble\nPlan an escape\nHome with the cows\nAlone without her\nWithout the Poppa\nThe cows are waiting\nThe wind howls wild",[],{"_key":16034,"_type":9,"children":16035,"markDefs":16040,"style":18},"d6c32c993fcc",[16036],{"_key":16037,"_type":13,"marks":16038,"text":16039},"fca4f80908d00",[],"They want to leave\nTheir Poppa behind\nNo need for her anymore\nShe is in the way\nHas become a plague\nRedundant\nSuperfluous",[],{"_key":16042,"_type":9,"children":16043,"markDefs":16048,"style":18},"11ade960962d",[16044],{"_key":16045,"_type":13,"marks":16046,"text":16047},"103b0f508af10",[],"The cows jingle downhill\nThe udders empty the bells old\nThe herdsmen flee\nThe Poppa awakes",[],{"_key":16050,"_type":9,"children":16051,"markDefs":16070,"style":18},"e08557dc1316",[16052,16056,16059,16063,16066],{"_key":16053,"_type":13,"marks":16054,"text":16055},"0ad27bd3206e0",[73],"One of you must stay",{"_key":16057,"_type":13,"marks":16058,"text":4878},"0ad27bd3206e1",[],{"_key":16060,"_type":13,"marks":16061,"text":16062},"0ad27bd3206e2",[73],"The worst one of all",{"_key":16064,"_type":13,"marks":16065,"text":4878},"0ad27bd3206e3",[],{"_key":16067,"_type":13,"marks":16068,"text":16069},"0ad27bd3206e4",[73],"One only one",[],{"_key":16072,"_type":9,"children":16073,"markDefs":16078,"style":18},"4571452e5f8a",[16074],{"_key":16075,"_type":13,"marks":16076,"text":16077},"60534d1115ae0",[],"The herdsmen tremble\nTheir teeth are chattering\nThe cattle are lowing\nThe dark mountain crow\nShrieks from the stone",[],{"_key":16080,"_type":9,"children":16081,"markDefs":16098,"style":18},"abc9f84ed210",[16082,16085,16088,16091,16094],{"_key":16083,"_type":13,"marks":16084,"text":16055},"b4d923bfc3c00",[73],{"_key":16086,"_type":13,"marks":16087,"text":4878},"b4d923bfc3c01",[],{"_key":16089,"_type":13,"marks":16090,"text":16062},"b4d923bfc3c02",[73],{"_key":16092,"_type":13,"marks":16093,"text":4878},"b4d923bfc3c03",[],{"_key":16095,"_type":13,"marks":16096,"text":16097},"b4d923bfc3c04",[73],"The Senn",[],{"_key":16100,"_type":9,"children":16101,"markDefs":16106,"style":18},"f7953fa6c43c",[16102],{"_key":16103,"_type":13,"marks":16104,"text":16105},"bb8a117f54dd0",[],"Frozen with terror\nHe feels her hand\nOn his gullet",[],{"_key":16108,"_type":9,"children":16109,"markDefs":16128,"style":18},"7fb544ad3468",[16110,16114,16117,16121,16124],{"_key":16111,"_type":13,"marks":16112,"text":16113},"845d4942da440",[73],"You others though",{"_key":16115,"_type":13,"marks":16116,"text":4878},"845d4942da441",[],{"_key":16118,"_type":13,"marks":16119,"text":16120},"845d4942da442",[73],"Don’t dare look back",{"_key":16122,"_type":13,"marks":16123,"text":4878},"845d4942da443",[],{"_key":16125,"_type":13,"marks":16126,"text":16127},"845d4942da444",[73],"Not till the third gully",[],{"_key":16130,"_type":9,"children":16131,"markDefs":16136,"style":18},"90639e93b9c2",[16132],{"_key":16133,"_type":13,"marks":16134,"text":16135},"12ca049d4c780",[],"He feels her revenge\nRevenge in her hand\nAnd dreams the most terrible\nLast dream",[],{"_key":16138,"_type":9,"children":16139,"markDefs":16155,"style":18},"be53894f3910",[16140,16143,16146,16149,16152],{"_key":16141,"_type":13,"marks":16142,"text":16062},"c505a917706f0",[73],{"_key":16144,"_type":13,"marks":16145,"text":4878},"c505a917706f1",[],{"_key":16147,"_type":13,"marks":16148,"text":16127},"c505a917706f2",[73],{"_key":16150,"_type":13,"marks":16151,"text":4878},"c505a917706f3",[],{"_key":16153,"_type":13,"marks":16154,"text":16069},"c505a917706f4",[73],[],{"_key":16157,"_type":9,"children":16158,"markDefs":16163,"style":18},"a8bba4ed371e",[16159],{"_key":16160,"_type":13,"marks":16161,"text":16162},"3538870839860",[],"Then silence descends\nUpon the Senn\nThe wind drops\nAnd the crow sleeps",[],{"_key":16165,"_type":9,"children":16166,"markDefs":16171,"style":18},"9b041e530745",[16167],{"_key":16168,"_type":13,"marks":16169,"text":16170},"cd393feae5820",[],"But the looks of the others\nAt the third gully\nFreeze with horror",[],{"_key":16173,"_type":9,"children":16174,"markDefs":16179,"style":18},"8028461813dc",[16175],{"_key":16176,"_type":13,"marks":16177,"text":16178},"66c32600dc740",[],"A grinning monster\nSits on the roof\nThe bloody skin spread out\nA warning\nHigh up\nUnder the rocks\nWhere the silence hurts",[],[16181],{"_key":16182,"_type":9,"children":16183,"markDefs":16187,"style":18},"fca0c46f17c5",[16184],{"_key":16185,"_type":13,"marks":16186,"text":15640},"9656a02a6a34",[15,73],[],[],[16190],{"_key":16191,"_type":366,"date":15360,"location":2558},"bdd582e9553f","Er war ein Senn\nEin Senn von der Alp\nWie ich\nMilch Kühe Glocken Rahm\nSein Leben\nEin Milch-Kühe-Glocken-Rahm-Leben\nUnd die Stille unter den Sternen\nSternenstille\nRauschender Bach\nHarte Steine\nDann kommt die Langeweile\nAuf Sammetpfoten\nSchlüpfrig im Rahm\nKuheuter und warmer Bauch\nEine grosse Sehnsucht\n\nMit seinen Kumpanen\nBastelt er eine Puppe\nAus Langeweile\nAus einem Arvenast\nLebensgross\nEine Poppa – ein Tuntsch\nEine Frau eine Frau eine Frau\nMit allem was dazu gehört\nZu einer Frau\nZum Milch-Kühe-Glocken-Rahm-Leben\nAus Langeweile und aus Einsamkeit\nAus Sehnsucht\n\nSie füttern die Poppa\nDie Poppa gefällt ihm\nDie Augen die Erinnerung der Traum\nDie Poppa schleckt den Rahm\nGenüsslich und wild\nDie Poppa lächelt\nDie Poppa verscheucht die\nEinsamkeit\n\nDie Poppa erwacht\n\nEssen fressen fressen essen\n\nSie folgt ihm auf Schritt und Tritt\nLiegt mit ihm im Heu\nUnter knurrenden Kuhmägen\nTropfenden Kuheutern\nDer Senn träumt\nDie Poppa träumt mit\n\nSchlafen und Heu und Heu und schlafen\n\nMit seinen Kumpanen\nWird sie getauft\nKuhglocken und Taufbecken\nVater Sohn und heiliger Geist\nWildes frevelhaftes Getue\nDer Senn tanzt\nUnd wächst ins Unermessliche\n\nTanzen tanzen immer tanzen\n\nAber die Poppa verwandelt sich\nTanzt und schläft und frisst\nRahm und Milch\nMilch und Rahm\nMilch-Kühe-Glocken-Rahm-Leben\nLässt ihnen keine Ruhe\nFrisst alles isst alles\nDie Augen rollen\nAuch sie wächst\nWird zum Monster\n\nEssen fressen fressen essen\nSchlafen und Heu und Heu und schlafen\n\nDie Angst zieht ein\nDie Sennen zittern\nPlanen eine Flucht\nAlpabfahrt\nAllein ohne sie\nOhne die Poppa\nDie Kühe warten\nDer Wind heult wild\n\nIhre Poppa\nWollen sie zurücklassen\nSie brauchen sie nicht mehr\nSie ist ihnen im Wege\nEine Plage geworden\nNicht mehr nötig\nüberflüssig\n\nDie Kühe bimmeln bergabwärts\nDie Euter leer die Glocken alt\nDie Sennen fliehen\nDie Poppa erwacht\n\nEiner von Euch muss bleiben\nDer Aergste von allen\nEiner nur einer\n\nDie Sennen zittern\nDie Zähne klappern\nDas Vieh lärmt\nDie dunkle Dohle\nschreit auf dem Stein\n\nEiner von Euch muss bleiben\nDer Aergste von allen\nDer Senn\n\nDer Schrecken lähmt\nEr spürt ihre Hand\nAn der Gurgel\n\nIhr andern aber\nSchaut ja nicht zurück\nNicht vor dem dritten Tobel\n\nEr spürt ihre Rache\nRache in der Hand\nUnd träumt den furchtbarsten\nletzten Traum\n\nDer Aergste von allen\nErst nach dem dritten Tobel\nEiner nur einer\n\nDann wird es still\nUm den Sennen\nDer Wind schweigt\nUnd die Dohle schläft\n\nAber die Blicke der andern\nNach dem dritten Tobel\nErstarren vor Schreck\n\nEin grinsendes Ungeheuer\nSitzt auf dem Dach\nDie blutige Haut ausgebreitet\nEin Mahnmal\nHoch oben\nUnter den Felsen\nWo die Stille schmerzt\n\nHe was a Senn\nA Senn from the mountains\nLike me\nMilk cows bells cream\nHis life\nA milk-cow-bell-cream-life\nAnd the silence under the stars\nStar silence\nBabbling brook\nHard stones\nThen comes the boredom\nOn velvet paws\nSlippery in cream\nCow udder and warm belly\nA huge longing\n\nWith his mates\nHe builds a doll\nOut of boredom\nOut of a pine branch\nLife size\nA poppa – a wench\nA woman a woman a woman\nWith all that belongs\nTo a woman\nTo a milk-cow-bell-cream-life\nOut of boredom and\nLoneliness\nOut of longing\n\nThey feed the Poppa\nHe likes the Poppa\nThe eyes the memory the dream\nThe Poppa licks the cream\nPleasurably and wild\nThe Poppa smiles\nThe Poppa shoos off\nthe loneliness\n\nThe Poppa awakes\n\nEating gorging gorging eating\n\nShe follows him at every turn\nLies with him in the hay Under rumbling cow bellies\nDripping udders\nThe Senn dreams\nThe Poppa dreams too\n\nSleep and hay and hay and sleep\n\nWith his mates\nThey christen her\nCowbells and baptismal font\nFather Son and Holy Ghost\nWild and outrageous ado\nThe Senn dances\nAnd grows immeasurably\n\nDancing dancing always dancing\n\nBut the Poppa changes\nDances and sleeps and gorges\nCream and milk\nMilk and cream\nMilk-cow-bell-cream-life\nLeaves them no peace\nEats everything in sight\nThe eyes roll\nShe grows too\nGrows into a monster\n\nEating gorging gorging eating\nSleep and hay and hay and sleep\n\nFears overcome them\nThe herdsmen tremble\nPlan an escape\nHome with the cows\nAlone without her\nWithout the Poppa\nThe cows are waiting\nThe wind howls wild\n\nThey want to leave\nTheir Poppa behind\nNo need for her anymore\nShe is in the way\nHas become a plague\nRedundant\nSuperfluous\n\nThe cows jingle downhill\nThe udders empty the bells old\nThe herdsmen flee\nThe Poppa awakes\n\nOne of you must stay\nThe worst one of all\nOne only one\n\nThe herdsmen tremble\nTheir teeth are chattering\nThe cattle are lowing\nThe dark mountain crow\nShrieks from the stone\n\nOne of you must stay\nThe worst one of all\nThe Senn\n\nFrozen with terror\nHe feels her hand\nOn his gullet\n\nYou others though\nDon’t dare look back\nNot till the third gully\n\nHe feels her revenge\nRevenge in her hand\nAnd dreams the most terrible\nLast dream\n\nThe worst one of all\nNot till the third gully\nOne only one\n\nThen silence descends\nUpon the Senn\nThe wind drops\nAnd the crow sleeps\n\nBut the looks of the others\nAt the third gully\nFreeze with horror\n\nA grinning monster\nSits on the roof\nThe bloody skin spread out\nA warning\nHigh up\nUnder the rocks\nWhere the silence hurts","Translation Note\n\n“Die Poppa” is a legend from the mountainous parts of Switzerland—also told as Das Sennentuntschi. It tells of a Senn, a Swiss mountain farmer, and his comrades who build a life sized puppet (the Poppa) of a woman, which comes to life. Every summer these mountain farmers take their cattle up to the high mountain pastures and live with them there until the cold weather drives them back home again. While up on the “Alp” (or “Alm”) they are often separated from their families for months on end. They watch over their animals, milk them and make cheese. But it is a lonely existence—something which the Senn of this story found hard to stand. Interesting from a modern point of view is that the greater sin, that the Senn and his mates committed, was not a sexual one but a religious one: They baptized the Poppa—and for this they are severely punished—and for his gross unfaithfulness the Senn is skinned alive.",{"_type":375,"current":16195},"die-poppa",{"date":15360,"instrumentation":16197,"length":2267,"text":10631},"Tape and Baritone",95,{"_id":16200,"chapters":16201,"content":16202,"images":16610,"performances":16611,"rawPoem":16621,"rawText":16622,"slug":16623,"title":16209,"workInfo":16625,"workNumber":16627},"5c0952c0-4060-408d-b241-cc8b018914b7",[],[16203,16211,16219,16227,16239,16247,16255,16283,16291,16303,16311,16319,16338,16345,16357,16364,16372,16380,16388,16396,16404,16471,16478,16489,16497,16505,16513,16521,16529,16537,16596,16603],{"_key":16204,"_type":9,"audioSize":4,"audioURL":4,"children":16205,"fileURL":4,"image":4,"markDefs":16210,"style":18},"6d5066a7fd73",[16206],{"_key":16207,"_type":13,"marks":16208,"text":16209},"b0213025c13d",[15],"Ophelia Songs",[],{"_key":16212,"_type":9,"audioSize":4,"audioURL":4,"children":16213,"fileURL":4,"image":4,"markDefs":16218,"style":18},"fba731a0e383",[16214],{"_key":16215,"_type":13,"marks":16216,"text":16217},"e8e35ff3a95a0",[],"In this cycle of four songs I have tried to show the change which takes place in Ophelia: From a normal healthy young woman at the beginning of the play into the tragic and pitiable figure who takes her own life at the end.",[],{"_key":16220,"_type":9,"audioSize":4,"audioURL":4,"children":16221,"fileURL":4,"image":4,"markDefs":16226,"style":18},"806e605e9d9e",[16222],{"_key":16223,"_type":13,"marks":16224,"text":16225},"878ddfe4c7e70",[],"There are four movements (I have included the directions to the performers from the score (below)):",[],{"_key":16228,"_type":9,"audioSize":4,"audioURL":4,"children":16229,"fileURL":4,"image":4,"markDefs":16238,"style":18},"ac1dd9ee1f91",[16230,16234],{"_key":16231,"_type":13,"marks":16232,"text":16233},"53e2cea0e4e90",[15],"Ophelia 1",{"_key":16235,"_type":13,"marks":16236,"text":16237},"53e2cea0e4e91",[]," (Hamlet, act 2, scene 1)",[],{"_key":16240,"_type":9,"audioSize":4,"audioURL":4,"children":16241,"fileURL":4,"image":4,"markDefs":16246,"style":18},"45a5e1eaead2",[16242],{"_key":16243,"_type":13,"marks":16244,"text":16245},"bd73fc2e86ab0",[],"In this first song (a spoken text in \"Hamlet\") she is telling her father, Polonius, of Hamlet's very strange behaviour towards her. She believes he is showing symptoms of genuine madness and is very worried about him.",[],{"_key":16248,"_type":9,"audioSize":4,"audioURL":4,"children":16249,"fileURL":4,"image":4,"markDefs":16254,"style":18},"1996bfd39675",[16250],{"_key":16251,"_type":13,"marks":16252,"text":16253},"6344a2e9e51e0",[],"It is important that the singer (and also the pianist) show this normal agitated concern. In the last line (which is repeated in the song) one should suddenly have the feeling that this feigned madness of Hamlet's has had a very real effect on Ophelia, and that this “light” which, as she says, is “bended on her”, will be the cause of her own madness.",[],{"_key":16256,"_type":754,"audioSize":4,"audioURL":4,"author":16257,"fileURL":4,"image":4,"markDefs":4,"poem":16258,"title":16275},"0b3a6fdd02d9","William Shakespeare",[16259,16267],{"_key":16260,"_type":9,"children":16261,"markDefs":16266,"style":18},"c6d88336916d",[16262],{"_key":16263,"_type":13,"marks":16264,"text":16265},"08fca8476f55",[],"My Lord, as I was sewing in my chamber,\nLord Hamlet, his doublet all unbraced,\nNo hat upon his head, his stockings fouled,\nUngartered, and down-gyvèd to his ankle,\nPale as his shirt, his knees knocking each other,\nAnd with a look so piteous in purport\nAs if he had been loosèd out of hell\nTo speak of horrors, he comes before me.",[],{"_key":16268,"_type":9,"children":16269,"markDefs":16274,"style":18},"a7b5e251c152",[16270],{"_key":16271,"_type":13,"marks":16272,"text":16273},"c81c90e6cb3a0",[],"He took me by the wrist and held me hard,\nThen goes he to the length of all his arm,\nAnd with his other hand thus o'er his brow\nHe falls to such perusal of my face\nAs a would draw it. Long stayed he so.\nAt last, a little shaking of my arm,\nAnd thrice his head thus waving up and down,\nHe raised a sigh so piteous and profound\nThat it seemed to shatter all his bulk\nAnd end his being.That done, he lets me go,\nAnd, with his head over his shoulder turned,\nHe seemed to find his way without his eyes,\nFor out o’ doors he went without their help,\nAnd to the last bended their light on me.\n",[],[16276],{"_key":16277,"_type":9,"children":16278,"markDefs":16282,"style":18},"0a4a7603d73a",[16279],{"_key":16280,"_type":13,"marks":16281,"text":16233},"9430a8da66f9",[15,73],[],{"_key":16284,"_type":423,"audio":16285,"audioSize":16288,"audioURL":16289,"caption":16233,"fileURL":4,"image":4,"markDefs":4,"musicians":16290},"76fdc1c30075",{"_type":416,"asset":16286},{"_ref":16287,"_type":324},"file-47e707e205f8957787f393e4063d8ef3cc55bcbb-mp3",4628501,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F47e707e205f8957787f393e4063d8ef3cc55bcbb.mp3","Fiona Powell (soprano), Annette Burkhard (piano)",{"_key":16292,"_type":9,"audioSize":4,"audioURL":4,"children":16293,"fileURL":4,"image":4,"markDefs":16302,"style":18},"afc5aafb3b84",[16294,16298],{"_key":16295,"_type":13,"marks":16296,"text":16297},"a84f6d33f2250",[15],"Ophelia 2",{"_key":16299,"_type":13,"marks":16300,"text":16301},"a84f6d33f2251",[]," (Hamlet, act 3, scene 1)",[],{"_key":16304,"_type":9,"audioSize":4,"audioURL":4,"children":16305,"fileURL":4,"image":4,"markDefs":16310,"style":18},"e384a350dcb6",[16306],{"_key":16307,"_type":13,"marks":16308,"text":16309},"5ef82108f1e20",[],"This song starts with a mood of intense sadness, bordering on depression. At first Ophelia is horrified at what has happened to Hamlet, but gradually this compassion changes into self pity.",[],{"_key":16312,"_type":9,"audioSize":4,"audioURL":4,"children":16313,"fileURL":4,"image":4,"markDefs":16318,"style":18},"6956fb222305",[16314],{"_key":16315,"_type":13,"marks":16316,"text":16317},"78e8918aee1a0",[],"Towards the end she breaks out of her depression into anger, but it is no longer normal anger, she is already slightly demented.",[],{"_key":16320,"_type":754,"audioSize":4,"audioURL":4,"author":16257,"fileURL":4,"image":4,"markDefs":4,"poem":16321,"title":16330},"6b52516c2010",[16322],{"_key":16323,"_type":9,"children":16324,"markDefs":16329,"style":18},"4ce2b272ff52",[16325],{"_key":16326,"_type":13,"marks":16327,"text":16328},"02cb070a00b8",[],"O what a noble mind is here o'erthrown!\nThe courtier's, soldier's, scholar's eye, tongue, sword,\nThe expectancy and rose of the fair state,\nThe glass of fashion and the mould of form,\nTh'observed of all observers, quite, quite, down!\nAnd I, of ladies most deject and wretched,\nThat sucked the honey of his music vows,\nNow see that noble and most sovereign reason\nLike sweet bells jangled out of tune and harsh;\nThat unmatched form and feature of blown youth\nBlasted with ecstacy. O woe is me,\nT'have seen what I have seen, see what I see!",[],[16331],{"_key":16332,"_type":9,"children":16333,"markDefs":16337,"style":18},"f477a32d4f95",[16334],{"_key":16335,"_type":13,"marks":16336,"text":16297},"487a93c85058",[15,73],[],{"_key":16339,"_type":423,"audio":16340,"audioSize":16343,"audioURL":16344,"caption":16297,"fileURL":4,"image":4,"markDefs":4,"musicians":16290},"c4b90b1d54fd",{"_type":416,"asset":16341},{"_ref":16342,"_type":324},"file-c7bde17c85ff97f8c0d80ee39676f6e38780613b-mp3",5559865,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fc7bde17c85ff97f8c0d80ee39676f6e38780613b.mp3",{"_key":16346,"_type":9,"audioSize":4,"audioURL":4,"children":16347,"fileURL":4,"image":4,"markDefs":16356,"style":18},"f089207cf117",[16348,16352],{"_key":16349,"_type":13,"marks":16350,"text":16351},"c14967c7c9d60",[15],"Ophelia 3",{"_key":16353,"_type":13,"marks":16354,"text":16355},"c14967c7c9d61",[]," (Hamlet, act 4, scene 5)",[],{"_key":16358,"_type":9,"audioSize":4,"audioURL":4,"children":16359,"fileURL":4,"image":4,"markDefs":16363,"style":18},"14893222a56b",[16360],{"_key":16361,"_type":13,"marks":16362,"text":25},"aa6f82f32f030",[],[],{"_key":16365,"_type":9,"audioSize":4,"audioURL":4,"children":16366,"fileURL":4,"image":4,"markDefs":16371,"style":18},"6cadda3377c5",[16367],{"_key":16368,"_type":13,"marks":16369,"text":16370},"d297abf075110",[],"Ophelia is no more the noble lady of the first song. She is not however completely insane, there is still “method in her madness”.",[],{"_key":16373,"_type":9,"audioSize":4,"audioURL":4,"children":16374,"fileURL":4,"image":4,"markDefs":16379,"style":18},"417357327352",[16375],{"_key":16376,"_type":13,"marks":16377,"text":16378},"49dabab5cd3f0",[],"The singer should show a difference between the anger and bitterness of this song, and the complete withdrawal from the world in the fourth song.",[],{"_key":16381,"_type":9,"audioSize":4,"audioURL":4,"children":16382,"fileURL":4,"image":4,"markDefs":16387,"style":18},"54dda98677d7",[16383],{"_key":16384,"_type":13,"marks":16385,"text":16386},"905e3e953d2e0",[],"One has the feeling in this third song, that she knows very well what she is saying and how it affects the listener (the Queen, Hamlet's mother) but she uses a language and a delivery which is the very opposite of that of the noble lady of the first song.",[],{"_key":16389,"_type":9,"audioSize":4,"audioURL":4,"children":16390,"fileURL":4,"image":4,"markDefs":16395,"style":18},"e192e7979025",[16391],{"_key":16392,"_type":13,"marks":16393,"text":16394},"520eaa7bb4520",[],"Her anger with Hamlet for having given her to believe he loved her and now, for no apparent reason, for having rejected her, seems to have robbed her of her own reason.",[],{"_key":16397,"_type":9,"audioSize":4,"audioURL":4,"children":16398,"fileURL":4,"image":4,"markDefs":16403,"style":18},"bd3c404a2bc7",[16399],{"_key":16400,"_type":13,"marks":16401,"text":16402},"24c61f008a3b0",[],"She believes that Hamlet has used her like a whore and deserted her, and so she now acts the role of a whore. Because she is already slightly mad she is oblivious to the pain that her behaviour and uncouth language has on those around her.",[],{"_key":16405,"_type":754,"audioSize":4,"audioURL":4,"author":16257,"fileURL":4,"image":4,"markDefs":4,"poem":16406,"title":16463},"9e086d68afa8",[16407,16415,16423,16431,16439,16447,16455],{"_key":16408,"_type":9,"children":16409,"markDefs":16414,"style":18},"8171830691aa",[16410],{"_key":16411,"_type":13,"marks":16412,"text":16413},"287a85071fa1",[],"How should I your true love know\nFrom another one?—\nBy his cockle hat and staff,\nAnd his sandal shoon.",[],{"_key":16416,"_type":9,"children":16417,"markDefs":16422,"style":18},"aff3bc3ceec2",[16418],{"_key":16419,"_type":13,"marks":16420,"text":16421},"3e148f2c62b90",[],"He is dead and gone, lady,\nHe is dead and gone.\nAt his head a grass-green turf,\nAt his heels a stone.",[],{"_key":16424,"_type":9,"children":16425,"markDefs":16430,"style":18},"90b27c757102",[16426],{"_key":16427,"_type":13,"marks":16428,"text":16429},"84e2866bd9830",[],"White his shroud as the mountain snow—\nLarded with sweet flowers,\nWhich bewept to the grave did–not–go\nWith true-love showers.",[],{"_key":16432,"_type":9,"children":16433,"markDefs":16438,"style":18},"8f0503722bbf",[16434],{"_key":16435,"_type":13,"marks":16436,"text":16437},"b80400c356ee0",[],"Tomorrow is Saint Valentine's day,\nAll in the morning betime,\nAnd I a maid at your window\nTo be your Valentine",[],{"_key":16440,"_type":9,"children":16441,"markDefs":16446,"style":18},"92c17f3b34a7",[16442],{"_key":16443,"_type":13,"marks":16444,"text":16445},"931bb11e3a440",[],"Then up he rose, and donned his clothes,\nAnd dupped the chamber door;\nLet in the maid, that out a maid\nNever departed more.",[],{"_key":16448,"_type":9,"children":16449,"markDefs":16454,"style":18},"88662987c18d",[16450],{"_key":16451,"_type":13,"marks":16452,"text":16453},"3a5a0d36d2ff0",[],"By Gis, and by Saint Charity,\nAlack, and fie for shame!\nYoung men will do't if they come to't,\nBy Cock, they are to blame.",[],{"_key":16456,"_type":9,"children":16457,"markDefs":16462,"style":18},"3c9bfc7f2786",[16458],{"_key":16459,"_type":13,"marks":16460,"text":16461},"b6fa80b98cbe0",[],"Quoth she ‘Before you tumbled me\nYou promised me to wed.’\nSo would I ‘a’ done, by yonder sun,\nAnd thou hadst not come to my bed.",[],[16464],{"_key":16465,"_type":9,"children":16466,"markDefs":16470,"style":18},"b38b54e93964",[16467],{"_key":16468,"_type":13,"marks":16469,"text":16351},"ec1735dce7c4",[15,73],[],{"_key":16472,"_type":423,"audio":16473,"audioSize":16476,"audioURL":16477,"caption":16351,"fileURL":4,"image":4,"markDefs":4,"musicians":16290},"472f7b75028a",{"_type":416,"asset":16474},{"_ref":16475,"_type":324},"file-35262061f9d0a6687c0bc65ebc8dcfdb5bab6258-mp3",3237010,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F35262061f9d0a6687c0bc65ebc8dcfdb5bab6258.mp3",{"_key":16479,"_type":9,"audioSize":4,"audioURL":4,"children":16480,"fileURL":4,"image":4,"markDefs":16488,"style":18},"9e93a3f69411",[16481,16485],{"_key":16482,"_type":13,"marks":16483,"text":16484},"d1f09d0a129e0",[15],"Ophelia 4",{"_key":16486,"_type":13,"marks":16487,"text":16355},"d1f09d0a129e1",[],[],{"_key":16490,"_type":9,"audioSize":4,"audioURL":4,"children":16491,"fileURL":4,"image":4,"markDefs":16496,"style":18},"4e6493d52096",[16492],{"_key":16493,"_type":13,"marks":16494,"text":16495},"fe2bca46c7570",[],"She now appears to have passed from the phase of the demented woman into that of the innocent child.",[],{"_key":16498,"_type":9,"audioSize":4,"audioURL":4,"children":16499,"fileURL":4,"image":4,"markDefs":16504,"style":18},"496304855821",[16500],{"_key":16501,"_type":13,"marks":16502,"text":16503},"3ae98519ef1c0",[],"Her span of attention is short and she springs from one idea to another.",[],{"_key":16506,"_type":9,"audioSize":4,"audioURL":4,"children":16507,"fileURL":4,"image":4,"markDefs":16512,"style":18},"4a3aec083010",[16508],{"_key":16509,"_type":13,"marks":16510,"text":16511},"73ed835a72b90",[],"One moment she is “teaching” those around her the words or steps of a dance and the next she has either withdrawn into herself or she has returned momentarily to the mood of the last song. These changes should be visually and aurally obvious.",[],{"_key":16514,"_type":9,"audioSize":4,"audioURL":4,"children":16515,"fileURL":4,"image":4,"markDefs":16520,"style":18},"89f7d4f220ef",[16516],{"_key":16517,"_type":13,"marks":16518,"text":16519},"f5cbf7df77c60",[],"In the play she should be speaking to the King, Hamlet's uncle, but instead she talks passed him to an imaginary audience. She teaches them about the plants she has gathered and as she distributes them to imaginary bystanders, she jumps from one world to another.",[],{"_key":16522,"_type":9,"audioSize":4,"audioURL":4,"children":16523,"fileURL":4,"image":4,"markDefs":16528,"style":18},"46a6e2519d78",[16524],{"_key":16525,"_type":13,"marks":16526,"text":16527},"9e54c8a5b1ed0",[],"In this last phase of the fourth song, she has withdrawn completely into her own world.",[],{"_key":16530,"_type":9,"audioSize":4,"audioURL":4,"children":16531,"fileURL":4,"image":4,"markDefs":16536,"style":18},"8b2f9396889f",[16532],{"_key":16533,"_type":13,"marks":16534,"text":16535},"eecc0e8041220",[],"In the very last line, she tries to come out of this imaginary world but she doesn't quite succeed.",[],{"_key":16538,"_type":754,"audioSize":4,"audioURL":4,"author":16257,"fileURL":4,"image":4,"markDefs":4,"poem":16539,"title":16588},"e4057ff4bd54",[16540,16548,16556,16564,16572,16580],{"_key":16541,"_type":9,"children":16542,"markDefs":16547,"style":18},"2d5055a0a268",[16543],{"_key":16544,"_type":13,"marks":16545,"text":16546},"c448f2825e3e",[],"They bore him barefaced on the bier,\nHey non nonny, nonny, hey nonny,\nAnd on his grave rained many a tear–\nFare you well, my dove.",[],{"_key":16549,"_type":9,"children":16550,"markDefs":16555,"style":18},"d9a93b642a9c",[16551],{"_key":16552,"_type":13,"marks":16553,"text":16554},"8482e421cdcd0",[],"You must sing ‘Down, a-down’,\nand you, ‘Call him a-down-a’\nO how the wheel becomes it! It is the false\nsteward that stole his master's daughter.",[],{"_key":16557,"_type":9,"children":16558,"markDefs":16563,"style":18},"da56573cabe3",[16559],{"_key":16560,"_type":13,"marks":16561,"text":16562},"e4f1d0f480480",[],"There's rosemary, that's for remembrance. Pray you,\nlove, remember: and there is pansies; that's for thoughts.",[],{"_key":16565,"_type":9,"children":16566,"markDefs":16571,"style":18},"b74f98b4713a",[16567],{"_key":16568,"_type":13,"marks":16569,"text":16570},"a48b88fbaea90",[],"There's fennel for you, and columbines.\nThere's rue for you, and here's some for me.\nWe may call it herb-grace o’ Sundays.\nO you must wear your rue with a difference.\nThere's a daisy. I would give you some violets,\nbut they withered all when my father died.\nThey say a made a good end.\nFor bonny sweet Robin is all my joy.",[],{"_key":16573,"_type":9,"children":16574,"markDefs":16579,"style":18},"50bb09772dee",[16575],{"_key":16576,"_type":13,"marks":16577,"text":16578},"1679cb8ca0740",[],"And will a not come again,\nAnd will a not come again?\nNo, no, he is dead,\nGo to thy death-bed,\nHe never will come again.",[],{"_key":16581,"_type":9,"children":16582,"markDefs":16587,"style":18},"2cb1ff538ba5",[16583],{"_key":16584,"_type":13,"marks":16585,"text":16586},"c7be8b62de5d0",[],"His beard as white as snow,\nAll flaxen was his poll.\nHe is gone, he is gone,\nAnd we cast away moan.\nGod ‘a’ mercy on his soul.\n(spoken) And of all Christian souls, I pray God. God be wi’ ye.",[],[16589],{"_key":16590,"_type":9,"children":16591,"markDefs":16595,"style":18},"67002b80c3b3",[16592],{"_key":16593,"_type":13,"marks":16594,"text":16484},"8ed885047402",[15,73],[],{"_key":16597,"_type":423,"audio":16598,"audioSize":16601,"audioURL":16602,"caption":16484,"fileURL":4,"image":4,"markDefs":4,"musicians":16290},"31cd0e31a845",{"_type":416,"asset":16599},{"_ref":16600,"_type":324},"file-bf23e84e4ac026bd1c5f0cb7fac267d715ec899e-mp3",7593971,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fbf23e84e4ac026bd1c5f0cb7fac267d715ec899e.mp3",{"_key":16604,"_type":413,"audioSize":4,"audioURL":4,"description":16605,"file":16606,"fileURL":16609,"image":4,"markDefs":4},"123fc3e12ed6","Ophelia Songs, Score",{"_type":416,"asset":16607},{"_ref":16608,"_type":324},"file-7ccb69723fd3143de62955cdb34d04e64aca447e-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F7ccb69723fd3143de62955cdb34d04e64aca447e.pdf",[],[16612,16616,16619],{"_key":16613,"_type":366,"date":16614,"location":2558,"performers":16615},"7cda7762f022","2000-01-01","Fiona Powell soprano, Annette Burkhard piano",{"_key":16617,"_type":366,"date":2557,"location":16618,"performers":2563},"34f190b69485","Winterthur and Elgg, Switzerland",{"_key":16620,"_type":366,"date":2561,"location":2562,"performers":2563},"c5335c0729b7","My Lord, as I was sewing in my chamber,\nLord Hamlet, his doublet all unbraced,\nNo hat upon his head, his stockings fouled,\nUngartered, and down-gyvèd to his ankle,\nPale as his shirt, his knees knocking each other,\nAnd with a look so piteous in purport\nAs if he had been loosèd out of hell\nTo speak of horrors, he comes before me.\n\nHe took me by the wrist and held me hard,\nThen goes he to the length of all his arm,\nAnd with his other hand thus o'er his brow\nHe falls to such perusal of my face\nAs a would draw it. Long stayed he so.\nAt last, a little shaking of my arm,\nAnd thrice his head thus waving up and down,\nHe raised a sigh so piteous and profound\nThat it seemed to shatter all his bulk\nAnd end his being.That done, he lets me go,\nAnd, with his head over his shoulder turned,\nHe seemed to find his way without his eyes,\nFor out o’ doors he went without their help,\nAnd to the last bended their light on me.\n\n\nO what a noble mind is here o'erthrown!\nThe courtier's, soldier's, scholar's eye, tongue, sword,\nThe expectancy and rose of the fair state,\nThe glass of fashion and the mould of form,\nTh'observed of all observers, quite, quite, down!\nAnd I, of ladies most deject and wretched,\nThat sucked the honey of his music vows,\nNow see that noble and most sovereign reason\nLike sweet bells jangled out of tune and harsh;\nThat unmatched form and feature of blown youth\nBlasted with ecstacy. O woe is me,\nT'have seen what I have seen, see what I see!\n\nHow should I your true love know\nFrom another one?—\nBy his cockle hat and staff,\nAnd his sandal shoon.\n\nHe is dead and gone, lady,\nHe is dead and gone.\nAt his head a grass-green turf,\nAt his heels a stone.\n\nWhite his shroud as the mountain snow—\nLarded with sweet flowers,\nWhich bewept to the grave did–not–go\nWith true-love showers.\n\nTomorrow is Saint Valentine's day,\nAll in the morning betime,\nAnd I a maid at your window\nTo be your Valentine\n\nThen up he rose, and donned his clothes,\nAnd dupped the chamber door;\nLet in the maid, that out a maid\nNever departed more.\n\nBy Gis, and by Saint Charity,\nAlack, and fie for shame!\nYoung men will do't if they come to't,\nBy Cock, they are to blame.\n\nQuoth she ‘Before you tumbled me\nYou promised me to wed.’\nSo would I ‘a’ done, by yonder sun,\nAnd thou hadst not come to my bed.\n\nThey bore him barefaced on the bier,\nHey non nonny, nonny, hey nonny,\nAnd on his grave rained many a tear–\nFare you well, my dove.\n\nYou must sing ‘Down, a-down’,\nand you, ‘Call him a-down-a’\nO how the wheel becomes it! It is the false\nsteward that stole his master's daughter.\n\nThere's rosemary, that's for remembrance. Pray you,\nlove, remember: and there is pansies; that's for thoughts.\n\nThere's fennel for you, and columbines.\nThere's rue for you, and here's some for me.\nWe may call it herb-grace o’ Sundays.\nO you must wear your rue with a difference.\nThere's a daisy. I would give you some violets,\nbut they withered all when my father died.\nThey say a made a good end.\nFor bonny sweet Robin is all my joy.\n\nAnd will a not come again,\nAnd will a not come again?\nNo, no, he is dead,\nGo to thy death-bed,\nHe never will come again.\n\nHis beard as white as snow,\nAll flaxen was his poll.\nHe is gone, he is gone,\nAnd we cast away moan.\nGod ‘a’ mercy on his soul.\n(spoken) And of all Christian souls, I pray God. God be wi’ ye.","Ophelia Songs\n\nIn this cycle of four songs I have tried to show the change which takes place in Ophelia: From a normal healthy young woman at the beginning of the play into the tragic and pitiable figure who takes her own life at the end.\n\nThere are four movements (I have included the directions to the performers from the score (below)):\n\nOphelia 1 (Hamlet, act 2, scene 1)\n\nIn this first song (a spoken text in \"Hamlet\") she is telling her father, Polonius, of Hamlet's very strange behaviour towards her. She believes he is showing symptoms of genuine madness and is very worried about him.\n\nIt is important that the singer (and also the pianist) show this normal agitated concern. In the last line (which is repeated in the song) one should suddenly have the feeling that this feigned madness of Hamlet's has had a very real effect on Ophelia, and that this “light” which, as she says, is “bended on her”, will be the cause of her own madness.\n\nOphelia 2 (Hamlet, act 3, scene 1)\n\nThis song starts with a mood of intense sadness, bordering on depression. At first Ophelia is horrified at what has happened to Hamlet, but gradually this compassion changes into self pity.\n\nTowards the end she breaks out of her depression into anger, but it is no longer normal anger, she is already slightly demented.\n\nOphelia 3 (Hamlet, act 4, scene 5)\n\n\n\nOphelia is no more the noble lady of the first song. She is not however completely insane, there is still “method in her madness”.\n\nThe singer should show a difference between the anger and bitterness of this song, and the complete withdrawal from the world in the fourth song.\n\nOne has the feeling in this third song, that she knows very well what she is saying and how it affects the listener (the Queen, Hamlet's mother) but she uses a language and a delivery which is the very opposite of that of the noble lady of the first song.\n\nHer anger with Hamlet for having given her to believe he loved her and now, for no apparent reason, for having rejected her, seems to have robbed her of her own reason.\n\nShe believes that Hamlet has used her like a whore and deserted her, and so she now acts the role of a whore. Because she is already slightly mad she is oblivious to the pain that her behaviour and uncouth language has on those around her.\n\nOphelia 4 (Hamlet, act 4, scene 5)\n\nShe now appears to have passed from the phase of the demented woman into that of the innocent child.\n\nHer span of attention is short and she springs from one idea to another.\n\nOne moment she is “teaching” those around her the words or steps of a dance and the next she has either withdrawn into herself or she has returned momentarily to the mood of the last song. These changes should be visually and aurally obvious.\n\nIn the play she should be speaking to the King, Hamlet's uncle, but instead she talks passed him to an imaginary audience. She teaches them about the plants she has gathered and as she distributes them to imaginary bystanders, she jumps from one world to another.\n\nIn this last phase of the fourth song, she has withdrawn completely into her own world.\n\nIn the very last line, she tries to come out of this imaginary world but she doesn't quite succeed.",{"_type":375,"current":16624},"ophelia-songs",{"date":15360,"instrumentation":2571,"length":2230,"text":16626},"Shakespeare",96,{"_id":16629,"chapters":16630,"content":16631,"images":16830,"performances":4,"rawPoem":4,"rawText":16831,"slug":16832,"title":16638,"workInfo":16834,"workNumber":16836},"4089ccef-780b-4f63-9403-365e16d81370",[],[16632,16644,16651,16705,16712,16727,16734,16742,16749,16757,16764,16772,16787,16794,16801,16808,16815,16822],{"_key":16633,"_type":9,"audioSize":4,"audioURL":4,"children":16634,"fileURL":4,"image":4,"markDefs":16643,"style":18},"d5816453aa7c",[16635,16639],{"_key":16636,"_type":13,"marks":16637,"text":16638},"284e138081c10",[15],"Home Thoughts from Abroad",{"_key":16640,"_type":13,"marks":16641,"text":16642},"f73ddba995c2",[],", unlike the Browning text, from where the title is taken, is not the work of a dissatisfied traveller longing for his homeland, but of one who loves both where he is and where he came from, of one who, amidst the strong influence of European culture, looks back on important New Zealand elements which shaped his thinking.",[],{"_key":16645,"_type":9,"audioSize":4,"audioURL":4,"children":16646,"fileURL":4,"image":4,"markDefs":16650,"style":18},"f30229b7a814",[16647],{"_key":16648,"_type":13,"marks":16649,"text":25},"af4ffc9e983b0",[],[],{"_key":16652,"_type":9,"audioSize":4,"audioURL":4,"children":16653,"fileURL":4,"image":4,"markDefs":16704,"style":18},"1a5268351113",[16654,16658,16662,16666,16669,16673,16677,16681,16684,16688,16692,16696,16700],{"_key":16655,"_type":13,"marks":16656,"text":16657},"77f813484fda0",[],"The basic ideas, a slow introduction and a rather flippant ",{"_key":16659,"_type":13,"marks":16660,"text":16661},"8850eb893610",[73],"allegro (53\")",{"_key":16663,"_type":13,"marks":16664,"text":16665},"4a31e89c832b",[],", are taken from my recent work and used as a framework for the New Zealand thoughts: a fragment of a ",{"_key":16667,"_type":13,"marks":16668,"text":12656},"f3029ababdec",[73],{"_key":16670,"_type":13,"marks":16671,"text":16672},"792424ed9062",[]," (the call onto the ",{"_key":16674,"_type":13,"marks":16675,"text":16676},"b495235d9ecf",[73],"Marae",{"_key":16678,"_type":13,"marks":16679,"text":16680},"9cfaf68108ef",[],") sotto voce from a solo horn (2'14\") — as if heard from afar, ",{"_key":16682,"_type":13,"marks":16683,"text":14303},"b2bd022d728f",[73],{"_key":16685,"_type":13,"marks":16686,"text":16687},"7af7fa2bf5c2",[]," (the bellbird) from a solo flute (2'53\"), ",{"_key":16689,"_type":13,"marks":16690,"text":16691},"ec082b0de638",[73],"Riroriro",{"_key":16693,"_type":13,"marks":16694,"text":16695},"361b61866a3b",[]," (the little grey warbler) from the xylophone (3'27\"), and a more extensive section of a ",{"_key":16697,"_type":13,"marks":16698,"text":16699},"cef21f419eee",[73],"Whale Song ",{"_key":16701,"_type":13,"marks":16702,"text":16703},"d38bd0bd89aa",[],"first from the strings (4'07\") and then from the whole orchestra (6'03\").",[],{"_key":16706,"_type":9,"audioSize":4,"audioURL":4,"children":16707,"fileURL":4,"image":4,"markDefs":16711,"style":18},"9c6d070b789c",[16708],{"_key":16709,"_type":13,"marks":16710,"text":25},"5b84ce51d2520",[],[],{"_key":16713,"_type":9,"audioSize":4,"audioURL":4,"children":16714,"fileURL":4,"image":4,"markDefs":16726,"style":18},"2131b669671b",[16715,16719,16722],{"_key":16716,"_type":13,"marks":16717,"text":16718},"67d9ce42d9480",[],"There follows a return to the opening themes (7'04\"), which are combined with some new ideas, to form the main climax. This rather dense texture suddenly opens to reveal a trombone-fragment from Douglas Lilburn's «Third Symphony» (7'43\") followed by a repetition of the ",{"_key":16720,"_type":13,"marks":16721,"text":12656},"2b2edaffd921",[73],{"_key":16723,"_type":13,"marks":16724,"text":16725},"810d70e2566b",[],", now with full force from a solo trombone m(7'55\").",[],{"_key":16728,"_type":9,"audioSize":4,"audioURL":4,"children":16729,"fileURL":4,"image":4,"markDefs":16733,"style":18},"4d3fb0ac3037",[16730],{"_key":16731,"_type":13,"marks":16732,"text":25},"08c782f2976b0",[],[],{"_key":16735,"_type":9,"audioSize":4,"audioURL":4,"children":16736,"fileURL":4,"image":4,"markDefs":16741,"style":18},"5fa0e30cfe1e",[16737],{"_key":16738,"_type":13,"marks":16739,"text":16740},"1a5fde4189270",[],"The texture thickens again and the horns take over the previously flippant tune (8'37\"), but with a feeling of greater urgency, and bring the piece to an end.",[],{"_key":16743,"_type":9,"audioSize":4,"audioURL":4,"children":16744,"fileURL":4,"image":4,"markDefs":16748,"style":18},"879952087625",[16745],{"_key":16746,"_type":13,"marks":16747,"text":25},"6dd04796e0cc0",[],[],{"_key":16750,"_type":9,"audioSize":4,"audioURL":4,"children":16751,"fileURL":4,"image":4,"markDefs":16756,"style":18},"059765bcce1a",[16752],{"_key":16753,"_type":13,"marks":16754,"text":16755},"5aa8bb6ea9f50",[],"Kit Powell (1999)",[],{"_key":16758,"_type":9,"audioSize":4,"audioURL":4,"children":16759,"fileURL":4,"image":4,"markDefs":16763,"style":18},"ec5c661bb68f",[16760],{"_key":16761,"_type":13,"marks":16762,"text":25},"8b7778777f33",[],[],{"_key":16765,"_type":9,"audioSize":4,"audioURL":4,"children":16766,"fileURL":4,"image":4,"markDefs":16771,"style":634},"e7860669b9e0",[16767],{"_key":16768,"_type":13,"marks":16769,"text":16770},"09fa1539303c",[],"I wrote this in response to a competition advertised from New Zealand, for an orchestral work for the Millennium. It was not selected for performance. One never knows why not—was it the title (stolen from Browning, but very appropriate in my case), was it the content or was it not spectacular enough for a Folk's Festival? I felt it was a good piece and that it had enough in it to appeal to a wide audience.",[],{"_key":16773,"_type":9,"audioSize":4,"audioURL":4,"children":16774,"fileURL":4,"image":4,"markDefs":16786,"style":634},"7144a7fb73d0",[16775,16779,16783],{"_key":16776,"_type":13,"marks":16777,"text":16778},"9afc3acf34b0",[],"Now 20 years later I have revised the work keeping the form but making many big changes to the detail and giving it the subtitle: ",{"_key":16780,"_type":13,"marks":16781,"text":16782},"f4fe3f1c3c09",[15],"An Orchestral Overture",{"_key":16784,"_type":13,"marks":16785,"text":2020},"fdcc31f5060e",[],[],{"_key":16788,"_type":9,"audioSize":4,"audioURL":4,"children":16789,"fileURL":4,"image":4,"markDefs":16793,"style":18},"815e3f12ac50",[16790],{"_key":16791,"_type":13,"marks":16792,"text":25},"2edfd9760f13",[],[],{"_key":16795,"_type":413,"audioSize":4,"audioURL":4,"description":16796,"file":16797,"fileURL":16800,"image":4,"markDefs":4},"515708dffedd","Home Thoughts from Abroad — Full Score",{"_type":416,"asset":16798},{"_ref":16799,"_type":324},"file-a710aa05e703981629f452e4e4ebc62a68742238-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fa710aa05e703981629f452e4e4ebc62a68742238.pdf",{"_key":16802,"_type":9,"audioSize":4,"audioURL":4,"children":16803,"fileURL":4,"image":4,"markDefs":16807,"style":18},"f2e1a30277c1",[16804],{"_key":16805,"_type":13,"marks":16806,"text":25},"69172c018599",[],[],{"_key":16809,"_type":413,"audioSize":4,"audioURL":4,"description":16810,"file":16811,"fileURL":16814,"image":4,"markDefs":4},"66d8d4bb6664","Home Thoughts from Abroad — Performing Material",{"_type":416,"asset":16812},{"_ref":16813,"_type":324},"file-06aa2ad09eac6bf908798191aadbc42b5412dd21-zip","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F06aa2ad09eac6bf908798191aadbc42b5412dd21.zip",{"_key":16816,"_type":9,"audioSize":4,"audioURL":4,"children":16817,"fileURL":4,"image":4,"markDefs":16821,"style":18},"01418f894ab9",[16818],{"_key":16819,"_type":13,"marks":16820,"text":25},"92ebcdcbc2f6",[],[],{"_key":16823,"_type":423,"audio":16824,"audioSize":16827,"audioURL":16828,"caption":16829,"fileURL":4,"image":4,"markDefs":4},"c4a7dc1d7bf0",{"_type":416,"asset":16825},{"_ref":16826,"_type":324},"file-3af603fc74fd4a7b2992edb7aa672f0c11188a45-mp3",9177087,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F3af603fc74fd4a7b2992edb7aa672f0c11188a45.mp3","Home Thoughts from Abroad.mp3 — Computer Simulation",[],"Home Thoughts from Abroad, unlike the Browning text, from where the title is taken, is not the work of a dissatisfied traveller longing for his homeland, but of one who loves both where he is and where he came from, of one who, amidst the strong influence of European culture, looks back on important New Zealand elements which shaped his thinking.\n\n\n\nThe basic ideas, a slow introduction and a rather flippant allegro (53\"), are taken from my recent work and used as a framework for the New Zealand thoughts: a fragment of a Karanga (the call onto the Marae) sotto voce from a solo horn (2'14\") — as if heard from afar, Korimako (the bellbird) from a solo flute (2'53\"), Riroriro (the little grey warbler) from the xylophone (3'27\"), and a more extensive section of a Whale Song first from the strings (4'07\") and then from the whole orchestra (6'03\").\n\n\n\nThere follows a return to the opening themes (7'04\"), which are combined with some new ideas, to form the main climax. This rather dense texture suddenly opens to reveal a trombone-fragment from Douglas Lilburn's «Third Symphony» (7'43\") followed by a repetition of the Karanga, now with full force from a solo trombone m(7'55\").\n\n\n\nThe texture thickens again and the horns take over the previously flippant tune (8'37\"), but with a feeling of greater urgency, and bring the piece to an end.\n\n\n\nKit Powell (1999)\n\n\n\nI wrote this in response to a competition advertised from New Zealand, for an orchestral work for the Millennium. It was not selected for performance. One never knows why not—was it the title (stolen from Browning, but very appropriate in my case), was it the content or was it not spectacular enough for a Folk's Festival? I felt it was a good piece and that it had enough in it to appeal to a wide audience.\n\nNow 20 years later I have revised the work keeping the form but making many big changes to the detail and giving it the subtitle: An Orchestral Overture.\n\n\n\n\n\n",{"_type":375,"current":16833},"home-thoughts-from-abroad",{"date":15360,"instrumentation":16835,"length":1293},"orchestra - 3 3 3 3 \u002F 4 3 3 1 \u002F Timp Xylo Perc \u002F Harp \u002F Strings",97,{"_id":16838,"chapters":16839,"content":16840,"images":16910,"performances":16911,"rawPoem":4,"rawText":16915,"slug":16916,"title":16917,"workInfo":16918,"workNumber":16920},"cc8f73e2-b34b-412a-8ef9-84bf72941bc3",[],[16841,16879,16887,16894],{"_key":16842,"_type":9,"audioSize":4,"audioURL":4,"children":16843,"fileURL":4,"image":4,"markDefs":16878,"style":18},"e81af09ea228",[16844,16847,16851,16855,16859,16863,16867,16871,16874],{"_key":16845,"_type":13,"marks":16846,"text":10726},"8c51f847b176",[],{"_key":16848,"_type":13,"marks":16849,"text":16850},"b9ca8966ebcd",[15],"Sextett für Klarinette, Bassklarinette und Streichquartett",{"_key":16852,"_type":13,"marks":16853,"text":16854},"4622488696f0",[]," makes connections between two historical works ",{"_key":16856,"_type":13,"marks":16857,"text":16858},"9d1e6472c84f",[73],"Das Musikalische Opfer",{"_key":16860,"_type":13,"marks":16861,"text":16862},"0f30a7dd3415",[]," by Bach and ",{"_key":16864,"_type":13,"marks":16865,"text":16866},"9f3825b8b141",[73],"Konzert",{"_key":16868,"_type":13,"marks":16869,"text":16870},"daf2ebea72de",[]," Op. 24 by Webern. The tone row from Webern’s ",{"_key":16872,"_type":13,"marks":16873,"text":16866},"69f68ba8ed81",[73],{"_key":16875,"_type":13,"marks":16876,"text":16877},"4f0eb3c5c0ac",[]," is used throughout and fragments of both works are heard several times.",[],{"_key":16880,"_type":9,"audioSize":4,"audioURL":4,"children":16881,"fileURL":4,"image":4,"markDefs":16886,"style":18},"f2144c1e16b5",[16882],{"_key":16883,"_type":13,"marks":16884,"text":16885},"74211eb7f4fd0",[],"The work is in 16 sections (4x4 Abelian form) and the sections on the leading diagonal (1, 6, 11, 16) are based on single notes (decorated and “wobbled” with glissando effects). It was well suited in difficulty to the two clarinettists (Jürg Fehr and Heinz Höppli who commissioned the piece) but the rather old (about my age!) members of the string quartet were not up to playing some of the rhythmic passages with compound time signatures, and so the premiere performance was not as good as I had hoped from “professional” players.",[],{"_key":16888,"_type":9,"audioSize":4,"audioURL":4,"children":16889,"fileURL":4,"image":4,"markDefs":16893,"style":18},"0b46e884f947",[16890],{"_key":16891,"_type":13,"marks":16892,"text":25},"2a9ba83405b6",[],[],{"_key":16895,"_type":9,"audioSize":4,"audioURL":4,"children":16896,"fileURL":4,"image":4,"markDefs":16906,"style":18},"75b993d02b07",[16897,16901],{"_key":16898,"_type":13,"marks":16899,"text":16900},"84a6fb94ea90",[],"See also ",{"_key":16902,"_type":13,"marks":16903,"text":16905},"b38ff43d6d45",[16904],"c34695ed1b1d","Sextet for Flute, Bass Clarinet (Bb), Violin, Cello, Piano and Percussion",[16907],{"_key":16904,"_type":321,"reference":16908,"slug":16909,"type":510},{"_ref":16838,"_type":324},"sextet-for-clarinet-bass-clarinet-and-string-quartet",[],[16912],{"_key":16913,"_type":366,"date":16614,"location":16914},"d93744d2bf61","Dussnang, Switzerland","The Sextett für Klarinette, Bassklarinette und Streichquartett makes connections between two historical works Das Musikalische Opfer by Bach and Konzert Op. 24 by Webern. The tone row from Webern’s Konzert is used throughout and fragments of both works are heard several times.\n\nThe work is in 16 sections (4x4 Abelian form) and the sections on the leading diagonal (1, 6, 11, 16) are based on single notes (decorated and “wobbled” with glissando effects). It was well suited in difficulty to the two clarinettists (Jürg Fehr and Heinz Höppli who commissioned the piece) but the rather old (about my age!) members of the string quartet were not up to playing some of the rhythmic passages with compound time signatures, and so the premiere performance was not as good as I had hoped from “professional” players.\n\n\n\nSee also Sextet for Flute, Bass Clarinet (Bb), Violin, Cello, Piano and Percussion",{"_type":375,"current":16909},"Sextet for Clarinet, Bass Clarinet and String Quartet",{"date":16614,"instrumentation":16919},"Clarinet, Bass Clarinet and String Quartet",98,{"_id":16922,"chapters":16923,"content":16924,"images":17249,"performances":17262,"rawPoem":4,"rawText":17268,"slug":17269,"title":16931,"workInfo":17271,"workNumber":17273},"819bd2b2-a4fe-454a-8ff2-9b5b152f0e68",[],[16925,16933,16941,16957,16965,16973,16981,16999,17007,17025,17032,17040,17048,17057,17065,17074,17082,17098,17106,17118,17127,17135,17143,17151,17159,17167,17175,17183,17197,17205,17215,17225,17233,17242],{"_key":16926,"_type":9,"audioSize":4,"audioURL":4,"children":16927,"fileURL":4,"image":4,"markDefs":16932,"style":18},"99058841eee4",[16928],{"_key":16929,"_type":13,"marks":16930,"text":16931},"ee804b04c220",[15],"Concerto for Trombone and Tuba",[],{"_key":16934,"_type":9,"audioSize":4,"audioURL":4,"children":16935,"fileURL":4,"image":4,"markDefs":16940,"style":634},"efe8ce10405e",[16936],{"_key":16937,"_type":13,"marks":16938,"text":16939},"e3c5d85d958f0",[],"Like all concertos this one is a platform on which the solo instruments show what they can do, not only in the field of virtuosity but also in the variety of sounds and ways of performing that are special to these instruments. This second aspect, the expressive and idiosyncratic possibilities of the Trombone and Tuba are for me much more important than the virtuosity. I have long been fascinated by the sounds and especially the apparent emotional content of whale song and so, due to the range and expressive power of these two brass instruments I was able to quote (and imitate) these songs.",[],{"_key":16942,"_type":9,"audioSize":4,"audioURL":4,"children":16943,"fileURL":4,"image":4,"markDefs":16956,"style":634},"232c3c2aed1b",[16944,16948,16952],{"_key":16945,"_type":13,"marks":16946,"text":16947},"8be8e3e4ddf60",[],"Formally it is built round a series of proportions, which are used for all the larger and smaller sections of the work. These proportions also produced a tone row, which is used more or less strictly in all three movements. To this basic tone material comes the whale-song, which one hears more particularly in the first movement, and a mediaeval Flemish Dance of Death ",{"_key":16949,"_type":13,"marks":16950,"text":16951},"8be8e3e4ddf61",[73],"Der Tod reit’t auf einem kohlschwarzen Rappen",{"_key":16953,"_type":13,"marks":16954,"text":16955},"8be8e3e4ddf62",[]," (Death rides on a coal-black horse), which gives a military character to the second movement and builds its main climax. The whale song (from the Humpback whale) and the Dance of Death are also heard fragmentarily in all movements.",[],{"_key":16958,"_type":9,"audioSize":4,"audioURL":4,"children":16959,"fileURL":4,"image":4,"markDefs":16964,"style":634},"de99e3f3091b",[16960],{"_key":16961,"_type":13,"marks":16962,"text":16963},"6e0e1cf23a010",[],"Although the work is in the traditional three-movement form (for a concerto) the tempi are an inversion of the usual: the first is slow and contemplative, the second fast and aggressive and the third slow and slightly depressed. One can perhaps in the first movement “see” a picture of the world as it was, a world not without danger but one in which the balance of nature is still intact. In the second movement one feels the impact of man with his greed for power and his thoughtless destruction. Naturally the third movement can only be depressed after all this, and yet, there is, perhaps, a small ray of hope, but only if we act immediately!",[],{"_key":16966,"_type":9,"audioSize":4,"audioURL":4,"children":16967,"fileURL":4,"image":4,"markDefs":16972,"style":634},"41b8b3552586",[16968],{"_key":16969,"_type":13,"marks":16970,"text":16971},"f124cd01bd890",[],"Kit Powell (Program Note)",[],{"_key":16974,"_type":9,"audioSize":4,"audioURL":4,"children":16975,"fileURL":4,"image":4,"markDefs":16980,"style":18},"0fbabd0510d9",[16976],{"_key":16977,"_type":13,"marks":16978,"text":16979},"cb93ca89a7200",[],"This was a very big project and it had a long and tortuous journey. It started with a letter to me inviting me to take part in the \"Europäischer Musikmonat\"(November) in Basel 2001. I would be one of 50 composers chosen to be a “Composer of the Week”, a sort of crescendo starting in January and going on through the whole year as a sort of build-up to the Month itself, when all the big names of European music would be invited to come to Basel (cultural capital of Europe for that year). These included Boulez, who would also be functioning as a conductor. The organisation was led by the Swiss conductor, Matthias Bammert, who delegated most of the work to a Toni Krain, with whom I had most to do, and was very well organised and a pleasure to work with.",[],{"_key":16982,"_type":9,"audioSize":4,"audioURL":4,"children":16983,"fileURL":4,"image":4,"markDefs":16996,"style":18},"1eb898ef497f",[16984,16988,16992],{"_key":16985,"_type":13,"marks":16986,"text":16987},"ee14e84a9d850",[],"I decided after talking to ",{"_key":16989,"_type":13,"marks":16990,"text":12020},"21b01abc9da1",[16991],"5014f353f901",{"_key":16993,"_type":13,"marks":16994,"text":16995},"1ab3fe8817bf",[]," to write a work for him (trombone) and his tuba-friend Marc Unternährer. Through Toni Krain I was put in contact with the conductor, Philipp Wagner, of the Basel amateur orchestra, Philharmonischer Orchesterverein Basel. We met in Würenlos (Autobahn café) to discuss the project and he was full of enthusiasm. We exchanged emails and then early in 2001 I was invited to meet the committee of the orchestra at a home in Basel. Before entering the house I met Philipp Wagner who warned me that some of the committee were rather conservative. I had come armed with extracts from parts of the work I had already completed. I played them this (from a CD) and they followed it on the score. They were a bit concerned that it could be too difficult for some of their members to play but in general they were friendly and interested. The main purpose of the meeting was to talk about the rest of the program but all the suggestions (including mine) were not satisfactory, either because the music was not available or the work had been played too recently, so I left the meeting having achieved very little. The next I heard was a phone call from the president (Peter Heer) to inform me that Philipp Wagner had been replaced and a new conductor, an Englishman, Jonathon Brett Harrison, who would be conducting my work. It seemed that Wagner had offered the services of the orchestra for my piece without the approval of the committee and although they were prepared to continue, they had taken the opportunity to get rid of him (a brass player) and replace him with a string playing conductor. Certainly for my piece it was the string players who would need the most help and so, in the long run it was possibly a good thing. The short run however was not good – Harrison was not inclined to be either communicative nor encouraging with me and several months went by before I managed to talk very constructively with him.",[16997],{"_key":16991,"_type":321,"reference":16998,"slug":7379,"type":326},{"_ref":7378,"_type":324},{"_key":17000,"_type":9,"audioSize":4,"audioURL":4,"children":17001,"fileURL":4,"image":4,"markDefs":17006,"style":18},"0a258a0ab00e",[17002],{"_key":17003,"_type":13,"marks":17004,"text":17005},"150ba45a50580",[],"Another problem with the administration of the orchestra was their fear that they were first of all going to have to import lots of additional players (brass, percussion and harp) and in the end (so they thought) no one would really hear those players who had had to work so hard, and as well as this it was going to cost them a lot of money. I tried to console them as well as I could, especially as regards the money, since I knew that these costs would be met by Toni Krain and his organisation. After quite a long time their fears abated, especially when they saw that the music was clearly written and that they each had a practise CD to help them.",[],{"_key":17008,"_type":9,"audioSize":4,"audioURL":4,"children":17009,"fileURL":4,"image":4,"markDefs":17022,"style":18},"69c7f5878d59",[17010,17014,17018],{"_key":17011,"_type":13,"marks":17012,"text":17013},"65d38fc3ecf00",[],"By the time we reached the final rehearsals even the conductor was friendly and many of the players were very enthusiastic. Matthias Bammert attended the concert and was very complimentary—he spoke to me always in a very cultured English (he not only conducts the London Mozart players but is also a visiting conductor of the NZSO). He said I should feel free to send him orchestral scores, which I did: ",{"_key":17015,"_type":13,"marks":17016,"text":16638},"bb76a2d4223a",[17017],"bce2908bdaef",{"_key":17019,"_type":13,"marks":17020,"text":17021},"e0b93b2b30fe",[]," but he never acknowledged it. Also there was André Fischer who had seen the score before hand and made some useful comments and who was also delighted with the final result. There were two newspaper critics, one called Michael Kunkel who ironically gave exactly the criticism that the orchestra had worried about before the rehearsals had started: that the orchestra only managed the last movement successfully because of the professional percussionists. This led Peter Heer to burst into print, ostensibly on my behalf although I was quite happy with the criticism!",[17023],{"_key":17017,"_type":321,"reference":17024,"slug":16833,"type":510},{"_ref":16629,"_type":324},{"_key":17026,"_type":9,"audioSize":4,"audioURL":4,"children":17027,"fileURL":4,"image":4,"markDefs":17031,"style":18},"37baa8e1d41a",[17028],{"_key":17029,"_type":13,"marks":17030,"text":16931},"9e1cb40172090",[15],[],{"_key":17033,"_type":9,"audioSize":4,"audioURL":4,"children":17034,"fileURL":4,"image":4,"markDefs":17039,"style":18},"2acab65f2555",[17035],{"_key":17036,"_type":13,"marks":17037,"text":17038},"29918f2fb65a0",[],"The basic material for this work is:",[],{"_key":17041,"_type":9,"audioSize":4,"audioURL":4,"children":17042,"fileURL":4,"image":4,"markDefs":17047,"style":18},"86fe2db97af9",[17043],{"_key":17044,"_type":13,"marks":17045,"text":17046},"6e5f0053f53f",[],"1. a tone row which was derived from the proportions of the work (see note on Form)",[],{"_key":17049,"_type":500,"audioSize":4,"audioURL":4,"fileURL":4,"image":17050,"markDefs":4},"150b6e1c24a1",{"caption":4,"id":17051,"meta":17052,"parentID":4,"parentType":510,"url":17056},"26f14cd8dfd1cac5df9e792167a604f5944cf112",{"_type":506,"aspectRatio":17053,"height":17054,"width":17055},9.588541666666666,192,1841,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F26f14cd8dfd1cac5df9e792167a604f5944cf112-1841x192.jpg",{"_key":17058,"_type":9,"audioSize":4,"audioURL":4,"children":17059,"fileURL":4,"image":4,"markDefs":17064,"style":18},"2c3514cbb98d",[17060],{"_key":17061,"_type":13,"marks":17062,"text":17063},"4b18424278680",[],"2. a whale song - a typical one is shown here (from the first movement - bars 64 - 77)",[],{"_key":17066,"_type":500,"audioSize":4,"audioURL":4,"fileURL":4,"image":17067,"markDefs":4},"b7f8d5c4a772",{"caption":4,"id":17068,"meta":17069,"parentID":4,"parentType":510,"url":17073},"437bd54d0b178e3ea50d7cc1b9dda3d033fc688c",{"_type":506,"aspectRatio":17070,"height":17071,"width":17072},3.145936981757877,603,1897,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F437bd54d0b178e3ea50d7cc1b9dda3d033fc688c-1897x603.jpg",{"_key":17075,"_type":9,"audioSize":4,"audioURL":4,"children":17076,"fileURL":4,"image":4,"markDefs":17081,"style":18},"df7f740a1e0d",[17077],{"_key":17078,"_type":13,"marks":17079,"text":17080},"c009f5b54a33",[],"Whale songs, apart from their intrinsic beauty, are for me symbols of “unspoiled” nature. Most are transcriptions of Humpback whale songs.",[],{"_key":17083,"_type":9,"audioSize":4,"audioURL":4,"children":17084,"fileURL":4,"image":4,"markDefs":17097,"style":18},"567e46af3e44",[17085,17089,17093],{"_key":17086,"_type":13,"marks":17087,"text":17088},"92e8259e272d0",[],"Important in the performance of these melodies are their ",{"_key":17090,"_type":13,"marks":17091,"text":17092},"92e8259e272d1",[73],"dynamics",{"_key":17094,"_type":13,"marks":17095,"text":17096},"92e8259e272d2",[],". These are every bit as important as the pitches, the performer can even exaggerate the dynamic range slightly.",[],{"_key":17099,"_type":9,"audioSize":4,"audioURL":4,"children":17100,"fileURL":4,"image":4,"markDefs":17105,"style":18},"8fd93929007b",[17101],{"_key":17102,"_type":13,"marks":17103,"text":17104},"19ff309fe99e0",[],"Although all instruments play fragments of whale song from time to time, the solo trombone and tuba parts of the first movement are derived entirely from whale song. Therefore I have shown the dynamics in the solo parts (not in the full score) with the envelopes of the original recording from which the transcription was made.",[],{"_key":17107,"_type":9,"audioSize":4,"audioURL":4,"children":17108,"fileURL":4,"image":4,"markDefs":17117,"style":18},"68110ee32cdf",[17109,17113],{"_key":17110,"_type":13,"marks":17111,"text":17112},"54787cf4737f",[],"3. An old Flemish ",{"_key":17114,"_type":13,"marks":17115,"text":17116},"33a93c22d4ad",[73],"Dance of Death",[],{"_key":17119,"_type":500,"audioSize":4,"audioURL":4,"fileURL":4,"image":17120,"markDefs":4},"ee8f69b4e652",{"caption":4,"id":17121,"meta":17122,"parentID":4,"parentType":510,"url":17126},"3534c3266b3c475225406bb4525d68021c5da49d",{"_type":506,"aspectRatio":17123,"height":17124,"width":17125},2.8799392097264436,658,1895,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F3534c3266b3c475225406bb4525d68021c5da49d-1895x658.jpg",{"_key":17128,"_type":9,"audioSize":4,"audioURL":4,"children":17129,"fileURL":4,"image":4,"markDefs":17134,"style":18},"739e2bafe8a1",[17130],{"_key":17131,"_type":13,"marks":17132,"text":17133},"bd64df1a85c80",[],"This, like the whale song, appears (often as fragments) in all three movements. Although it is chosen as a contrast, as a symbol of the disturbed world, it is, like death itself, not always negative. Depending on the contexts it can be cheeky, serene, threatening, frightening.",[],{"_key":17136,"_type":9,"audioSize":4,"audioURL":4,"children":17137,"fileURL":4,"image":4,"markDefs":17142,"style":18},"d451f3b4985b",[17138],{"_key":17139,"_type":13,"marks":17140,"text":17141},"0bfafb8cf51a0",[],"The second movement, with its rather military character is mainly built around this theme.",[],{"_key":17144,"_type":9,"audioSize":4,"audioURL":4,"children":17145,"fileURL":4,"image":4,"markDefs":17150,"style":18},"e1737c3bae65",[17146],{"_key":17147,"_type":13,"marks":17148,"text":17149},"db54b597a5030",[15],"Form",[],{"_key":17152,"_type":9,"audioSize":4,"audioURL":4,"children":17153,"fileURL":4,"image":4,"markDefs":17158,"style":18},"164544912182",[17154],{"_key":17155,"_type":13,"marks":17156,"text":17157},"bd8afafdfaaa0",[],"There are three movements:",[],{"_key":17160,"_type":9,"audioSize":4,"audioURL":4,"children":17161,"fileURL":4,"image":4,"markDefs":17166,"style":18},"76d89246a92f",[17162],{"_key":17163,"_type":13,"marks":17164,"text":17165},"190ceeaa48440",[],"1. Andante - ca. 8’ + short cadenza (ca. 1’)",[],{"_key":17168,"_type":9,"audioSize":4,"audioURL":4,"children":17169,"fileURL":4,"image":4,"markDefs":17174,"style":18},"80ae873143d1",[17170],{"_key":17171,"_type":13,"marks":17172,"text":17173},"c25aa700f4370",[],"2. Allegro - ca. 8’ + cadenza (ca. 2’)",[],{"_key":17176,"_type":9,"audioSize":4,"audioURL":4,"children":17177,"fileURL":4,"image":4,"markDefs":17182,"style":18},"e2316fbb40eb",[17178],{"_key":17179,"_type":13,"marks":17180,"text":17181},"f0ad29a27d6c0",[],"3. Adagio - ca. 8’",[],{"_key":17184,"_type":9,"audioSize":4,"audioURL":4,"children":17185,"fileURL":4,"image":4,"markDefs":17194,"style":18},"27474014e04f",[17186,17190],{"_key":17187,"_type":13,"marks":17188,"text":17189},"e420972f218f0",[],"Each of the movements is divided into sections according to my ",{"_key":17191,"_type":13,"marks":17192,"text":6028},"bb9212d0168e",[17193],"eaa57fa1d161",[17195],{"_key":17193,"_type":321,"reference":17196,"slug":6039,"type":528},{"_ref":6038,"_type":324},{"_key":17198,"_type":9,"audioSize":4,"audioURL":4,"children":17199,"fileURL":4,"image":4,"markDefs":17204,"style":18},"fb1e8536ffc3",[17200],{"_key":17201,"_type":13,"marks":17202,"text":17203},"3f886c1706bf0",[],"Movements 1 and 2 use the same diagram. Since the tempo of the second movement is fast it has approximately twice as many bars as the first movement.:",[],{"_key":17206,"_type":500,"audioSize":4,"audioURL":4,"caption":17207,"fileURL":4,"image":17208,"markDefs":4},"cbca10f039ee","(Numbers refer to proportions)",{"caption":4,"id":17209,"meta":17210,"parentID":4,"parentType":510,"url":17214},"b735fefd2574774e4d196dd1c393b25476e94205",{"_type":506,"aspectRatio":17211,"height":17212,"width":17213},1.0588235294117647,204,216,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fb735fefd2574774e4d196dd1c393b25476e94205-216x204.png",{"_key":17216,"_type":500,"alt":17217,"audioSize":4,"audioURL":4,"caption":17217,"fileURL":4,"image":17218,"markDefs":4},"576276a710a3","The 4 sections (A, B, C, D) of movements 1 and 2 are divided again in the same proportions (19, 11, 11, 7) and rounded off to the nearest whole number",{"caption":4,"id":17219,"meta":17220,"parentID":4,"parentType":510,"url":17224},"efecce112bd64bee3263fa24f116607bd96dbe07",{"_type":506,"aspectRatio":17221,"height":17222,"width":17223},4.462765957446808,188,839,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fefecce112bd64bee3263fa24f116607bd96dbe07-839x188.png",{"_key":17226,"_type":9,"audioSize":4,"audioURL":4,"children":17227,"fileURL":4,"image":4,"markDefs":17232,"style":18},"fd15adff96f8",[17228],{"_key":17229,"_type":13,"marks":17230,"text":17231},"f06c4883303d",[],"The third movement is similarly constructed but with just three sections (proportions: 19, 11, 7)",[],{"_key":17234,"_type":500,"alt":17235,"audioSize":4,"audioURL":4,"caption":17235,"fileURL":4,"image":17236,"markDefs":4},"b2ed0f7af93d","The material of the sections corresponding to the leading diagonal of the Abelian diagram is closely related.",{"caption":4,"id":17237,"meta":17238,"parentID":4,"parentType":510,"url":17241},"f3633ba2d4ee1d20a936613625dbf7a3fbd9eaad",{"_type":506,"aspectRatio":17239,"height":17240,"width":17223},5.24375,160,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Ff3633ba2d4ee1d20a936613625dbf7a3fbd9eaad-839x160.png",{"_key":17243,"_type":9,"audioSize":4,"audioURL":4,"children":17244,"fileURL":4,"image":4,"markDefs":17248,"style":18},"a0b8f840c332",[17245],{"_key":17246,"_type":13,"marks":17247,"text":4878},"ade009659c08",[],[],[17250,17252,17254,17256,17258,17260],{"caption":4,"id":17051,"meta":17251,"parentID":16922,"parentType":510,"url":17056},{"_type":506,"aspectRatio":17053,"height":17054,"width":17055},{"caption":4,"id":17068,"meta":17253,"parentID":16922,"parentType":510,"url":17073},{"_type":506,"aspectRatio":17070,"height":17071,"width":17072},{"caption":4,"id":17121,"meta":17255,"parentID":16922,"parentType":510,"url":17126},{"_type":506,"aspectRatio":17123,"height":17124,"width":17125},{"caption":17207,"id":17209,"meta":17257,"parentID":16922,"parentType":510,"url":17214},{"_type":506,"aspectRatio":17211,"height":17212,"width":17213},{"caption":17217,"id":17219,"meta":17259,"parentID":16922,"parentType":510,"url":17224},{"_type":506,"aspectRatio":17221,"height":17222,"width":17223},{"caption":17235,"id":17237,"meta":17261,"parentID":16922,"parentType":510,"url":17241},{"_type":506,"aspectRatio":17239,"height":17240,"width":17223},[17263],{"_key":17264,"_type":366,"date":17265,"location":17266,"performers":17267},"8207ff9f8d6d","2001-11-18","Basel, Switzerland","Philip Powell trombone and Marc Unternährer tuba","Concerto for Trombone and Tuba\n\nLike all concertos this one is a platform on which the solo instruments show what they can do, not only in the field of virtuosity but also in the variety of sounds and ways of performing that are special to these instruments. This second aspect, the expressive and idiosyncratic possibilities of the Trombone and Tuba are for me much more important than the virtuosity. I have long been fascinated by the sounds and especially the apparent emotional content of whale song and so, due to the range and expressive power of these two brass instruments I was able to quote (and imitate) these songs.\n\nFormally it is built round a series of proportions, which are used for all the larger and smaller sections of the work. These proportions also produced a tone row, which is used more or less strictly in all three movements. To this basic tone material comes the whale-song, which one hears more particularly in the first movement, and a mediaeval Flemish Dance of Death Der Tod reit’t auf einem kohlschwarzen Rappen (Death rides on a coal-black horse), which gives a military character to the second movement and builds its main climax. The whale song (from the Humpback whale) and the Dance of Death are also heard fragmentarily in all movements.\n\nAlthough the work is in the traditional three-movement form (for a concerto) the tempi are an inversion of the usual: the first is slow and contemplative, the second fast and aggressive and the third slow and slightly depressed. One can perhaps in the first movement “see” a picture of the world as it was, a world not without danger but one in which the balance of nature is still intact. In the second movement one feels the impact of man with his greed for power and his thoughtless destruction. Naturally the third movement can only be depressed after all this, and yet, there is, perhaps, a small ray of hope, but only if we act immediately!\n\nKit Powell (Program Note)\n\nThis was a very big project and it had a long and tortuous journey. It started with a letter to me inviting me to take part in the \"Europäischer Musikmonat\"(November) in Basel 2001. I would be one of 50 composers chosen to be a “Composer of the Week”, a sort of crescendo starting in January and going on through the whole year as a sort of build-up to the Month itself, when all the big names of European music would be invited to come to Basel (cultural capital of Europe for that year). These included Boulez, who would also be functioning as a conductor. The organisation was led by the Swiss conductor, Matthias Bammert, who delegated most of the work to a Toni Krain, with whom I had most to do, and was very well organised and a pleasure to work with.\n\nI decided after talking to Philip to write a work for him (trombone) and his tuba-friend Marc Unternährer. Through Toni Krain I was put in contact with the conductor, Philipp Wagner, of the Basel amateur orchestra, Philharmonischer Orchesterverein Basel. We met in Würenlos (Autobahn café) to discuss the project and he was full of enthusiasm. We exchanged emails and then early in 2001 I was invited to meet the committee of the orchestra at a home in Basel. Before entering the house I met Philipp Wagner who warned me that some of the committee were rather conservative. I had come armed with extracts from parts of the work I had already completed. I played them this (from a CD) and they followed it on the score. They were a bit concerned that it could be too difficult for some of their members to play but in general they were friendly and interested. The main purpose of the meeting was to talk about the rest of the program but all the suggestions (including mine) were not satisfactory, either because the music was not available or the work had been played too recently, so I left the meeting having achieved very little. The next I heard was a phone call from the president (Peter Heer) to inform me that Philipp Wagner had been replaced and a new conductor, an Englishman, Jonathon Brett Harrison, who would be conducting my work. It seemed that Wagner had offered the services of the orchestra for my piece without the approval of the committee and although they were prepared to continue, they had taken the opportunity to get rid of him (a brass player) and replace him with a string playing conductor. Certainly for my piece it was the string players who would need the most help and so, in the long run it was possibly a good thing. The short run however was not good – Harrison was not inclined to be either communicative nor encouraging with me and several months went by before I managed to talk very constructively with him.\n\nAnother problem with the administration of the orchestra was their fear that they were first of all going to have to import lots of additional players (brass, percussion and harp) and in the end (so they thought) no one would really hear those players who had had to work so hard, and as well as this it was going to cost them a lot of money. I tried to console them as well as I could, especially as regards the money, since I knew that these costs would be met by Toni Krain and his organisation. After quite a long time their fears abated, especially when they saw that the music was clearly written and that they each had a practise CD to help them.\n\nBy the time we reached the final rehearsals even the conductor was friendly and many of the players were very enthusiastic. Matthias Bammert attended the concert and was very complimentary—he spoke to me always in a very cultured English (he not only conducts the London Mozart players but is also a visiting conductor of the NZSO). He said I should feel free to send him orchestral scores, which I did: Home Thoughts from Abroad but he never acknowledged it. Also there was André Fischer who had seen the score before hand and made some useful comments and who was also delighted with the final result. There were two newspaper critics, one called Michael Kunkel who ironically gave exactly the criticism that the orchestra had worried about before the rehearsals had started: that the orchestra only managed the last movement successfully because of the professional percussionists. This led Peter Heer to burst into print, ostensibly on my behalf although I was quite happy with the criticism!\n\nConcerto for Trombone and Tuba\n\nThe basic material for this work is:\n\n1. a tone row which was derived from the proportions of the work (see note on Form)\n\n2. a whale song - a typical one is shown here (from the first movement - bars 64 - 77)\n\nWhale songs, apart from their intrinsic beauty, are for me symbols of “unspoiled” nature. Most are transcriptions of Humpback whale songs.\n\nImportant in the performance of these melodies are their dynamics. These are every bit as important as the pitches, the performer can even exaggerate the dynamic range slightly.\n\nAlthough all instruments play fragments of whale song from time to time, the solo trombone and tuba parts of the first movement are derived entirely from whale song. Therefore I have shown the dynamics in the solo parts (not in the full score) with the envelopes of the original recording from which the transcription was made.\n\n3. An old Flemish Dance of Death\n\nThis, like the whale song, appears (often as fragments) in all three movements. Although it is chosen as a contrast, as a symbol of the disturbed world, it is, like death itself, not always negative. Depending on the contexts it can be cheeky, serene, threatening, frightening.\n\nThe second movement, with its rather military character is mainly built around this theme.\n\nForm\n\nThere are three movements:\n\n1. Andante - ca. 8’ + short cadenza (ca. 1’)\n\n2. Allegro - ca. 8’ + cadenza (ca. 2’)\n\n3. Adagio - ca. 8’\n\nEach of the movements is divided into sections according to my Abelian Form\n\nMovements 1 and 2 use the same diagram. Since the tempo of the second movement is fast it has approximately twice as many bars as the first movement.:\n\nThe third movement is similarly constructed but with just three sections (proportions: 19, 11, 7)\n\n\n",{"_type":375,"current":17270},"concerto-for-trombone-and-tuba",{"date":14703,"instrumentation":17272,"length":3615},"Trombone, Tuba and Orchestra",99,{"_id":17275,"chapters":17276,"content":17277,"images":17366,"performances":17371,"rawPoem":4,"rawText":17377,"slug":17378,"title":17380,"workInfo":17381,"workNumber":17383},"035cc549-8099-4820-a691-cb814e579b6d",[],[17278,17307,17324,17334,17349,17358],{"_key":17279,"_type":9,"audioSize":4,"audioURL":4,"children":17280,"fileURL":4,"image":4,"markDefs":17302,"style":18},"6518ea0c255c",[17281,17285,17290,17294,17299],{"_key":17282,"_type":13,"marks":17283,"text":17284},"cc9732dbef15",[],"Rewritten from the ",{"_key":17286,"_type":13,"marks":17287,"text":17289},"045bc78d7fac",[17288],"e7dadb6bb369","Sextet for Clarinet, Bass Clarinet, and String Quartet",{"_key":17291,"_type":13,"marks":17292,"text":17293},"01737bff19c8",[]," for my 75th Birthday Concert with the ",{"_key":17295,"_type":13,"marks":17296,"text":17298},"5e58263ace44",[17297],"12d2a645cd8b","ensemble neue musik zürich",{"_key":17300,"_type":13,"marks":17301,"text":2020},"dbc4302218cd",[],[17303,17305],{"_key":17297,"_type":316,"href":17304},"http:\u002F\u002Fwww.ensemble.ch\u002F",{"_key":17288,"_type":321,"reference":17306,"slug":16909,"type":510},{"_ref":16838,"_type":324},{"_key":17308,"_type":9,"audioSize":4,"audioURL":4,"children":17309,"fileURL":4,"image":4,"markDefs":17321,"style":18},"a7599aa753fc",[17310,17314,17318],{"_key":17311,"_type":13,"marks":17312,"text":17313},"7e51bdf1a6ae0",[],"The 16 sections are arranged according to my ",{"_key":17315,"_type":13,"marks":17316,"text":6028},"76478e19e674",[17317],"da0d825739eb",{"_key":17319,"_type":13,"marks":17320,"text":104},"8355050e7faa",[],[17322],{"_key":17317,"_type":321,"reference":17323,"slug":6039,"type":528},{"_ref":6038,"_type":324},{"_key":17325,"_type":500,"audioSize":4,"audioURL":4,"caption":17326,"fileURL":4,"image":17327,"markDefs":4},"5eca5c593276","A’, B’, C’, D’, E’ and F’ are closely related to A, B, C, D, E and F. 1a, 1b, 1c and 1d are embellishments of a single note",{"caption":4,"id":17328,"meta":17329,"parentID":4,"parentType":510,"url":17333},"161fd20ff0be8c198fab22107676249715d13441",{"_type":506,"aspectRatio":17330,"height":17331,"width":17332},0.9962121212121212,264,263,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F161fd20ff0be8c198fab22107676249715d13441-263x264.jpg",{"_key":17335,"_type":9,"audioSize":4,"audioURL":4,"children":17336,"fileURL":4,"image":4,"markDefs":17346,"style":18},"9069fb93f3aa",[17337,17341],{"_key":17338,"_type":13,"marks":17339,"text":17340},"5c1a208871020",[],"Section C is ",{"_key":17342,"_type":13,"marks":17343,"text":17345},"f14ab8f03347",[73,17344],"0e7bd4d2204a","Korimako which started life in After Babel",[17347],{"_key":17344,"_type":321,"reference":17348,"slug":14242,"type":510},{"_ref":13438,"_type":324},{"_key":17350,"_type":500,"alt":17351,"audioSize":4,"audioURL":4,"caption":17351,"fileURL":4,"image":17352,"markDefs":4},"a4bfae476f86","Quotation of ‘Korimako’ from 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On the same day I heard some children play some simple duets of mine and thought these “Rothko Pictures” would be for the same age group—but they turned out to be a bit harder!",[17771],{"_key":17764,"_type":316,"href":17772},"https:\u002F\u002Fwww.fondationbeyeler.ch",{"_key":17774,"_type":9,"audioSize":4,"audioURL":4,"children":17775,"fileURL":4,"image":4,"markDefs":17780,"style":18},"d3ddc2cdd21d",[17776],{"_key":17777,"_type":13,"marks":17778,"text":17779},"b3b06291c06d0",[],"I thought that using fists and palms and arms on the keyboard would be appropriate to ask children to do, which is no doubt true but there were rhythmic problems with these pieces, which made them rather too difficult for beginners.",[],{"_key":17782,"_type":9,"audioSize":4,"audioURL":4,"children":17783,"fileURL":4,"image":4,"markDefs":17796,"style":18},"5338b5161215",[17784,17788,17793],{"_key":17785,"_type":13,"marks":17786,"text":17787},"214ee6f2da980",[],"Finally I decided to rewrite them for large orchestra—see ",{"_key":17789,"_type":13,"marks":17790,"text":17792},"50a7e7df7a14",[17791],"b2f1e5486a42","Rothko Variations",{"_key":17794,"_type":13,"marks":17795,"text":2020},"0853a0050164",[],[17797],{"_key":17791,"_type":321,"reference":17798,"slug":17800,"type":510},{"_ref":17799,"_type":324},"161c8a7d-115c-43ca-8e5d-3f6767dd4629","rothko-variations",[],"These were inspired by a visit to the Beyeler Museum in Basel when there was a special Rothko exhibition. On the same day I heard some children play some simple duets of mine and thought these “Rothko Pictures” would be for the same age group—but they turned out to be a bit harder!\n\nI thought that using fists and palms and arms on the keyboard would be appropriate to ask children to do, which is no doubt true but there were rhythmic problems with these pieces, which made them rather too difficult for beginners.\n\nFinally I decided to rewrite them for large orchestra—see Rothko Variations.",{"_type":375,"current":17804},"4-rothko-pictures","4 Rothko Pictures",{"date":4002,"instrumentation":17807},"Piano duet",102,{"_id":15615,"chapters":17810,"content":17811,"images":17868,"performances":4,"rawPoem":4,"rawText":17871,"slug":17872,"title":15598,"workInfo":17873,"workNumber":17874},[],[17812,17820,17835,17843,17851,17858],{"_key":17813,"_type":9,"audioSize":4,"audioURL":4,"children":17814,"fileURL":4,"image":4,"markDefs":17819,"style":634},"f56d41ef3eb5",[17815],{"_key":17816,"_type":13,"marks":17817,"text":17818},"98e2ca173e1f",[],"In my attempts in the field of computer music I have often been struck by how much more interesting natural sounds are than synthetic ones, or expressed more positively, it is extraordinarily difficult to create synthetic sounds with the same complexity as nature manages to do. In the past I have therefore tried to contrast live and synthetic sounds, to use one as a background for the other.",[],{"_key":17821,"_type":9,"audioSize":4,"audioURL":4,"children":17822,"fileURL":4,"image":4,"markDefs":17834,"style":634},"5ba58fab057e",[17823,17827,17830],{"_key":17824,"_type":13,"marks":17825,"text":17826},"fc704cb731bf0",[],"In ",{"_key":17828,"_type":13,"marks":17829,"text":15598},"fc704cb731bf1",[73],{"_key":17831,"_type":13,"marks":17832,"text":17833},"fc704cb731bf2",[]," I have used only natural sounds and let them contrast with one another. Curiously a new contrast emerges between the man-made and the bird-made natural sounds. Even when the “found” sounds are very similar to the bird cries one notices an essential difference that makes these apparently similar sounds contrast with each other.",[],{"_key":17836,"_type":9,"audioSize":4,"audioURL":4,"children":17837,"fileURL":4,"image":4,"markDefs":17842,"style":634},"ebe41010a891",[17838],{"_key":17839,"_type":13,"marks":17840,"text":17841},"32aa46c91e860",[],"I met Ian Whalley in 1982. He came as a student to the Christchurch Teachers College where I was teaching. I had already assembled a collection of found and primitive instru- ments in my search for “new” sounds. He and I worked together, he especially with the new technology of the time, but also developing some of my “instruments” and adding his own. I particularly remember his theatre piece which he performed with other students for school classes, in which these found and invented instruments were used plus a striking use of native bird song. This piece looks back nostalgically to that fruitful year for both of us.",[],{"_key":17844,"_type":9,"audioSize":4,"audioURL":4,"children":17845,"fileURL":4,"image":4,"markDefs":17850,"style":634},"e98df55e4ca4",[17846],{"_key":17847,"_type":13,"marks":17848,"text":17849},"5a007312adf10",[],"Kit Powell, Eglisau, August, 2002\n",[],{"_key":17852,"_type":423,"audio":17853,"audioSize":17856,"audioURL":17857,"fileURL":4,"image":4,"markDefs":4},"8ade600b8d7f",{"_type":416,"asset":17854},{"_ref":17855,"_type":324},"file-f25f91d0865ac8e725ea95f643f5f00921cf5328-mp3",7965173,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Ff25f91d0865ac8e725ea95f643f5f00921cf5328.mp3",{"_key":17859,"_type":500,"alt":17860,"audioSize":4,"audioURL":4,"caption":17860,"fileURL":4,"image":17861,"markDefs":4},"8722b5990cdf","Score of Contrasts",{"caption":4,"id":17862,"meta":17863,"parentID":4,"parentType":510,"url":17867},"fb5bf5f78f6baf7c092e9affcd4f3ce9319cbe64",{"_type":506,"aspectRatio":17864,"height":17865,"width":17866},0.42456959439743214,3427,1455,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Ffb5bf5f78f6baf7c092e9affcd4f3ce9319cbe64-1455x3427.jpg",[17869],{"caption":17860,"id":17862,"meta":17870,"parentID":15615,"parentType":510,"url":17867},{"_type":506,"aspectRatio":17864,"height":17865,"width":17866},"In my attempts in the field of computer music I have often been struck by how much more interesting natural sounds are than synthetic ones, or expressed more positively, it is extraordinarily difficult to create synthetic sounds with the same complexity as nature manages to do. In the past I have therefore tried to contrast live and synthetic sounds, to use one as a background for the other.\n\nIn Contrasts I have used only natural sounds and let them contrast with one another. Curiously a new contrast emerges between the man-made and the bird-made natural sounds. Even when the “found” sounds are very similar to the bird cries one notices an essential difference that makes these apparently similar sounds contrast with each other.\n\nI met Ian Whalley in 1982. He came as a student to the Christchurch Teachers College where I was teaching. I had already assembled a collection of found and primitive instru- ments in my search for “new” sounds. He and I worked together, he especially with the new technology of the time, but also developing some of my “instruments” and adding his own. I particularly remember his theatre piece which he performed with other students for school classes, in which these found and invented instruments were used plus a striking use of native bird song. This piece looks back nostalgically to that fruitful year for both of us.\n\nKit Powell, Eglisau, August, 2002\n",{"_type":375,"current":15616},{"date":4002,"dedicated":3822,"instrumentation":14708,"length":885},103,{"_id":17876,"chapters":17877,"content":17878,"images":18052,"performances":18057,"rawPoem":4,"rawText":18065,"slug":18066,"title":17904,"workInfo":18068,"workNumber":18070},"12623306-6029-4ecf-a911-de5f04d7f29b",[],[17879,17888,17898,17906,17914,17921,17929,17937,17952,17960,17968,17992,18003,18011,18017,18025,18031,18038,18045],{"_key":17880,"_type":500,"alt":17881,"audioSize":4,"audioURL":4,"caption":17881,"fileURL":4,"image":17882,"markDefs":4},"170cb2c571a1","Das Ausland - Score",{"caption":4,"id":17883,"meta":17884,"parentID":4,"parentType":510,"url":17887},"5450322650c5f86c132e6eebb4649e45acaf36d0",{"_type":506,"aspectRatio":17885,"height":2585,"width":17886},0.7066508313539193,595,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F5450322650c5f86c132e6eebb4649e45acaf36d0-595x842.svg",{"_key":17889,"_type":500,"alt":17890,"audioSize":4,"audioURL":4,"caption":17890,"fileURL":4,"image":17891,"markDefs":4},"a2f5205b66ca","Performance of Das Ausland by Fiona + Philip Powell in Rigiblick Theater, Zurich",{"caption":4,"id":17892,"meta":17893,"parentID":4,"parentType":510,"url":17897},"4895646d26a228aa0502d91191e8f87c91738159",{"_type":506,"aspectRatio":17894,"height":17895,"width":17896},1.2366412213740459,524,648,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F4895646d26a228aa0502d91191e8f87c91738159-648x524.jpg",{"_key":17899,"_type":9,"audioSize":4,"audioURL":4,"children":17900,"fileURL":4,"image":4,"markDefs":17905,"style":634},"ad13bf566a93",[17901],{"_key":17902,"_type":13,"marks":17903,"text":17904},"ae174a0b62cd",[15],"Das Ausland",[],{"_key":17907,"_type":9,"audioSize":4,"audioURL":4,"children":17908,"fileURL":4,"image":4,"markDefs":17913,"style":634},"017691858b9c",[17909],{"_key":17910,"_type":13,"marks":17911,"text":17912},"7e92af66241e",[],"Ein Mann war in schweren Schuhen und seit vielen Wochen unterwegs. Im Ausland, hatte er gehört, sei es fast wie im Paradies, und dahin wollte er. Der Mann ging von Land zu Land. Keines glich dem Ausland, das man ihm beschrieben hatte. Er stapfte über Weiden und Wiesen. Was suchen Sie? rief ein Bauer, der sich auf einen Spaten stützte. Seine Sprache klang fremd, als käme sie aus einem breiteren Mund mit flacheren Zähnen. Das Ausland, sagte der Mann. Das was? Das Ausland. Nur immer der Nase nach, rief der Bauer, so können Sie es nicht verfehlen. Der Mann griff sich an seine Nase. Er lachte, winkte und ging weiter — zuerst einem Acker entlang, dann in den Wald hinein. Am folgenden Morgen war er über der Grenze. Es sah hier nicht aus wie im Paradies, auch nicht fast wie im Paradies, eher noch fast wie zuhause. Zur Sicherheit fragte er doch einen Strassenarbeiter, der sich auf eine Schaufel stützte und ihm entgegensah: Entschuldigung, ist hier das Ausland? Fehlte gerade noch, war die Antwort. Der Arbeiter wies ihm den Weg: Nur immer der Nase nach. Das war aber genau die Richtung, aus der der Mann gekommen war. Er kehrte um, müde und verwirrt. So geriet er bald darauf wieder auf die Wiesen des Bauern, der diesmal auf einem Traktor sass und vom rumpelnden Motor geschüttelt wurde. Der Bauer beugte sich herab und schrie: Schon zurück aus dem Ausland? Zurück schon, stotterte der Mann. Er hatte auf einmal einen traurigen Verdacht. Vielleicht gibt es das gar nicht, sagte er zu sich selbst, dieses Ausland. Der Bauer nahm an, der Fremde sei nicht recht im Kopf. Und dann seine Sprache: Sie klang, als käme sie aus einem schmaleren Mund mit spitzeren Zähnen. Er brachte den Motor zum Schweigen. Wenn man Ihnen so zuhört, sagte er – Sie sind wohl ein Ausländer, wie? Kehren Sie nach Hause zurück. Da ist das Ausland!",[],{"_key":17915,"_type":9,"audioSize":4,"audioURL":4,"children":17916,"fileURL":4,"image":4,"markDefs":17920,"style":634},"81d96d48f425",[17917],{"_key":17918,"_type":13,"marks":17919,"text":9418},"4f1f16f7350a",[],[],{"_key":17922,"_type":9,"audioSize":4,"audioURL":4,"children":17923,"fileURL":4,"image":4,"markDefs":17928,"style":634},"a4d25d231fef",[17924],{"_key":17925,"_type":13,"marks":17926,"text":17927},"ed11dc9a5d0f",[],"Peter Hammer Verlag Wuppertal, 2003",[],{"_key":17930,"_type":423,"audio":17931,"audioSize":17934,"audioURL":17935,"caption":17904,"fileURL":4,"image":4,"markDefs":4,"musicians":17936},"bdee9acd904b",{"_type":416,"asset":17932},{"_ref":17933,"_type":324},"file-08c3b45793585262cf88630c7b7fcccc674e8375-mp3",9885173,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F08c3b45793585262cf88630c7b7fcccc674e8375.mp3","Fiona Powell soprano, Philip Powell trombone",{"_key":17938,"_type":9,"audioSize":4,"audioURL":4,"children":17939,"fileURL":4,"image":4,"markDefs":17949,"style":634},"3874c728e465",[17940,17944],{"_key":17941,"_type":13,"marks":17942,"text":17943},"5775e8e42a770",[15],"Abroad",{"_key":17945,"_type":13,"marks":17946,"text":17948},"5775e8e42a771",[17947],"4eb3ff2595cc","1",[17950],{"_key":17947,"_type":316,"href":17951},"\u002Fworks\u002Fdas-ausland\u002F#f1",{"_key":17953,"_type":9,"audioSize":4,"audioURL":4,"children":17954,"fileURL":4,"image":4,"markDefs":17959,"style":634},"5623e7bee856",[17955],{"_key":17956,"_type":13,"marks":17957,"text":17958},"6c0597f676a30",[],"A man in heavy shoes had been travelling for many weeks. Abroad, so he had heard, it was almost like in paradise, and that's where he wanted to go. The man went from land to land. None was like that Abroad, which had been described to him. He plodded over field and meadow. What are you looking for? called a farmer, who was leaning on a spade. His speech sounded foreign, as if it came out of a wider mouth with flatter teeth. For Abroad, said the man. For what? Abroad. Just follow your nose, called the farmer, like that you can't miss it. The man took hold of his nose. He laughed, waved and went on – first along a meadow, and then into the forest. The following morning he was over the border. It didn't look like in paradise here, not even like almost in paradise, rather like almost at home. To be quite sure though, he asked a street worker, who was leaning on a shovel and looking towards him: Excuse me, is this here Abroad? That's all I need! was the answer. The workman showed him the way: just follow your nose. That was, however, exactly the direction the man had come from. He turned around, tired and confused. So it was, he soon happened upon the fields of the farmer, who now sat on a tractor whose rumbling motor was shaking him. The farmer bent down and yelled: Back already from Abroad? Back, yes, stuttered the man. All of a sudden he had a sad suspicion. Perhaps it doesn't exist, he said to himself, this place Abroad. The farmer assumed, the foreigner was not right in the head. And then there was his speech: it sounded, as if it came out of a narrower mouth with sharper teeth. He turned off the motor. When I listen to you, he said — you must be a foreigner, eh? Go back home. That's where Abroad is!",[],{"_key":17961,"_type":9,"audioSize":4,"audioURL":4,"children":17962,"fileURL":4,"image":4,"markDefs":17967,"style":634},"ee57ba64a18d",[17963],{"_key":17964,"_type":13,"marks":17965,"text":17966},"110fff38c0ab0",[],"Translation: Kit Powell",[],{"_key":17969,"_type":9,"audioSize":4,"audioURL":4,"children":17970,"fileURL":4,"image":4,"markDefs":17991,"style":634},"44833dc47ca4",[17971,17975,17979,17983,17987],{"_key":17972,"_type":13,"marks":17973,"text":17974},"ee6f95df8f7e",[],"1 The German word: ",{"_key":17976,"_type":13,"marks":17977,"text":17978},"db258fed12ee",[73],"Ausland",{"_key":17980,"_type":13,"marks":17981,"text":17982},"0f544b20eabe",[]," (the opposite of ",{"_key":17984,"_type":13,"marks":17985,"text":17986},"63571fdd9bc9",[73],"Inland",{"_key":17988,"_type":13,"marks":17989,"text":17990},"bb79ef339bb1",[],") has no good parallel in English.",[],{"_key":17993,"_type":9,"audioSize":4,"audioURL":4,"children":17994,"fileURL":4,"image":4,"markDefs":18002,"style":18},"3f44711cf29d",[17995,17998],{"_key":17996,"_type":13,"marks":17997,"text":17904},"00c7cbafa7f6",[15],{"_key":17999,"_type":13,"marks":18000,"text":18001},"3463121b4fe1",[]," exists in two versions:",[],{"_key":18004,"_type":9,"audioSize":4,"audioURL":4,"children":18005,"fileURL":4,"image":4,"level":382,"listItem":2078,"markDefs":18010,"style":18},"78f8cb5f2899",[18006],{"_key":18007,"_type":13,"marks":18008,"text":18009},"1c6e3ec76e6d0",[],"for soprano and trombone",[],{"_key":18012,"_type":413,"audioSize":4,"audioURL":4,"description":18009,"file":18013,"fileURL":18016,"image":4,"markDefs":4},"fe3aaf7a40aa",{"_type":416,"asset":18014},{"_ref":18015,"_type":324},"file-981595af0855740ee15ea12e76d5f1563618f43d-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F981595af0855740ee15ea12e76d5f1563618f43d.pdf",{"_key":18018,"_type":9,"audioSize":4,"audioURL":4,"children":18019,"fileURL":4,"image":4,"level":382,"listItem":2078,"markDefs":18024,"style":18},"fb0aa464edf3",[18020],{"_key":18021,"_type":13,"marks":18022,"text":18023},"8e8bcb75a4140",[],"for soprano, bass clarinet and percussion",[],{"_key":18026,"_type":413,"audioSize":4,"audioURL":4,"description":18023,"file":18027,"fileURL":18030,"image":4,"markDefs":4},"2807921d773f",{"_type":416,"asset":18028},{"_ref":18029,"_type":324},"file-9a964fe710d8214cc03db63f09695b4e211193c3-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F9a964fe710d8214cc03db63f09695b4e211193c3.pdf",{"_key":18032,"_type":413,"audioSize":4,"audioURL":4,"description":18033,"file":18034,"fileURL":18037,"image":4,"markDefs":4},"60622195e07e","Bass Clarinet part",{"_type":416,"asset":18035},{"_ref":18036,"_type":324},"file-a67b428daca7bf5220b895f32cba5be6ce1d0f69-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fa67b428daca7bf5220b895f32cba5be6ce1d0f69.pdf",{"_key":18039,"_type":413,"audioSize":4,"audioURL":4,"description":18040,"file":18041,"fileURL":18044,"image":4,"markDefs":4},"04f78a6105b4","Percussion part",{"_type":416,"asset":18042},{"_ref":18043,"_type":324},"file-54d270a9333659c6ef4574429619fb011b442159-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F54d270a9333659c6ef4574429619fb011b442159.pdf",{"_key":18046,"_type":9,"audioSize":4,"audioURL":4,"children":18047,"fileURL":4,"image":4,"markDefs":18051,"style":18},"9b35f09c9577",[18048],{"_key":18049,"_type":13,"marks":18050,"text":4878},"8da68dad97dc0",[],[],[18053,18055],{"caption":17881,"id":17883,"meta":18054,"parentID":17876,"parentType":510,"url":17887},{"_type":506,"aspectRatio":17885,"height":2585,"width":17886},{"caption":17890,"id":17892,"meta":18056,"parentID":17876,"parentType":510,"url":17897},{"_type":506,"aspectRatio":17894,"height":17895,"width":17896},[18058,18061,18063],{"_key":18059,"_type":366,"date":18060,"location":12785},"607f3f9e3e4b","2003-01-01",{"_key":18062,"_type":366,"date":4366,"location":5732},"56dd55aed852",{"_key":18064,"_type":366,"date":14847,"exactDate":1058,"location":12785,"performers":14848},"19fd4347b7cb","Das Ausland\n\nEin Mann war in schweren Schuhen und seit vielen Wochen unterwegs. Im Ausland, hatte er gehört, sei es fast wie im Paradies, und dahin wollte er. Der Mann ging von Land zu Land. Keines glich dem Ausland, das man ihm beschrieben hatte. Er stapfte über Weiden und Wiesen. Was suchen Sie? rief ein Bauer, der sich auf einen Spaten stützte. Seine Sprache klang fremd, als käme sie aus einem breiteren Mund mit flacheren Zähnen. Das Ausland, sagte der Mann. Das was? Das Ausland. Nur immer der Nase nach, rief der Bauer, so können Sie es nicht verfehlen. Der Mann griff sich an seine Nase. Er lachte, winkte und ging weiter — zuerst einem Acker entlang, dann in den Wald hinein. Am folgenden Morgen war er über der Grenze. Es sah hier nicht aus wie im Paradies, auch nicht fast wie im Paradies, eher noch fast wie zuhause. Zur Sicherheit fragte er doch einen Strassenarbeiter, der sich auf eine Schaufel stützte und ihm entgegensah: Entschuldigung, ist hier das Ausland? Fehlte gerade noch, war die Antwort. Der Arbeiter wies ihm den Weg: Nur immer der Nase nach. Das war aber genau die Richtung, aus der der Mann gekommen war. Er kehrte um, müde und verwirrt. So geriet er bald darauf wieder auf die Wiesen des Bauern, der diesmal auf einem Traktor sass und vom rumpelnden Motor geschüttelt wurde. Der Bauer beugte sich herab und schrie: Schon zurück aus dem Ausland? Zurück schon, stotterte der Mann. Er hatte auf einmal einen traurigen Verdacht. Vielleicht gibt es das gar nicht, sagte er zu sich selbst, dieses Ausland. Der Bauer nahm an, der Fremde sei nicht recht im Kopf. Und dann seine Sprache: Sie klang, als käme sie aus einem schmaleren Mund mit spitzeren Zähnen. Er brachte den Motor zum Schweigen. Wenn man Ihnen so zuhört, sagte er – Sie sind wohl ein Ausländer, wie? Kehren Sie nach Hause zurück. Da ist das Ausland!\n\nJürg Schubiger\n\nPeter Hammer Verlag Wuppertal, 2003\n\nAbroad1\n\nA man in heavy shoes had been travelling for many weeks. Abroad, so he had heard, it was almost like in paradise, and that's where he wanted to go. The man went from land to land. None was like that Abroad, which had been described to him. He plodded over field and meadow. What are you looking for? called a farmer, who was leaning on a spade. His speech sounded foreign, as if it came out of a wider mouth with flatter teeth. For Abroad, said the man. For what? Abroad. Just follow your nose, called the farmer, like that you can't miss it. The man took hold of his nose. He laughed, waved and went on – first along a meadow, and then into the forest. The following morning he was over the border. It didn't look like in paradise here, not even like almost in paradise, rather like almost at home. To be quite sure though, he asked a street worker, who was leaning on a shovel and looking towards him: Excuse me, is this here Abroad? That's all I need! was the answer. The workman showed him the way: just follow your nose. That was, however, exactly the direction the man had come from. He turned around, tired and confused. So it was, he soon happened upon the fields of the farmer, who now sat on a tractor whose rumbling motor was shaking him. The farmer bent down and yelled: Back already from Abroad? Back, yes, stuttered the man. All of a sudden he had a sad suspicion. Perhaps it doesn't exist, he said to himself, this place Abroad. The farmer assumed, the foreigner was not right in the head. And then there was his speech: it sounded, as if it came out of a narrower mouth with sharper teeth. He turned off the motor. When I listen to you, he said — you must be a foreigner, eh? Go back home. That's where Abroad is!\n\nTranslation: Kit Powell\n\n1 The German word: Ausland (the opposite of Inland) has no good parallel in English.\n\nDas Ausland exists in two versions:\n\nfor soprano and trombone\n\nfor soprano, bass clarinet and percussion\n\n\n",{"_type":375,"current":18067},"das-ausland",{"date":18060,"instrumentation":18069,"length":885,"text":9418},"soprano and trombone",104,{"_id":18072,"chapters":18073,"content":18074,"images":18129,"performances":4,"rawPoem":4,"rawText":18130,"slug":18131,"title":18133,"workInfo":18134,"workNumber":18136},"c2212119-a1fc-43b4-9f25-63ecdbeec88c",[],[18075,18094,18101,18108,18115,18122],{"_key":18076,"_type":9,"audioSize":4,"audioURL":4,"children":18077,"fileURL":4,"image":4,"markDefs":18091,"style":18},"f89350efa251",[18078,18082,18087],{"_key":18079,"_type":13,"marks":18080,"text":18081},"6effdc088053",[],"In June 2003 I heard a new work by ",{"_key":18083,"_type":13,"marks":18084,"text":18086},"8e855e5e6691",[18085],"b707447ea86a","Rudolf Kelterborn",{"_key":18088,"_type":13,"marks":18089,"text":18090},"f59256a34955",[]," in which longish movements were separated by short and often sparsely orchestrated fragments. What stayed with me in the end were these fragments and so came the idea for this suite. Apart from the song like second movement (“Goal Bird” — poem by Michael Harlow) and the clock like 3rd movement the pieces are abstract but try to use typical trombone sounds with glissandi, big dynamic changes and plunger mutes.",[18092],{"_key":18085,"_type":316,"href":18093},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FRudolf_Kelterborn",{"_key":18095,"_type":413,"audioSize":4,"audioURL":4,"description":18096,"file":18097,"fileURL":18100,"image":4,"markDefs":4},"fff31932b34c","6 Fragments for 4 Trombones (score)",{"_type":416,"asset":18098},{"_ref":18099,"_type":324},"file-040f5fc60bc2714a0966b48eed0d6b3b320cf1fe-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F040f5fc60bc2714a0966b48eed0d6b3b320cf1fe.pdf",{"_key":18102,"_type":413,"audioSize":4,"audioURL":4,"description":18103,"file":18104,"fileURL":18107,"image":4,"markDefs":4},"438d2054e22b","6 Fragments for 4 Trombones (Trom 1)",{"_type":416,"asset":18105},{"_ref":18106,"_type":324},"file-7756c69af614adbee52a105453cdd6993e182a99-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F7756c69af614adbee52a105453cdd6993e182a99.pdf",{"_key":18109,"_type":413,"audioSize":4,"audioURL":4,"description":18110,"file":18111,"fileURL":18114,"image":4,"markDefs":4},"6ba0021f1da9","6 Fragments for 4 Trombones (Trom 2)",{"_type":416,"asset":18112},{"_ref":18113,"_type":324},"file-a13b528c56045bc7ba05e64e0290fc0e6da4852c-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fa13b528c56045bc7ba05e64e0290fc0e6da4852c.pdf",{"_key":18116,"_type":413,"audioSize":4,"audioURL":4,"description":18117,"file":18118,"fileURL":18121,"image":4,"markDefs":4},"9927402afae3","6 Fragments for 4 Trombones (Trom 3)",{"_type":416,"asset":18119},{"_ref":18120,"_type":324},"file-c91e48a17db1295f95c8cfd6584153453d04d101-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fc91e48a17db1295f95c8cfd6584153453d04d101.pdf",{"_key":18123,"_type":413,"audioSize":4,"audioURL":4,"description":18124,"file":18125,"fileURL":18128,"image":4,"markDefs":4},"c44b88067baf","6 Fragments for 4 Trombones (Bass Trom)",{"_type":416,"asset":18126},{"_ref":18127,"_type":324},"file-08a224d1201d9b27625c2bb27ad5e6b45eed277a-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F08a224d1201d9b27625c2bb27ad5e6b45eed277a.pdf",[],"In June 2003 I heard a new work by Rudolf Kelterborn in which longish movements were separated by short and often sparsely orchestrated fragments. What stayed with me in the end were these fragments and so came the idea for this suite. Apart from the song like second movement (“Goal Bird” — poem by Michael Harlow) and the clock like 3rd movement the pieces are abstract but try to use typical trombone sounds with glissandi, big dynamic changes and plunger mutes.",{"_type":375,"current":18132},"6-fragments-for-4-trombones","6 Fragments for 4 Trombones",{"date":2557,"instrumentation":18135,"length":1975},"4 trombones",105,{"_id":17799,"chapters":18138,"content":18139,"images":18262,"performances":4,"rawPoem":4,"rawText":18267,"slug":18268,"title":17792,"workInfo":18269,"workNumber":18271},[],[18140,18149,18168,18183,18191,18199,18207,18215,18223,18230,18239,18247,18255],{"_key":18141,"_type":500,"audioSize":4,"audioURL":4,"fileURL":4,"image":18142,"markDefs":4,"size":3496},"d606fd726ef1",{"caption":4,"id":18143,"meta":18144,"parentID":4,"parentType":510,"url":18148},"783d31510b1da58c59aa92c45abf9f01f171e715",{"_type":506,"aspectRatio":18145,"height":18146,"width":18147},0.6729411764705883,850,572,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F783d31510b1da58c59aa92c45abf9f01f171e715-572x850.jpg",{"_key":18150,"_type":9,"audioSize":4,"audioURL":4,"children":18151,"fileURL":4,"image":4,"markDefs":18165,"style":18},"a9ea309a0aca",[18152,18156,18161],{"_key":18153,"_type":13,"marks":18154,"text":18155},"8d93f7f444ef",[],"When one views the work of ",{"_key":18157,"_type":13,"marks":18158,"text":18160},"f3b414526be0",[18159],"e201a46fa24a","Mark Rothko",{"_key":18162,"_type":13,"marks":18163,"text":18164},"e23c0190513b",[]," one is struck first by the emotional impact of these monumental paintings and then by their similarity—all pictures seem to be variations of one another—variations without a theme, for there are no recognisable objects or motives, just colours, areas and proportions.",[18166],{"_key":18159,"_type":316,"href":18167},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FMark_Rothko",{"_key":18169,"_type":9,"audioSize":4,"audioURL":4,"children":18170,"fileURL":4,"image":4,"markDefs":18182,"style":18},"d5c2523aaaaf",[18171,18175,18178],{"_key":18172,"_type":13,"marks":18173,"text":18174},"cb55cdbaa5b50",[],"My ",{"_key":18176,"_type":13,"marks":18177,"text":17792},"cb55cdbaa5b51",[73],{"_key":18179,"_type":13,"marks":18180,"text":18181},"cb55cdbaa5b52",[]," then, are conceived in this sense, not in the traditional musical variation form, but as a series of pieces without themes, containing only orchestral colours and shapes.",[],{"_key":18184,"_type":9,"audioSize":4,"audioURL":4,"children":18185,"fileURL":4,"image":4,"markDefs":18190,"style":18},"7cf25687043d",[18186],{"_key":18187,"_type":13,"marks":18188,"text":18189},"ecd590071a6d0",[],"In order to put these four “Variations” into a wider perspective I have separated them with three Interludes whose style contrasts strongly with the main material: where the “Variations” are slow and dense, the Interludes are faster and lighter.",[],{"_key":18192,"_type":9,"audioSize":4,"audioURL":4,"children":18193,"fileURL":4,"image":4,"markDefs":18198,"style":18},"e1c00b7b41d8",[18194],{"_key":18195,"_type":13,"marks":18196,"text":18197},"7337715db0c00",[],"What we hear then is:",[],{"_key":18200,"_type":9,"audioSize":4,"audioURL":4,"children":18201,"fileURL":4,"image":4,"markDefs":18206,"style":18},"146060ddd95d",[18202],{"_key":18203,"_type":13,"marks":18204,"text":18205},"726df86cede60",[],"Variation 1–Interlude 1-Variation 2–Interlude 2–Variation 3-Interlude 3-Variation 4",[],{"_key":18208,"_type":9,"audioSize":4,"audioURL":4,"children":18209,"fileURL":4,"image":4,"markDefs":18214,"style":18},"bbc8d427d813",[18210],{"_key":18211,"_type":13,"marks":18212,"text":18213},"f2ea74c255ba0",[],"Orchestra: 2 2 2 2; 4 2 3 1; Strings, Timpani, Harp, Piano, Percussion: xylophone, glockenspiel, crotales, 4 suspended cymbals, 2 large gongs, bass drum",[],{"_key":18216,"_type":9,"audioSize":4,"audioURL":4,"children":18217,"fileURL":4,"image":4,"markDefs":18222,"style":18},"c9f86c8d6ed8",[18218],{"_key":18219,"_type":13,"marks":18220,"text":18221},"1e693dffecc00",[],"In the 1st and 3rd Interludes the half aleotoric sections are written using Lutoslawskian “long-lead” notation. Here is an extract from the first Interlude:",[],{"_key":18224,"_type":500,"audioSize":4,"audioURL":4,"caption":18225,"fileURL":4,"image":18226,"markDefs":4},"a954641ca39c","Page 11",{"caption":4,"id":18227,"meta":18228,"parentID":4,"parentType":510,"url":18229},"e8943126c8681144a999cdd9ad98c658b269bc76",{"_type":506,"aspectRatio":17885,"height":2585,"width":17886},"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fe8943126c8681144a999cdd9ad98c658b269bc76-595x842.svg",{"_key":18231,"_type":423,"audio":18232,"audioSize":18235,"audioURL":18236,"caption":18237,"fileURL":4,"image":4,"markDefs":4,"musicians":18238},"f27e1a868625",{"_type":416,"asset":18233},{"_ref":18234,"_type":324},"file-95a7c5a799353013a5f06f93c1f5fec5b775a45b-mp3",362369,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F95a7c5a799353013a5f06f93c1f5fec5b775a45b.mp3","Rothko 1. Interlude (p11)","NZSO",{"_key":18240,"_type":423,"audio":18241,"audioSize":18244,"audioURL":18245,"caption":17792,"fileURL":4,"image":4,"markDefs":4,"musicians":18246},"3cd757a59579",{"_type":416,"asset":18242},{"_ref":18243,"_type":324},"file-22326ace0d72c2d52a783869d294185cc3543559-mp3",24368172,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F22326ace0d72c2d52a783869d294185cc3543559.mp3","NZSO, 2011",{"_key":18248,"_type":413,"audioSize":4,"audioURL":4,"description":18249,"file":18250,"fileURL":18253,"filename":18254,"image":4,"markDefs":4},"63a1b3857116","Full score",{"_type":416,"asset":18251},{"_ref":18252,"_type":324},"file-633ff180924a59461b7d2adbffcc1752c0a82160-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F633ff180924a59461b7d2adbffcc1752c0a82160.pdf","Rothko Variations.pdf",{"_key":18256,"_type":9,"audioSize":4,"audioURL":4,"children":18257,"fileURL":4,"image":4,"markDefs":18261,"style":18},"e89dadd8f1c1",[18258],{"_key":18259,"_type":13,"marks":18260,"text":4878},"db49dc511de80",[],[],[18263,18265],{"caption":4,"id":18143,"meta":18264,"parentID":17799,"parentType":510,"url":18148},{"_type":506,"aspectRatio":18145,"height":18146,"width":18147},{"caption":18225,"id":18227,"meta":18266,"parentID":17799,"parentType":510,"url":18229},{"_type":506,"aspectRatio":17885,"height":2585,"width":17886},"When one views the work of Mark Rothko one is struck first by the emotional impact of these monumental paintings and then by their similarity—all pictures seem to be variations of one another—variations without a theme, for there are no recognisable objects or motives, just colours, areas and proportions.\n\nMy Rothko Variations then, are conceived in this sense, not in the traditional musical variation form, but as a series of pieces without themes, containing only orchestral colours and shapes.\n\nIn order to put these four “Variations” into a wider perspective I have separated them with three Interludes whose style contrasts strongly with the main material: where the “Variations” are slow and dense, the Interludes are faster and lighter.\n\nWhat we hear then is:\n\nVariation 1–Interlude 1-Variation 2–Interlude 2–Variation 3-Interlude 3-Variation 4\n\nOrchestra: 2 2 2 2; 4 2 3 1; Strings, Timpani, Harp, Piano, Percussion: xylophone, glockenspiel, crotales, 4 suspended cymbals, 2 large gongs, bass drum\n\nIn the 1st and 3rd Interludes the half aleotoric sections are written using Lutoslawskian “long-lead” notation. Here is an extract from the first Interlude:\n\n\n",{"_type":375,"current":17800},{"date":2557,"instrumentation":18270,"length":710},"Orchestra: 2\u002F2\u002F2\u002F2; 4\u002F2\u002F3\u002F1; Strings, Timpani, Harp, Piano, Percussion: xylophone, glockenspiel, crotales, 4 suspended cymbals, 2 large gongs, bass drum",106,{"_id":18273,"chapters":18274,"content":18275,"images":18375,"performances":4,"rawPoem":4,"rawText":18376,"slug":18377,"title":18379,"workInfo":18380,"workNumber":18381},"6e621143-ee74-473d-b72e-50306325381b",[],[18276,18288,18327,18334,18361,18368],{"_key":18277,"_type":9,"audioSize":4,"audioURL":4,"children":18278,"fileURL":4,"image":4,"markDefs":18287,"style":18},"21789501bb6b",[18279,18283],{"_key":18280,"_type":13,"marks":18281,"text":18282},"96def59dd7b4",[15],"Today is the Piano’s Birthday",{"_key":18284,"_type":13,"marks":18285,"text":18286},"621399a3fcaa",[]," (May 2003) for Soprano and Piano",[],{"_key":18289,"_type":9,"audioSize":4,"audioURL":4,"children":18290,"fileURL":4,"image":4,"markDefs":18320,"style":18},"84cbd0a7962d",[18291,18295,18299,18303,18308,18312,18316],{"_key":18292,"_type":13,"marks":18293,"text":18294},"c710667b64900",[],"A setting of ",{"_key":18296,"_type":13,"marks":18297,"text":3405},"735a43cc26b1",[18298],"7e4e769ac619",{"_key":18300,"_type":13,"marks":18301,"text":18302},"cb811bffa63d",[],"’s prose poem, specially written for ",{"_key":18304,"_type":13,"marks":18305,"text":18307},"21b250be56fb",[18306],"071e69d358bb","Fiona Powell",{"_key":18309,"_type":13,"marks":18310,"text":18311},"b7086483b9f3",[]," and Annette Burkhard with the hope it could function as an encore to their performance of the ",{"_key":18313,"_type":13,"marks":18314,"text":16209},"2d9511e4391f",[18315],"c040881885b0",{"_key":18317,"_type":13,"marks":18318,"text":18319},"355b45d3dbb2",[],". It can be described as a song for piano and soprano, since the piano is at least as important as the singer.",[18321,18323,18325],{"_key":18298,"_type":321,"reference":18322,"slug":3414,"type":326},{"_ref":3413,"_type":324},{"_key":18315,"_type":321,"reference":18324,"slug":16624,"type":510},{"_ref":16200,"_type":324},{"_key":18306,"_type":321,"reference":18326,"slug":4252,"type":326},{"_ref":4251,"_type":324},{"_key":18328,"_type":413,"audioSize":4,"audioURL":4,"description":18329,"file":18330,"fileURL":18333,"image":4,"markDefs":4},"9a35d716d296","Score:",{"_type":416,"asset":18331},{"_ref":18332,"_type":324},"file-669e7a41573619b51d2b9eb7bbc6b6179dfecf11-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F669e7a41573619b51d2b9eb7bbc6b6179dfecf11.pdf",{"_key":18335,"_type":9,"audioSize":4,"audioURL":4,"children":18336,"fileURL":4,"image":4,"markDefs":18356,"style":18},"14259cf140da",[18337,18341,18345,18348,18352],{"_key":18338,"_type":13,"marks":18339,"text":18340},"1b85dbc4e6af",[],"April 2005 – ",{"_key":18342,"_type":13,"marks":18343,"text":7370},"c8278d6ec862",[18344],"cb384527091f",{"_key":18346,"_type":13,"marks":18347,"text":2625},"6960fc967cfa",[],{"_key":18349,"_type":13,"marks":18350,"text":5922},"deaad8d4adcc",[18351],"680a4389e238",{"_key":18353,"_type":13,"marks":18354,"text":18355},"5d89de1d0bdf",[]," performed this for Fiona’s wedding in a version for Trombone and Piano.",[18357,18359],{"_key":18344,"_type":321,"reference":18358,"slug":7379,"type":326},{"_ref":7378,"_type":324},{"_key":18351,"_type":321,"reference":18360,"slug":5931,"type":326},{"_ref":5930,"_type":324},{"_key":18362,"_type":413,"audioSize":4,"audioURL":4,"description":18363,"file":18364,"fileURL":18367,"image":4,"markDefs":4},"4a6911f4ccc7","Score (Version for Trombone and Piano)",{"_type":416,"asset":18365},{"_ref":18366,"_type":324},"file-d6bb5190b9127d5b7aec7e42864b2f18ab21b039-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fd6bb5190b9127d5b7aec7e42864b2f18ab21b039.pdf",{"_key":18369,"_type":413,"audioSize":4,"audioURL":4,"description":18370,"file":18371,"fileURL":18374,"image":4,"markDefs":4},"36be4ced3de3","Trombone Part",{"_type":416,"asset":18372},{"_ref":18373,"_type":324},"file-547e0aec47f4e7982f71eae07b5dbb1a720ac019-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F547e0aec47f4e7982f71eae07b5dbb1a720ac019.pdf",[],"Today is the Piano’s Birthday (May 2003) for Soprano and Piano\n\nA setting of Michael Harlow’s prose poem, specially written for Fiona Powell and Annette Burkhard with the hope it could function as an encore to their performance of the Ophelia Songs. It can be described as a song for piano and soprano, since the piano is at least as important as the singer.\n\nApril 2005 – Philip Powell and Dominik Blum performed this for Fiona’s wedding in a version for Trombone and Piano.",{"_type":375,"current":18378},"today-is-the-pianos-birthday","Today is the Piano's Birthday",{"date":18060,"instrumentation":2571,"length":885,"text":3405},107,{"_id":18383,"chapters":18384,"content":18385,"images":18629,"performances":18630,"rawPoem":18633,"rawText":18634,"slug":18635,"title":18392,"workInfo":18637,"workNumber":18639},"9d0479f2-ae58-40fa-a7de-2e4ed6dd53fe",[],[18386,18398,18424,18452,18460,18480,18488,18508,18515,18550,18557,18582,18590,18606,18621],{"_key":18387,"_type":9,"audioSize":4,"audioURL":4,"children":18388,"fileURL":4,"image":4,"markDefs":18397,"style":18},"741932901865",[18389,18393],{"_key":18390,"_type":13,"marks":18391,"text":18392},"5e4a99e2f51b",[15],"A Shout",{"_key":18394,"_type":13,"marks":18395,"text":18396},"c99e686767c3",[]," (January 2005) for Soprano Soloist, Women’s Choir and Piano",[],{"_key":18399,"_type":9,"audioSize":4,"audioURL":4,"children":18400,"fileURL":4,"image":4,"markDefs":18421,"style":18},"e1f54f141712",[18401,18405,18409,18413,18417],{"_key":18402,"_type":13,"marks":18403,"text":18404},"c3fc427930130",[],"Specially written for Jean Cumming’s choir and as an “In Memoriam Bill Cumming” who was sadly run over by a young speadster in Christchurch in 2003. We got to know the Cummings on one of our first trips to Europe when the children were very young. They also had two children of much the same age (also a Fiona Jane!). At that time Bill said how he had been influenced by the painting and ideas of ",{"_key":18406,"_type":13,"marks":18407,"text":18408},"c3fc427930131",[73],"Paul Klee",{"_key":18410,"_type":13,"marks":18411,"text":18412},"c3fc427930132",[],", whose work he’d got to know well through a course given by ",{"_key":18414,"_type":13,"marks":18415,"text":3405},"74bb3d9ec89f",[18416],"46e289a46102",{"_key":18418,"_type":13,"marks":18419,"text":18420},"b30ec455fcff",[],"—Michael had worked for Adult Education in his early days in New Zealand. It was therefore appropriate to use texts by Michael in the piece—texts, which were about Klee (see no. 1 below):",[18422],{"_key":18416,"_type":321,"reference":18423,"slug":3414,"type":326},{"_ref":3413,"_type":324},{"_key":18425,"_type":754,"audioSize":4,"audioURL":4,"author":3405,"fileURL":4,"image":4,"markDefs":4,"poem":18426,"title":18443},"7c9cf96fa32a",[18427,18435],{"_key":18428,"_type":9,"children":18429,"markDefs":18434,"style":18},"85467d622a64",[18430],{"_key":18431,"_type":13,"marks":18432,"text":18433},"a521924e1116",[],"‘Taking a line for a walk’,\nyou find your way through\nthe deepening dark, and all\nour conversations are with\nthe living and the dead—\nand the dark is light enough\nto hold you still—you are\nlistening for that shout of green",[],{"_key":18436,"_type":9,"children":18437,"markDefs":18442,"style":18},"85e03eddcb31",[18438],{"_key":18439,"_type":13,"marks":18440,"text":18441},"108ac1e4537d0",[],"Listening for that shout of green,\nyour ‘devotion to the small’ so\nlittle being said, so much being meant;\nand the dark is light enough to hold\nyou still—and you know, entering\nthe day you would be most alive\nwhen you died, taking a line for a walk,\nsome few years from now, trees\nwill be called very important people.",[],[18444],{"_key":18445,"_type":9,"children":18446,"markDefs":18451,"style":18},"5e4568852673",[18447],{"_key":18448,"_type":13,"marks":18449,"text":18450},"3bd6fc0c0b57",[15,73],"Taking a line for a Walk",[],{"_key":18453,"_type":423,"audio":18454,"audioSize":18457,"audioURL":18458,"caption":18459,"fileURL":4,"image":4,"markDefs":4},"ae0bad29cd0a",{"_type":416,"asset":18455},{"_ref":18456,"_type":324},"file-2c054dbfb779022c6966cf4c1510e713f7c11937-mp3",5347787,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F2c054dbfb779022c6966cf4c1510e713f7c11937.mp3","Taking a line for a walk",{"_key":18461,"_type":754,"audioSize":4,"audioURL":4,"author":3405,"fileURL":4,"image":4,"markDefs":4,"poem":18462,"title":18471},"295bbaf77dbc",[18463],{"_key":18464,"_type":9,"children":18465,"markDefs":18470,"style":18},"35d92dbad289",[18466],{"_key":18467,"_type":13,"marks":18468,"text":18469},"c74669fe9080",[],"Such sweet singing sips\nOf aire, everywhere Αυδονι [‘ayedhóni]\nHow she ‘consorts with flowers\nTo make her yellow honey’:\nIn the dark hold of the hive,\nΑυδονι, fill the heart with gold",[],[18472],{"_key":18473,"_type":9,"children":18474,"markDefs":18479,"style":18},"a5f3720ac0b9",[18475],{"_key":18476,"_type":13,"marks":18477,"text":18478},"570f0ac32c0f",[15,73],"Bee-Bird",[],{"_key":18481,"_type":423,"audio":18482,"audioSize":18485,"audioURL":18486,"caption":18487,"fileURL":4,"image":4,"markDefs":4},"61b1aa255a24",{"_type":416,"asset":18483},{"_ref":18484,"_type":324},"file-c3e8315671582ce376b94ab63d4573ac8b001880-mp3",2510889,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fc3e8315671582ce376b94ab63d4573ac8b001880.mp3","Bee Bird",{"_key":18489,"_type":754,"audioSize":4,"audioURL":4,"author":3405,"fileURL":4,"image":4,"markDefs":4,"poem":18490,"title":18499},"2e0d6719899c",[18491],{"_key":18492,"_type":9,"children":18493,"markDefs":18498,"style":18},"4b4e1d549883",[18494],{"_key":18495,"_type":13,"marks":18496,"text":18497},"9be4b04e64c6",[],"Chit, Chatter-bird\nsuch nattering all the day-long\nthe nightlong ‘as when\nthe clamour of cranes goes\nhigh to the heavens’, so unstoppably\nnon-stop, and so unprettily\nrowdy roistering song\nyou would think, wouldn’t you,\nthere are no full-stops in heaven",[],[18500],{"_key":18501,"_type":9,"children":18502,"markDefs":18507,"style":18},"9a53d7e20a43",[18503],{"_key":18504,"_type":13,"marks":18505,"text":18506},"bb7cae640bb2",[15,73],"Chatter Bird",[],{"_key":18509,"_type":423,"audio":18510,"audioSize":18513,"audioURL":18514,"caption":18506,"fileURL":4,"image":4,"markDefs":4},"4d29308bfd91",{"_type":416,"asset":18511},{"_ref":18512,"_type":324},"file-782f924190e5f913d2e638cb7dfa85d3b14ac488-mp3",1741844,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F782f924190e5f913d2e638cb7dfa85d3b14ac488.mp3",{"_key":18516,"_type":754,"audioSize":4,"audioURL":4,"author":3405,"fileURL":4,"image":4,"markDefs":4,"poem":18517,"title":18542},"f7fc3d44d9c2",[18518,18526,18534],{"_key":18519,"_type":9,"children":18520,"markDefs":18525,"style":18},"05cc2f766fa3",[18521],{"_key":18522,"_type":13,"marks":18523,"text":18524},"50e043d421be",[],"Opening your arms:\nthe first full sun of winter; light\nfalls, the fine calligraphy of trees\nwaiting for that shout of green",[],{"_key":18527,"_type":9,"children":18528,"markDefs":18533,"style":18},"b80d8e5856dc",[18529],{"_key":18530,"_type":13,"marks":18531,"text":18532},"ee1d8734b41c0",[],"Mariner’s star\nthis bright flower of sun,\nlike a stunned bee\nin the small hour of your hand\nwaking from its",[],{"_key":18535,"_type":9,"children":18536,"markDefs":18541,"style":18},"9c42fecb05c7",[18537],{"_key":18538,"_type":13,"marks":18539,"text":18540},"7cf322dcf2a10",[],"hive, the gold the dark has been\nkeeping, inside the ‘mind’s\ntenderness to the heart’, waiting\nfor that shout of green.",[],[18543],{"_key":18544,"_type":9,"children":18545,"markDefs":18549,"style":18},"7d96f680075f",[18546],{"_key":18547,"_type":13,"marks":18548,"text":18392},"a39d6ccc92f5",[15,73],[],{"_key":18551,"_type":423,"audio":18552,"audioSize":18555,"audioURL":18556,"caption":18392,"fileURL":4,"image":4,"markDefs":4},"fb8174492d00",{"_type":416,"asset":18553},{"_ref":18554,"_type":324},"file-98d2155b7bdc50d564d19935d9d666f151b339cc-mp3",3571983,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F98d2155b7bdc50d564d19935d9d666f151b339cc.mp3",{"_key":18558,"_type":9,"audioSize":4,"audioURL":4,"children":18559,"fileURL":4,"image":4,"markDefs":18579,"style":18},"1e8190061504",[18560,18564,18568,18571,18575],{"_key":18561,"_type":13,"marks":18562,"text":18563},"b6323d2f13b40",[],"The first performance was originally to have been about the same time as the ",{"_key":18565,"_type":13,"marks":18566,"text":18567},"b6323d2f13b41",[73],"reading",{"_key":18569,"_type":13,"marks":18570,"text":2198},"b6323d2f13b42",[],{"_key":18572,"_type":13,"marks":18573,"text":17792},"d0557ac9b694",[18574],"74dc297ef08c",{"_key":18576,"_type":13,"marks":18577,"text":18578},"a62ee6489f62",[]," and we would have visited Christchurch during this NZ trip to hear it but it was adjourned until early 2006 so we thought we would miss it.",[18580],{"_key":18574,"_type":321,"reference":18581,"slug":17800,"type":510},{"_ref":17799,"_type":324},{"_key":18583,"_type":9,"audioSize":4,"audioURL":4,"children":18584,"fileURL":4,"image":4,"markDefs":18589,"style":18},"7bcc3917376e",[18585],{"_key":18586,"_type":13,"marks":18587,"text":18588},"65ae3c5abdc30",[],"19.04.2006, Jean Cumming wrote a sad letter, she had had to leave her choir:",[],{"_key":18591,"_type":9,"audioSize":4,"audioURL":4,"children":18592,"fileURL":4,"image":4,"markDefs":18605,"style":634},"385d589845de",[18593,18597,18601],{"_key":18594,"_type":13,"marks":18595,"text":18596},"cdb184e3e1100",[],"… I have had to resign from my conductorship of the ",{"_key":18598,"_type":13,"marks":18599,"text":18600},"cdb184e3e1101",[73],"Cecelian Singers",{"_key":18602,"_type":13,"marks":18603,"text":18604},"cdb184e3e1102",[]," … Some of the members were threatening to resign from the choir because of my choice of music and also that I demanded too much etc. etc. …",[],{"_key":18607,"_type":9,"audioSize":4,"audioURL":4,"children":18608,"fileURL":4,"image":4,"markDefs":18620,"style":634},"a4ab3395993a",[18609,18613,18616],{"_key":18610,"_type":13,"marks":18611,"text":18612},"fdf8184078300",[],"I am so very sorry. I feel that I have let both you and William down. But I hope in the future to find a choir to perform and record ",{"_key":18614,"_type":13,"marks":18615,"text":18392},"fdf8184078301",[73],{"_key":18617,"_type":13,"marks":18618,"text":18619},"fdf8184078302",[],". I was so excited about the work and wrapped up with the whole concept that I failed to take on board the commitment of the choir to what was a personal dedication for me. I know you will understand, but I still feel bad about it all …",[],{"_key":18622,"_type":413,"audioSize":4,"audioURL":4,"description":18623,"file":18624,"fileURL":18627,"filename":18628,"image":4,"markDefs":4},"a106469ba224","A Shout Score",{"_type":416,"asset":18625},{"_ref":18626,"_type":324},"file-7bfa91ba86e9d74d90e84f3d815fd4c47ca443cf-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F7bfa91ba86e9d74d90e84f3d815fd4c47ca443cf.pdf","A Shout.pdf",[],[18631],{"_key":18632,"_type":366,"date":7063,"location":7064,"performers":7065},"ba80c68a6f97","‘Taking a line for a walk’,\nyou find your way through\nthe deepening dark, and all\nour conversations are with\nthe living and the dead—\nand the dark is light enough\nto hold you still—you are\nlistening for that shout of green\n\nListening for that shout of green,\nyour ‘devotion to the small’ so\nlittle being said, so much being meant;\nand the dark is light enough to hold\nyou still—and you know, entering\nthe day you would be most alive\nwhen you died, taking a line for a walk,\nsome few years from now, trees\nwill be called very important people.\n\nSuch sweet singing sips\nOf aire, everywhere Αυδονι [‘ayedhóni]\nHow she ‘consorts with flowers\nTo make her yellow honey’:\nIn the dark hold of the hive,\nΑυδονι, fill the heart with gold\n\nChit, Chatter-bird\nsuch nattering all the day-long\nthe nightlong ‘as when\nthe clamour of cranes goes\nhigh to the heavens’, so unstoppably\nnon-stop, and so unprettily\nrowdy roistering song\nyou would think, wouldn’t you,\nthere are no full-stops in heaven\n\nOpening your arms:\nthe first full sun of winter; light\nfalls, the fine calligraphy of trees\nwaiting for that shout of green\n\nMariner’s star\nthis bright flower of sun,\nlike a stunned bee\nin the small hour of your hand\nwaking from its\n\nhive, the gold the dark has been\nkeeping, inside the ‘mind’s\ntenderness to the heart’, waiting\nfor that shout of green.","A Shout (January 2005) for Soprano Soloist, Women’s Choir and Piano\n\nSpecially written for Jean Cumming’s choir and as an “In Memoriam Bill Cumming” who was sadly run over by a young speadster in Christchurch in 2003. We got to know the Cummings on one of our first trips to Europe when the children were very young. They also had two children of much the same age (also a Fiona Jane!). At that time Bill said how he had been influenced by the painting and ideas of Paul Klee, whose work he’d got to know well through a course given by Michael Harlow—Michael had worked for Adult Education in his early days in New Zealand. 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After a visit he made to NZ in 1968 we became “du” friends, a friendship which has strengthened over the years. Recently he told us that Kurt Schwitters had visited his parents a number of times when he was small (his mother, Carola Giedion-Welker, a well known art critic and his father, Siegfried Giedion, a famous architect both had good contacts to many famous artists of their time including James Joyce, Hans Arp, Sophie Taeuber-Arp, Max Ernst and Kurt Schwitters who were often visitors at their Zürichberg Villa (where Andres’s 80th birthday party also took place). He also had a large and impressive collage by Schwitters in his collection of paintings. All this meant that the choice of Schwitter’s texts (which was Brigitte’s idea) was a very appropriate one for this celebration.\n\nFour of the texts are German and the fifth English:\n\n\n1. Zwölf—a whole-tone counting song\n\n\n\n2. So, so!—nursery song with atonal accompaniment\n\n3. Das Urgebet der Scholle—a sibilant song\n\n4. 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In many ways Māui is similar to Till Eulenspiegel: his audacity, his vitality and his humour.",[19353,19355],{"_key":19329,"_type":316,"href":19354},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FTill_Eulenspiegel%27s_Merry_Pranks",{"_key":19338,"_type":316,"href":19356},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FM%C4%81ui_(M%C4%81ori_mythology)",{"_key":19358,"_type":9,"audioSize":4,"audioURL":4,"children":19359,"fileURL":4,"image":4,"markDefs":19364,"style":18},"a5ac4410eb3d",[19360],{"_key":19361,"_type":13,"marks":19362,"text":19363},"939f3d5a3a530",[],"The figure of Māui is played by the clarinet, a part which is so important that the work became a Concerto for Clarinet and Orchestra.",[],{"_key":19366,"_type":500,"alt":19367,"audioSize":4,"audioURL":4,"caption":19367,"fileURL":4,"image":19368,"markDefs":4,"size":1662},"baf0083b7bc5","Māui performing a Karakia from his brother's canoe — Don McAra",{"caption":4,"id":19369,"meta":19370,"parentID":4,"parentType":510,"url":245},"83de7f1b1194d9bf934de3c8a5de364c27bc2a1d",{"_type":506,"aspectRatio":19371,"height":19372,"width":12758},1.494061757719715,421,{"_key":19374,"_type":423,"audio":19375,"audioSize":19378,"audioURL":19379,"caption":19380,"fileURL":4,"image":4,"markDefs":4,"musicians":19381},"75127e3179d1",{"_type":416,"asset":19376},{"_ref":19377,"_type":324},"file-69e7fe0f20400c21608d8dfadaa55077091032aa-mp3",9840848,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F69e7fe0f20400c21608d8dfadaa55077091032aa.mp3","Te Ika a Māui","Phil Green (Clarinet)",{"_key":19383,"_type":500,"audioSize":4,"audioURL":4,"caption":19384,"fileURL":4,"image":19385,"markDefs":4,"size":3496},"579ae2bd2700","Soloist Phil Green and conductor Benjamin Northey rehearsing this movement with the NZSO in the Wellington Town Hall 2009",{"caption":4,"id":19386,"meta":19387,"parentID":4,"parentType":510,"url":19391},"c1214d0f81cc03ce10cbd47b7448451584f6406e",{"_type":506,"aspectRatio":19388,"height":19389,"width":19390},0.75,940,705,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fc1214d0f81cc03ce10cbd47b7448451584f6406e-705x940.jpg",{"_key":19393,"_type":500,"audioSize":4,"audioURL":4,"caption":19394,"fileURL":4,"image":19395,"markDefs":4,"position":4586},"c9f6d0eae00b","Discussing the score with Benjamin Northey in the Wellington Town Hall 2009",{"caption":4,"id":19396,"meta":19397,"parentID":4,"parentType":510,"url":19400},"5e3e4638255776bc920d3a60013ba92f8f6b79ee",{"_type":506,"aspectRatio":19398,"height":19399,"width":19390},1.3352272727272727,528,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F5e3e4638255776bc920d3a60013ba92f8f6b79ee-705x528.jpg",{"_key":19402,"_type":9,"audioSize":4,"audioURL":4,"children":19403,"fileURL":4,"image":4,"markDefs":19411,"style":18},"a079f11fb04b",[19404,19407],{"_key":19405,"_type":13,"marks":19406,"text":19289},"65b8baad7ce90",[15],{"_key":19408,"_type":13,"marks":19409,"text":19410},"65b8baad7ce91",[]," (Māui Slows the Sun) ",[],{"_key":19413,"_type":9,"audioSize":4,"audioURL":4,"children":19414,"fileURL":4,"image":4,"markDefs":19427,"style":18},"c71907004a57",[19415,19418,19423],{"_key":19408,"_type":13,"marks":19416,"text":19417},[],"In the beginning the sun moved too rapidly around the earth so that the days were too short for the people to do all their work. Māui and his friends travel to the place where the sun rises out of a pit. They build a snare of ropes over the pit to catch the sun as it rises and they beat it mercilessly until it agrees to move more slowly. The people of Māui’s ",{"_key":19419,"_type":13,"marks":19420,"text":19422},"65b8baad7ce92",[19421],"332b3fd1af5c","whānau",{"_key":19424,"_type":13,"marks":19425,"text":19426},"65b8baad7ce93",[]," are very proud of him.",[19428],{"_key":19421,"_type":316,"href":19429},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FWh%C4%81nau",{"_key":19431,"_type":9,"audioSize":4,"audioURL":4,"children":19432,"fileURL":4,"image":4,"markDefs":19436,"style":18},"180a0c561dd1",[19433],{"_key":19434,"_type":13,"marks":19435,"text":25},"6c024d4c44850",[],[],{"_key":19438,"_type":9,"audioSize":4,"audioURL":4,"children":19439,"fileURL":4,"image":4,"markDefs":19447,"style":18},"8684b491dbf1",[19440,19443],{"_key":19441,"_type":13,"marks":19442,"text":19301},"7433a8519a3a0",[15],{"_key":19444,"_type":13,"marks":19445,"text":19446},"7433a8519a3a1",[]," (Māui brings Fire to the World) ",[],{"_key":19449,"_type":9,"audioSize":4,"audioURL":4,"children":19450,"fileURL":4,"image":4,"markDefs":19454,"style":18},"6d941d7ecf27",[19451],{"_key":19444,"_type":13,"marks":19452,"text":19453},[],"Māui wonders where fire comes from. In the night he puts out all the fires in the village. The people are very upset but Māui promises to go to the fire goddess and bring fire back again. Mahuika, the fire goddess lives in a cave in the fiery mountain. She receives Māui and gives him a burning fingernail. The wicked Māui wonders how long she would continue tearing out her own nails to give him fire. He drops the nail in a stream and returns to ask again—and again and again until Mahuika is furious. She chases him away and pursues him. He changes himself into a hawk to escape but she sets the forests on fire. Māui dives into a river to save himself. Later he finds out that some of the trees in the forest have kept Mahuika's fire. He teaches the villagers how to make fire using the wood of these trees.",[],{"_key":19456,"_type":9,"audioSize":4,"audioURL":4,"children":19457,"fileURL":4,"image":4,"markDefs":19463,"style":18},"4d997439f2ff",[19458],{"_key":19459,"_type":13,"marks":19460,"text":19462},"98abbd843b08",[19461],"c8f582c7e838","Video: This movement was recorded, 07.09.2022, by the NZSO, Patrick Barry (Solo Clarinet), Hamish McKeich (Conductor)",[19464],{"_key":19461,"_type":316,"href":19465},"https:\u002F\u002Fwww.youtube.com\u002Fwatch?v=pIlxPqkeoQA",{"_key":19467,"_type":9,"audioSize":4,"audioURL":4,"children":19468,"fileURL":4,"image":4,"markDefs":19475,"style":18},"8ef8e118c906",[19469,19472],{"_key":19470,"_type":13,"marks":19471,"text":19313},"f86c2b46ce9b0",[15],{"_key":19473,"_type":13,"marks":19474,"text":19317},"f86c2b46ce9b1",[],[],{"_key":19477,"_type":9,"audioSize":4,"audioURL":4,"children":19478,"fileURL":4,"image":4,"markDefs":19491,"style":18},"2dea35a53a95",[19479,19483,19487],{"_key":19480,"_type":13,"marks":19481,"text":19482},"d3d3627dd2050",[],"Māui decides to conquer death, Hine-nui-te-Pō, the Great Lady of the Night. Māui's father warns him not to try to kill Hine-nui-te-Pō for he would surely die, since he, the father, had omitted saying an important prayer when Māui was born. Māui ignores his father and asks the birds if they will accompany him. The fantail, tiwakawaka, dances a haka and Māui joins in. He changes himself into a sparrowhawk and they all fly off. They arrive at Rarohenga, the home of Hine-nui-te-Pō. She is asleep. Māui warns the birds to be very quiet and not to laugh. He changes himself into a caterpillar to enter the godess. But the fantail can contain his laughter no longer and then all the birds laugh too. Hine-nui-te-Pō awakes and crushes Māui between her legs. All the people are very sad and sing a Waiata Tangi (",{"_key":19484,"_type":13,"marks":19485,"text":19486},"d3d3627dd2051",[73],"lament",{"_key":19488,"_type":13,"marks":19489,"text":19490},"d3d3627dd2052",[],"). Māui, as a spirit, decides to change the mood of this sadness: they should celebrate his life, not mourn his death. He is dead but nevertheless immortal for he lives on for ever in the hearts of the people.",[],{"_key":19493,"_type":9,"audioSize":4,"audioURL":4,"children":19494,"fileURL":4,"image":4,"markDefs":19506,"style":18},"412f68563304",[19495,19498,19502],{"_key":19496,"_type":13,"marks":19497,"text":16900},"1c4e0ea36fec0",[],{"_key":19499,"_type":13,"marks":19500,"text":12849},"d2cbf998c19e",[19501],"f7d4b780f52a",{"_key":19503,"_type":13,"marks":19504,"text":19505},"b519f3457790",[]," who was present at the “reading” in Wellington in Oct. 2014.",[19507],{"_key":19501,"_type":321,"reference":19508,"slug":12860,"type":326},{"_ref":12859,"_type":324},{"_key":19510,"_type":423,"audio":19511,"audioSize":19514,"audioURL":19515,"caption":19516,"fileURL":4,"image":4,"markDefs":4,"musicians":19517},"12459e0b63ba",{"_type":416,"asset":19512},{"_ref":19513,"_type":324},"file-fb1a7146dd260ec2c63b886843b1b73713d00d58-mp3",9919539,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Ffb1a7146dd260ec2c63b886843b1b73713d00d58.mp3","4. I Mate a Māui i a Hine-nui-te-Pō (The Death of Māui) ","NZSO, Solo Clarinet Phil Greene",{"_key":19519,"_type":413,"audioSize":4,"audioURL":4,"description":19520,"file":19521,"fileURL":19524,"image":4,"markDefs":4},"23e4c34aa877","Four Māui Legends, Full Score",{"_type":416,"asset":19522},{"_ref":19523,"_type":324},"file-b0603a043e5ac2783fedbb50e3b0c82aa20cfc60-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fb0603a043e5ac2783fedbb50e3b0c82aa20cfc60.pdf",{"_key":19526,"_type":413,"audioSize":4,"audioURL":4,"description":19527,"file":19528,"fileURL":19531,"image":4,"markDefs":4},"59b81fad3491","Four Māui Legends, Solo Clarinet",{"_type":416,"asset":19529},{"_ref":19530,"_type":324},"file-d4bcff892941e9119ca80b4323b2366874469538-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fd4bcff892941e9119ca80b4323b2366874469538.pdf",[19533,19535,19537],{"caption":19367,"id":19369,"meta":19534,"parentID":19246,"parentType":510,"url":245},{"_type":506,"aspectRatio":19371,"height":19372,"width":12758},{"caption":19384,"id":19386,"meta":19536,"parentID":19246,"parentType":510,"url":19391},{"_type":506,"aspectRatio":19388,"height":19389,"width":19390},{"caption":19394,"id":19396,"meta":19538,"parentID":19246,"parentType":510,"url":19400},{"_type":506,"aspectRatio":19398,"height":19399,"width":19390},[19540,19545,19549],{"_key":19541,"_type":366,"date":19542,"location":19543,"performers":19544},"f3fab6c0e0b5","2009-01-01","Michael Fowler Centre, Wellington New Zealand","New Zealand Symphony Orchestra, Phil Green clarinet",{"_key":19546,"_type":366,"date":19547,"location":19543,"performers":19548},"0aa13188b1b2","2013-10-14","NZ Symphony Orchestra",{"_key":19550,"_type":366,"date":19551,"location":19543},"92de38e0d42c","2019-07-26","The Māui Cycle is an orchestral work in four movements:\n\n\n\n1. Te Ika a Māui (The Fish of Māui)\n\n2. I mau a Tama te Rā i a Māui (Māui Slows the Sun)\n\n3. Na Māui te Ahi a te Ao (Māui brings Fire to the World)\n\n4. I Mate a Māui i a Hine-nui-te-Pō (The Death of Māui)\n\nThis is pure program music. I wanted to write a sort of New Zealand Till Eulenspiegel and chose four Māui legends. Although I am not a great admirer of Richard Strauss, I do think his Till Eulenspiegels lustige Streiche is a masterpiece. In many ways Māui is similar to Till Eulenspiegel: his audacity, his vitality and his humour.\n\nThe figure of Māui is played by the clarinet, a part which is so important that the work became a Concerto for Clarinet and Orchestra.\n\n2. I mau a Tama te Rā i a Māui (Māui Slows the Sun) \n\nIn the beginning the sun moved too rapidly around the earth so that the days were too short for the people to do all their work. Māui and his friends travel to the place where the sun rises out of a pit. They build a snare of ropes over the pit to catch the sun as it rises and they beat it mercilessly until it agrees to move more slowly. The people of Māui’s whānau are very proud of him.\n\n\n\n3. Na Māui te Ahi a te Ao (Māui brings Fire to the World) \n\nMāui wonders where fire comes from. In the night he puts out all the fires in the village. The people are very upset but Māui promises to go to the fire goddess and bring fire back again. Mahuika, the fire goddess lives in a cave in the fiery mountain. She receives Māui and gives him a burning fingernail. The wicked Māui wonders how long she would continue tearing out her own nails to give him fire. He drops the nail in a stream and returns to ask again—and again and again until Mahuika is furious. She chases him away and pursues him. He changes himself into a hawk to escape but she sets the forests on fire. Māui dives into a river to save himself. Later he finds out that some of the trees in the forest have kept Mahuika's fire. He teaches the villagers how to make fire using the wood of these trees.\n\nVideo: This movement was recorded, 07.09.2022, by the NZSO, Patrick Barry (Solo Clarinet), Hamish McKeich (Conductor)\n\n4. I Mate a Māui i a Hine-nui-te-Pō (The Death of Māui)\n\nMāui decides to conquer death, Hine-nui-te-Pō, the Great Lady of the Night. Māui's father warns him not to try to kill Hine-nui-te-Pō for he would surely die, since he, the father, had omitted saying an important prayer when Māui was born. Māui ignores his father and asks the birds if they will accompany him. The fantail, tiwakawaka, dances a haka and Māui joins in. He changes himself into a sparrowhawk and they all fly off. They arrive at Rarohenga, the home of Hine-nui-te-Pō. She is asleep. Māui warns the birds to be very quiet and not to laugh. He changes himself into a caterpillar to enter the godess. But the fantail can contain his laughter no longer and then all the birds laugh too. Hine-nui-te-Pō awakes and crushes Māui between her legs. All the people are very sad and sing a Waiata Tangi (lament). Māui, as a spirit, decides to change the mood of this sadness: they should celebrate his life, not mourn his death. He is dead but nevertheless immortal for he lives on for ever in the hearts of the people.\n\nSee also Jack Body who was present at the “reading” in Wellington in Oct. 2014.",{"_type":375,"current":19554},"maui-cycle",{"date":15055,"instrumentation":19556,"length":5203},"solo clarinet and orchestra, 3 3 3 3-4 3 3 1 timp, perc, strings",114,{"_id":19559,"chapters":19560,"content":19561,"images":19608,"performances":4,"rawPoem":4,"rawText":19609,"slug":19610,"title":19612,"workInfo":19613,"workNumber":19616},"f5367c62-aee8-4733-8f5f-a49ecddffebc",[],[19562,19570,19586,19594,19601],{"_key":19563,"_type":9,"audioSize":4,"audioURL":4,"children":19564,"fileURL":4,"image":4,"markDefs":19569,"style":18},"2173ed64034c",[19565],{"_key":19566,"_type":13,"marks":19567,"text":19568},"d3440cdddab3",[],"The story of the meeting between Dante (and Virgil) and Francesca da Rimini and her brother-in-law, Paolo, has always fascinated me: Dante places the couple in hell in the circle that punishes the sins of the flesh and yet he is deeply moved by the extenuating circumstances which led them to “sin”. During the whole of the meeting only Francesca speaks, Paolo cries bitterly at her side.",[],{"_key":19571,"_type":9,"audioSize":4,"audioURL":4,"children":19572,"fileURL":4,"image":4,"markDefs":19585,"style":18},"62edf8604a35",[19573,19577,19581],{"_key":19574,"_type":13,"marks":19575,"text":19576},"d266d6c2dc760",[],"My setting starts with the sounds of the fierce wind (",{"_key":19578,"_type":13,"marks":19579,"text":19580},"d266d6c2dc761",[73],"la bufera",{"_key":19582,"_type":13,"marks":19583,"text":19584},"d266d6c2dc762",[],") and Dante (solo tenor) asking Virgil (solo bass) if he may speak to the two souls he sees flying in the distance. As they come closer Dante calls to them and “the Love that leads them” allows them to come. The sound of the storm subsides and is replaced by the plaintive sobs of Paolo (choir) while Francesca (solo soprano) tells her story.",[],{"_key":19587,"_type":9,"audioSize":4,"audioURL":4,"children":19588,"fileURL":4,"image":4,"markDefs":19593,"style":18},"0da70d0b35dc",[19589],{"_key":19590,"_type":13,"marks":19591,"text":19592},"9ba810d7e2530",[],"It is intended that the solo parts will be sung by members of the chorus but the solo soprano and solo tenor are big parts and so these singers will perform only these roles. The solo bass on the other hand is a small part and this singer should also be able to sing most of the choral bass part.",[],{"_key":19595,"_type":9,"audioSize":4,"audioURL":4,"children":19596,"fileURL":4,"image":4,"markDefs":19600,"style":18},"7f345452bfe2",[19597],{"_key":19598,"_type":13,"marks":19599,"text":25},"9248b95a30e4",[],[],{"_key":19602,"_type":413,"audioSize":4,"audioURL":4,"description":19603,"file":19604,"fileURL":19607,"image":4,"markDefs":4},"c2f90c69cb75","Francesca e Paolo (SATB a cappella)",{"_type":416,"asset":19605},{"_ref":19606,"_type":324},"file-47bc390f84b31ed9bd8a9ddddc83dd304e736ea6-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F47bc390f84b31ed9bd8a9ddddc83dd304e736ea6.pdf",[],"The story of the meeting between Dante (and Virgil) and Francesca da Rimini and her brother-in-law, Paolo, has always fascinated me: Dante places the couple in hell in the circle that punishes the sins of the flesh and yet he is deeply moved by the extenuating circumstances which led them to “sin”. During the whole of the meeting only Francesca speaks, Paolo cries bitterly at her side.\n\nMy setting starts with the sounds of the fierce wind (la bufera) and Dante (solo tenor) asking Virgil (solo bass) if he may speak to the two souls he sees flying in the distance. As they come closer Dante calls to them and “the Love that leads them” allows them to come. The sound of the storm subsides and is replaced by the plaintive sobs of Paolo (choir) while Francesca (solo soprano) tells her story.\n\nIt is intended that the solo parts will be sung by members of the chorus but the solo soprano and solo tenor are big parts and so these singers will perform only these roles. The solo bass on the other hand is a small part and this singer should also be able to sing most of the choral bass part.\n\n",{"_type":375,"current":19611},"francesca-e-paolo","Francesca e Paolo",{"date":15055,"instrumentation":19614,"length":1596,"text":19615},"choir a cappella SATB","Dante Alighieri",115,{"_id":19618,"chapters":19619,"content":19620,"images":19653,"performances":19654,"rawPoem":4,"rawText":19659,"slug":19660,"title":19644,"workInfo":19662,"workNumber":19664},"92cb43d7-3d9b-472e-8c44-04da55d815b4",[],[19621,19629,19637,19646],{"_key":19622,"_type":9,"audioSize":4,"audioURL":4,"children":19623,"fileURL":4,"image":4,"markDefs":19628,"style":18},"4bb34850f0b0",[19624],{"_key":19625,"_type":13,"marks":19626,"text":19627},"00ec0b2d37c3",[],"This work combines several compositional techniques which are important for me: the use of chance and the creation of new sounds with found objects and abstracting these with the computer. The flute part is almost entirely written with chance procedures. The “tape” (today the computer) material was made with found sounds which are partly used unchanged but also altered with the computer.",[],{"_key":19630,"_type":9,"audioSize":4,"audioURL":4,"children":19631,"fileURL":4,"image":4,"markDefs":19636,"style":18},"6daad0959199",[19632],{"_key":19633,"_type":13,"marks":19634,"text":19635},"7b31053f2eed0",[],"There are four sections of about two minutes in duration: the first with predominantly metal sounds, the second with pipe noises (“popping” and blowing), the third with stones (rubbed and banged) and finally a shorter section with stone and wood sounds.",[],{"_key":19638,"_type":423,"audio":19639,"audioSize":19642,"audioURL":19643,"caption":19644,"fileURL":4,"image":4,"markDefs":4,"musicians":19645},"97784cb52e06",{"_type":416,"asset":19640},{"_ref":19641,"_type":324},"file-24ee7dfa11d85a498893adf2ca28aba616fa7c25-mp3",8825647,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F24ee7dfa11d85a498893adf2ca28aba616fa7c25.mp3","Chance Piece for Flute and Tape","Hans-Peter Frehner Flute",{"_key":19647,"_type":413,"audioSize":4,"audioURL":4,"description":19644,"file":19648,"fileURL":19651,"filename":19652,"image":4,"markDefs":4},"67723a45914c",{"_type":416,"asset":19649},{"_ref":19650,"_type":324},"file-8ab1b2d612e1e18e5d6acd3202d424a700858003-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F8ab1b2d612e1e18e5d6acd3202d424a700858003.pdf","Chance Piece for Flute.pdf",[],[19655],{"_key":19656,"_type":366,"date":17374,"location":19657,"performers":19658},"23d23a6b3f90","Zurich, Switzland","Hanspeter Frehner, Flute\nPeter Färber, Sound","This work combines several compositional techniques which are important for me: the use of chance and the creation of new sounds with found objects and abstracting these with the computer. The flute part is almost entirely written with chance procedures. The “tape” (today the computer) material was made with found sounds which are partly used unchanged but also altered with the computer.\n\nThere are four sections of about two minutes in duration: the first with predominantly metal sounds, the second with pipe noises (“popping” and blowing), the third with stones (rubbed and banged) and finally a shorter section with stone and wood sounds.",{"_type":375,"current":19661},"chance-piece-for-flute-and-tape",{"date":4366,"instrumentation":19663,"length":885},"oboe or saxophone or flute — and tape",116,{"_id":19666,"chapters":19667,"content":19668,"images":19802,"performances":19805,"rawPoem":4,"rawText":19811,"slug":19812,"title":19814,"workInfo":19815,"workNumber":19817},"e17b3c31-1b06-44f6-9d8b-942d11bc8de4",[],[19669,19708,19716,19726,19766,19774,19781,19788,19795],{"_key":19670,"_type":9,"audioSize":4,"audioURL":4,"children":19671,"fileURL":4,"image":4,"markDefs":19701,"style":18},"917fcf374047",[19672,19676,19680,19684,19689,19693,19697],{"_key":19673,"_type":13,"marks":19674,"text":19675},"d68fd8596182",[],"In February 2008 ",{"_key":19677,"_type":13,"marks":19678,"text":9418},"2e76f0427915",[19679],"58c84b9d047e",{"_key":19681,"_type":13,"marks":19682,"text":19683},"21b9f25bd541",[]," sent me a group of texts for children. I selected 14 of them and set to work straight away. I also contacted the string orchestra, ",{"_key":19685,"_type":13,"marks":19686,"text":19688},"a7cd4d6c84ff",[19687],"37a755a2d648","Collegium Musicum, Schaffhausen",{"_key":19690,"_type":13,"marks":19691,"text":19692},"22d93191f4ad",[]," (I had worked with this group earlier under conductor, Andreas Schmid earlier—see ",{"_key":19694,"_type":13,"marks":19695,"text":14619},"50934cf9621b",[19696],"a70b2e4f6d86",{"_key":19698,"_type":13,"marks":19699,"text":19700},"7985224cb76e",[],", and was now put in contact with the new conductor, Annedore Neufeld. She was happy to include it in a children’s program with Fiona as soloist. I was very impressed with how she worked with the orchestra (mostly amateurs with just professionals in the leading positions).",[19702,19704,19706],{"_key":19687,"_type":316,"href":19703},"http:\u002F\u002Fwww.musik-collegium.ch\u002F",{"_key":19679,"_type":321,"reference":19705,"slug":11907,"type":326},{"_ref":11906,"_type":324},{"_key":19696,"_type":321,"reference":19707,"slug":14618,"type":510},{"_ref":14573,"_type":324},{"_key":19709,"_type":9,"audioSize":4,"audioURL":4,"children":19710,"fileURL":4,"image":4,"markDefs":19715,"style":18},"97e861c3f6ae",[19711],{"_key":19712,"_type":13,"marks":19713,"text":19714},"51b74a6042c50",[],"There were two concerts: at the ref. church in Thayngen (SH) 13.03.2009 and in the Rathauslaube Schaffhausen 22.03.2009, a beautiful old wood-lined building. Fiona was superb, the orchestra less so—although I had tried to tailor the work to their ability, especially the faster sections were sometimes beyond them.",[],{"_key":19717,"_type":500,"alt":19718,"audioSize":4,"audioURL":4,"caption":19718,"fileURL":4,"image":19719,"markDefs":4},"2efac563dff7","After the performance in the Rathauslaube, Schaffhausen: Kit, Jürg, the conductor, Annedore Neuhaus and Fiona",{"caption":4,"id":19720,"meta":19721,"parentID":4,"parentType":510,"url":19725},"ec70e5e612d55eeca0e9b5f2212210089885ee42",{"_type":506,"aspectRatio":19722,"height":19723,"width":19724},1.3333333333333333,1920,2560,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fec70e5e612d55eeca0e9b5f2212210089885ee42-2560x1920.jpg",{"_key":19727,"_type":9,"audioSize":4,"audioURL":4,"children":19728,"fileURL":4,"image":4,"markDefs":19757,"style":18},"bf6af89e7e01",[19729,19733,19738,19742,19746,19749,19753],{"_key":19730,"_type":13,"marks":19731,"text":19732},"1fac264a47b40",[],"The version for piano and soprano was written in 2012 after an invitation from ",{"_key":19734,"_type":13,"marks":19735,"text":19737},"0122fe4ee76d",[19736],"7a76dd9aba01","Monika Lichtensteiger",{"_key":19739,"_type":13,"marks":19740,"text":19741},"a9e462430387",[]," for ",{"_key":19743,"_type":13,"marks":19744,"text":4239},"52e4aab5b560",[19745],"255bab85534e",{"_key":19747,"_type":13,"marks":19748,"text":2625},"b3faee9ffd86",[],{"_key":19750,"_type":13,"marks":19751,"text":5922},"3a48a0a88e89",[19752],"2f85aeb7f454",{"_key":19754,"_type":13,"marks":19755,"text":19756},"5d8f4c0f36f4",[]," to perform a Schubiger \u002F Powell program. This took place on 6. May (Brigitte’s birthday—Dominik played Happy Birthday!) and since it was such a success, again on 16.09.2012, both times in the Hottinger Saal in Kreis 7 of Zürich.",[19758,19762,19764],{"_key":19736,"_type":321,"reference":19759,"slug":19761,"type":326},{"_ref":19760,"_type":324},"8009868e-bdee-41e4-b076-0e7e1c81d27c","monika-lichtensteiger",{"_key":19745,"_type":321,"reference":19763,"slug":4252,"type":326},{"_ref":4251,"_type":324},{"_key":19752,"_type":321,"reference":19765,"slug":5931,"type":326},{"_ref":5930,"_type":324},{"_key":19767,"_type":413,"audioSize":4,"audioURL":4,"description":19768,"file":19769,"fileURL":19772,"filename":19773,"image":4,"markDefs":4},"8952ce6522ad","Alles unter einem Hut Piano",{"_type":416,"asset":19770},{"_ref":19771,"_type":324},"file-35c066d459669e076001fcafc1e70a208a0d761b-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F35c066d459669e076001fcafc1e70a208a0d761b.pdf","Alles unter einem Hut Piano.pdf",{"_key":19775,"_type":9,"audioSize":4,"audioURL":4,"children":19776,"fileURL":4,"image":4,"markDefs":19780,"style":18},"2c779ee9e57c",[19777],{"_key":19778,"_type":13,"marks":19779,"text":25},"cd9d6e8ec441",[],[],{"_key":19782,"_type":413,"audioSize":4,"audioURL":4,"description":19783,"file":19784,"fileURL":19787,"image":4,"markDefs":4},"585e73ab3880","Alles unter einem Hut — String Orchestra — score",{"_type":416,"asset":19785},{"_ref":19786,"_type":324},"file-b446f046a833149fbe867f17d620f9d6ac86e8c6-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fb446f046a833149fbe867f17d620f9d6ac86e8c6.pdf",{"_key":19789,"_type":9,"audioSize":4,"audioURL":4,"children":19790,"fileURL":4,"image":4,"markDefs":19794,"style":18},"896a461c2219",[19791],{"_key":19792,"_type":13,"marks":19793,"text":25},"9b6a14c471e1",[],[],{"_key":19796,"_type":413,"audioSize":4,"audioURL":4,"description":19797,"file":19798,"fileURL":19801,"image":4,"markDefs":4},"9a0799c8dc22","Alles unter einem Hut — orchestral parts",{"_type":416,"asset":19799},{"_ref":19800,"_type":324},"file-2d703f7b5b34bcaa360d5e23405a9b05326d7e1f-zip","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F2d703f7b5b34bcaa360d5e23405a9b05326d7e1f.zip",[19803],{"caption":19718,"id":19720,"meta":19804,"parentID":19666,"parentType":510,"url":19725},{"_type":506,"aspectRatio":19722,"height":19723,"width":19724},[19806,19809],{"_key":19807,"_type":366,"date":19542,"location":19808},"deb5f4e26eb9","Thayngen and Schaffhausen, Switzerland",{"_key":19810,"_type":366,"date":17374,"location":2558},"b0020376ee70","In February 2008 Jürg Schubiger sent me a group of texts for children. I selected 14 of them and set to work straight away. I also contacted the string orchestra, Collegium Musicum, Schaffhausen (I had worked with this group earlier under conductor, Andreas Schmid earlier—see Boundaries, and was now put in contact with the new conductor, Annedore Neufeld. She was happy to include it in a children’s program with Fiona as soloist. I was very impressed with how she worked with the orchestra (mostly amateurs with just professionals in the leading positions).\n\nThere were two concerts: at the ref. church in Thayngen (SH) 13.03.2009 and in the Rathauslaube Schaffhausen 22.03.2009, a beautiful old wood-lined building. Fiona was superb, the orchestra less so—although I had tried to tailor the work to their ability, especially the faster sections were sometimes beyond them.\n\nThe version for piano and soprano was written in 2012 after an invitation from Monika Lichtensteiger for Fiona and Dominik Blum to perform a Schubiger \u002F Powell program. This took place on 6. May (Brigitte’s birthday—Dominik played Happy Birthday!) and since it was such a success, again on 16.09.2012, both times in the Hottinger Saal in Kreis 7 of Zürich.\n\n\n\n",{"_type":375,"current":19813},"alles-unter-einem-hut","Alles unter einem Hut",{"date":4366,"instrumentation":19816,"length":2230,"text":9418},"soprano and string orchestra",117,{"_id":2210,"chapters":19819,"content":19820,"images":20047,"performances":4,"rawPoem":4,"rawText":20050,"slug":20051,"title":2203,"workInfo":20052,"workNumber":20055},[],[19821,19829,19845,19853,19905,19937,19979,19987,19995,20003,20018,20026,20033,20040],{"_key":19822,"_type":9,"audioSize":4,"audioURL":4,"children":19823,"fileURL":4,"image":4,"markDefs":19828,"style":18},"aeb3f856b1ae",[19824],{"_key":19825,"_type":13,"marks":19826,"text":19827},"2f3a32d84fff",[],"Preamble to the score:",[],{"_key":19830,"_type":9,"audioSize":4,"audioURL":4,"children":19831,"fileURL":4,"image":4,"markDefs":19844,"style":634},"b1a0d64d9883",[19832,19836,19840],{"_key":19833,"_type":13,"marks":19834,"text":19835},"4246f8a403790",[],"The idea has been to write a Secular Mass, or Mass of Life. The use of the secular, in the traditional sense of pro-fana, ‘in front of the temple, in the service of the spiritual. A gigantic dance of various parts or figures. It connects to the century long tradition of settings of the mass, and acknowledges this cultural heritage by use of the mediaeval song ",{"_key":19837,"_type":13,"marks":19838,"text":19839},"4246f8a403791",[73],"L’homme armé",{"_key":19841,"_type":13,"marks":19842,"text":19843},"4246f8a403792",[],", which was so often used as a bonding and unifying element in Renaissance masses; our version here is realised with the central image of “with this cloak of peace\u002Fwe shall arm ourselves”… And we shall ‘dance’, “dancing on one foot\u002Fthe other is not forgotten”.",[],{"_key":19846,"_type":9,"audioSize":4,"audioURL":4,"children":19847,"fileURL":4,"image":4,"markDefs":19852,"style":634},"fbef17f0d0cc",[19848],{"_key":19849,"_type":13,"marks":19850,"text":19851},"5f6d7e0b3e810",[],"Our textual version is one that celebrates the light of creation which, out of the dark of sorrow, emerges as a mass of life—where ‘the light and the dark lie down together’, as it were. Following this idea, there is the symbolic (that is to say, real) play of death and life in the figures of dark and light, light and dark, musically and textually. Just as there is the One in the many, the many in the One. The light out of the dark, the dark out of the light plays as a redemptive theme—expressed variously in the spiritual force of the natural (and human) world; a Missa Natura\u002FMissa Profana.",[],{"_key":19854,"_type":9,"audioSize":4,"audioURL":4,"children":19855,"fileURL":4,"image":4,"markDefs":19904,"style":634},"96f3857f952e",[19856,19860,19863,19867,19870,19874,19878,19882,19886,19890,19893,19897,19901],{"_key":19857,"_type":13,"marks":19858,"text":19859},"743fde6130ec0",[],"In our view, themes which are missing or only sparingly referred to in the liturgical text are here introduced: as in the ",{"_key":19861,"_type":13,"marks":19862,"text":15443},"743fde6130ec1",[73],{"_key":19864,"_type":13,"marks":19865,"text":19866},"743fde6130ec2",[],", for example, the ‘creation of language’ [the resonance of ‘in the beginning was the Word’, so central to any creation story]; ",{"_key":19868,"_type":13,"marks":19869,"text":14303},"743fde6130ec3",[73],{"_key":19871,"_type":13,"marks":19872,"text":19873},"743fde6130ec4",[]," [the Bellbird] ",{"_key":19875,"_type":13,"marks":19876,"text":19877},"743fde6130ec5",[73],"Sings",{"_key":19879,"_type":13,"marks":19880,"text":19881},"743fde6130ec6",[],"; the ‘creation’ of laughter as a celebrant affirmation and expression of life, in ",{"_key":19883,"_type":13,"marks":19884,"text":19885},"743fde6130ec7",[73],"Billet Doux",{"_key":19887,"_type":13,"marks":19888,"text":19889},"743fde6130ec8",[],", for example (a Song Letter, if you like); and in the ",{"_key":19891,"_type":13,"marks":19892,"text":15435},"743fde6130ec9",[73],{"_key":19894,"_type":13,"marks":19895,"text":19896},"743fde6130ec10",[]," the readiness and capacity ‘to risk delight’: “despite\u002Fevery dark thing there is in the world,\u002Fthere will always be music\u002F…what is the name of this song?” (",{"_key":19898,"_type":13,"marks":19899,"text":19900},"743fde6130ec11",[73],"Canticle",{"_key":19902,"_type":13,"marks":19903,"text":9601},"743fde6130ec12",[],[],{"_key":19906,"_type":9,"audioSize":4,"audioURL":4,"children":19907,"fileURL":4,"image":4,"markDefs":19936,"style":634},"2fb9eaf15e44",[19908,19912,19916,19920,19924,19928,19932],{"_key":19909,"_type":13,"marks":19910,"text":19911},"bd5fa18e8fa80",[],"Just as Benjamin Britten’s ",{"_key":19913,"_type":13,"marks":19914,"text":19915},"bd5fa18e8fa81",[73],"War Requiem",{"_key":19917,"_type":13,"marks":19918,"text":19919},"bd5fa18e8fa82",[]," so cleverly combines religious and secular texts, so is this an attempt to do something similar, but within a broader reach and intention. Thus, while extolling the extraordinary diversity of life (the many in the one, the one in the many) it also acknowledges death (‘there are many ways to leave the world, and return’) as an essential part of the life process. If we can’t know death how can we know life. The ",{"_key":19921,"_type":13,"marks":19922,"text":19923},"bd5fa18e8fa83",[73],"Ite missa est",{"_key":19925,"_type":13,"marks":19926,"text":19927},"bd5fa18e8fa84",[]," then is expanded into a ",{"_key":19929,"_type":13,"marks":19930,"text":19931},"bd5fa18e8fa85",[73],"Dance of Death, Dance of Life",{"_key":19933,"_type":13,"marks":19934,"text":19935},"bd5fa18e8fa86",[],", which is the finale of the whole work.",[],{"_key":19938,"_type":9,"audioSize":4,"audioURL":4,"children":19939,"fileURL":4,"image":4,"markDefs":19978,"style":634},"5915fb720779",[19940,19944,19947,19951,19954,19958,19961,19965,19968,19972,19975],{"_key":19941,"_type":13,"marks":19942,"text":19943},"dfa8b12dffdc0",[],"As mentioned above, the six movements (or strophes, as in ‘turnings, a more dynamic figure) are linked together by the medieval folk song ",{"_key":19945,"_type":13,"marks":19946,"text":19839},"dfa8b12dffdc1",[73],{"_key":19948,"_type":13,"marks":19949,"text":19950},"dfa8b12dffdc2",[],". This theme is used musically as a ‘Leitmotif’ and as such appears in each movement, sometimes openly but just as often ‘hiding’ or nesting in the musical texture. Its original old French text is by way of a pre-text to declare the opposite of its rather militant\u002Fbellicose sentiments—see opening Harlow versions: ",{"_key":19952,"_type":13,"marks":19953,"text":19839},"dfa8b12dffdc3",[73],{"_key":19955,"_type":13,"marks":19956,"text":19957},"dfa8b12dffdc4",[]," (1) of the ",{"_key":19959,"_type":13,"marks":19960,"text":15435},"dfa8b12dffdc5",[73],{"_key":19962,"_type":13,"marks":19963,"text":19964},"dfa8b12dffdc6",[]," and the closing text ",{"_key":19966,"_type":13,"marks":19967,"text":19839},"dfa8b12dffdc7",[73],{"_key":19969,"_type":13,"marks":19970,"text":19971},"dfa8b12dffdc8",[]," (2) of the ",{"_key":19973,"_type":13,"marks":19974,"text":15465},"dfa8b12dffdc9",[73],{"_key":19976,"_type":13,"marks":19977,"text":2020},"dfa8b12dffdc10",[],[],{"_key":19980,"_type":9,"audioSize":4,"audioURL":4,"children":19981,"fileURL":4,"image":4,"markDefs":19986,"style":634},"728def054c2d",[19982],{"_key":19983,"_type":13,"marks":19984,"text":19985},"9e7ed5dd0e680",[],"The work is scored for a large choir and solo quartet (SATB), plus an orchestra of triple wind and enlarged percussion section: Timpani, Xylophone (or Glockenspiel), Piano and two other percussionists playing a variety of drums and smaller percussion instruments.",[],{"_key":19988,"_type":9,"audioSize":4,"audioURL":4,"children":19989,"fileURL":4,"image":4,"markDefs":19994,"style":634},"514de8bc5345",[19990],{"_key":19991,"_type":13,"marks":19992,"text":19993},"2570bebfe8970",[],"Kit Powell, Eglisau, Switzerland, January 2010\nMichael Harlow, Dunedin, New Zealand, January 2010",[],{"_key":19996,"_type":500,"audioSize":4,"audioURL":4,"fileURL":4,"image":19997,"markDefs":4},"47133fe50419",{"caption":4,"id":19998,"meta":19999,"parentID":4,"parentType":510,"url":20002},"965d77155119e4a984540dc9307f67b6c2a9645a",{"_type":506,"aspectRatio":20000,"height":20001,"width":6226},0.7328042328042328,378,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F965d77155119e4a984540dc9307f67b6c2a9645a-277x378.jpg",{"_key":20004,"_type":9,"audioSize":4,"audioURL":4,"children":20005,"fileURL":4,"image":4,"markDefs":20017,"style":18},"75ee3b59176a",[20006,20010,20013],{"_key":20007,"_type":13,"marks":20008,"text":20009},"41326700bf9f0",[],"No. 118 ",{"_key":20011,"_type":13,"marks":20012,"text":2203},"41326700bf9f1",[15],{"_key":20014,"_type":13,"marks":20015,"text":20016},"41326700bf9f2",[]," (2008 \u002F 10 soli SATB, chorus SATB and orchestra)",[],{"_key":20019,"_type":9,"audioSize":4,"audioURL":4,"children":20020,"fileURL":4,"image":4,"markDefs":20025,"style":634},"0532c8bfadac",[20021],{"_key":20022,"_type":13,"marks":20023,"text":20024},"a43d25792cbd1",[],"Performing material:",[],{"_key":20027,"_type":413,"audioSize":4,"audioURL":4,"description":20028,"file":20029,"fileURL":20032,"image":4,"markDefs":4},"8fd685139a08","Missa Profana, Full Score",{"_type":416,"asset":20030},{"_ref":20031,"_type":324},"file-eaa696634dcb9b1a9c9cf2f179ebb68cd5699151-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Feaa696634dcb9b1a9c9cf2f179ebb68cd5699151.pdf",{"_key":20034,"_type":413,"audioSize":4,"audioURL":4,"description":20035,"file":20036,"fileURL":20039,"image":4,"markDefs":4},"1581be6059ea","Missa Profana Vocal Score",{"_type":416,"asset":20037},{"_ref":20038,"_type":324},"file-64bac4559fdc66986ef9fe08e2b92d950b6af394-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F64bac4559fdc66986ef9fe08e2b92d950b6af394.pdf",{"_key":20041,"_type":413,"audioSize":4,"audioURL":4,"description":20042,"file":20043,"fileURL":20046,"image":4,"markDefs":4},"4cce12bf3e81","Missa Profana Orchestral Parts",{"_type":416,"asset":20044},{"_ref":20045,"_type":324},"file-6324449c7cff672040596b368746f32b6e17ebe4-zip","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F6324449c7cff672040596b368746f32b6e17ebe4.zip",[20048],{"caption":4,"id":19998,"meta":20049,"parentID":2210,"parentType":510,"url":20002},{"_type":506,"aspectRatio":20000,"height":20001,"width":6226},"Preamble to the score:\n\nThe idea has been to write a Secular Mass, or Mass of Life. The use of the secular, in the traditional sense of pro-fana, ‘in front of the temple, in the service of the spiritual. A gigantic dance of various parts or figures. It connects to the century long tradition of settings of the mass, and acknowledges this cultural heritage by use of the mediaeval song L’homme armé, which was so often used as a bonding and unifying element in Renaissance masses; our version here is realised with the central image of “with this cloak of peace\u002Fwe shall arm ourselves”… And we shall ‘dance’, “dancing on one foot\u002Fthe other is not forgotten”.\n\nOur textual version is one that celebrates the light of creation which, out of the dark of sorrow, emerges as a mass of life—where ‘the light and the dark lie down together’, as it were. Following this idea, there is the symbolic (that is to say, real) play of death and life in the figures of dark and light, light and dark, musically and textually. Just as there is the One in the many, the many in the One. The light out of the dark, the dark out of the light plays as a redemptive theme—expressed variously in the spiritual force of the natural (and human) world; a Missa Natura\u002FMissa Profana.\n\nIn our view, themes which are missing or only sparingly referred to in the liturgical text are here introduced: as in the Gloria, for example, the ‘creation of language’ [the resonance of ‘in the beginning was the Word’, so central to any creation story]; Korimako [the Bellbird] Sings; the ‘creation’ of laughter as a celebrant affirmation and expression of life, in Billet Doux, for example (a Song Letter, if you like); and in the Kyrie the readiness and capacity ‘to risk delight’: “despite\u002Fevery dark thing there is in the world,\u002Fthere will always be music\u002F…what is the name of this song?” (Canticle).\n\nJust as Benjamin Britten’s War Requiem so cleverly combines religious and secular texts, so is this an attempt to do something similar, but within a broader reach and intention. Thus, while extolling the extraordinary diversity of life (the many in the one, the one in the many) it also acknowledges death (‘there are many ways to leave the world, and return’) as an essential part of the life process. If we can’t know death how can we know life. The Ite missa est then is expanded into a Dance of Death, Dance of Life, which is the finale of the whole work.\n\nAs mentioned above, the six movements (or strophes, as in ‘turnings, a more dynamic figure) are linked together by the medieval folk song L’homme armé. This theme is used musically as a ‘Leitmotif’ and as such appears in each movement, sometimes openly but just as often ‘hiding’ or nesting in the musical texture. Its original old French text is by way of a pre-text to declare the opposite of its rather militant\u002Fbellicose sentiments—see opening Harlow versions: L’homme armé (1) of the Kyrie and the closing text L’homme armé (2) of the Agnus Dei.\n\nThe work is scored for a large choir and solo quartet (SATB), plus an orchestra of triple wind and enlarged percussion section: Timpani, Xylophone (or Glockenspiel), Piano and two other percussionists playing a variety of drums and smaller percussion instruments.\n\nKit Powell, Eglisau, Switzerland, January 2010\nMichael Harlow, Dunedin, New Zealand, January 2010\n\nNo. 118 Missa Profana (2008 \u002F 10 soli SATB, chorus SATB and orchestra)\n\nPerforming material:",{"_type":375,"current":2211},{"date":4366,"instrumentation":20053,"length":20054,"text":3405},"orchestra, choir, soloists (SATB)",65,118,{"_id":20057,"chapters":20058,"content":20059,"images":20186,"performances":20195,"rawPoem":20199,"rawText":20200,"slug":20201,"title":20131,"workInfo":20203,"workNumber":20205},"25899122-bf6b-42aa-a597-875a14ab7be4",[],[20060,20104,20113,20133,20153,20161,20167,20173,20179],{"_key":20061,"_type":9,"audioSize":4,"audioURL":4,"children":20062,"fileURL":4,"image":4,"markDefs":20097,"style":18},"99c82acdb798",[20063,20067,20071,20076,20080,20085,20089,20093],{"_key":20064,"_type":13,"marks":20065,"text":14882},"bf073a64d04e",[20066],"ce4fa3747678",{"_key":20068,"_type":13,"marks":20069,"text":20070},"02969cc81844",[]," was asked by the ",{"_key":20072,"_type":13,"marks":20073,"text":20075},"9336670ac095",[20074],"4b3b96fe541a","Peter Hammer Verlag",{"_key":20077,"_type":13,"marks":20078,"text":20079},"5a86f182ecbe",[]," to write poems to postcard pictures by ",{"_key":20081,"_type":13,"marks":20082,"text":20084},"8f9421efd579",[20083],"4d1d28b25277","Wolf Erlbruch",{"_key":20086,"_type":13,"marks":20087,"text":20088},"8e5ab01e421f",[],". The resulting book of 18 pictures and poems was published 2012 as ",{"_key":20090,"_type":13,"marks":20091,"text":20092},"7885ec808fe6",[73],"Zwei, die sich lieben",{"_key":20094,"_type":13,"marks":20095,"text":20096},"bdf9d55ba790",[],". My song cycle is a setting of 15 of these texts. Here is the title-song, number 14.",[20098,20100,20102],{"_key":20074,"_type":316,"href":20099},"http:\u002F\u002Fwww.peter-hammer-verlag.de\u002F",{"_key":20083,"_type":316,"href":20101},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FWolf_Erlbruch",{"_key":20066,"_type":321,"reference":20103,"slug":11907,"type":326},{"_ref":11906,"_type":324},{"_key":20105,"_type":500,"alt":20106,"audioSize":4,"audioURL":4,"caption":20106,"fileURL":4,"image":20107,"markDefs":4},"1c305ab9ff88","Picture by Wolf Erlbruch",{"caption":4,"id":20108,"meta":20109,"parentID":4,"parentType":510,"url":20112},"07e7a5871cade0b5d8b065d28662fdd56257e4b2",{"_type":506,"aspectRatio":20110,"height":4339,"width":20111},0.7602905569007264,628,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F07e7a5871cade0b5d8b065d28662fdd56257e4b2-628x826.jpg",{"_key":20114,"_type":754,"audioSize":4,"audioURL":4,"author":9418,"fileURL":4,"image":4,"markDefs":4,"poem":20115,"title":20124},"2c7107691651",[20116],{"_key":20117,"_type":9,"children":20118,"markDefs":20123,"style":18},"7d1088da5b25",[20119],{"_key":20120,"_type":13,"marks":20121,"text":20122},"0f8f6c8ac9d20",[],"“Die Liebe ist eine Himmelsmacht,\nund zwar bei Tag wie auch bei Nacht.\nSie hat in mir etwas entfacht,\ndas knallt und kracht\nwie Feuerwerk, eine Himmelspracht.\nDie Liebe ist aber auch sanft und sacht —”\n“Genau das hab ich mir auch so gedacht.”",[],[20125],{"_key":20126,"_type":9,"children":20127,"markDefs":20132,"style":18},"3610e0af0eb7",[20128],{"_key":20129,"_type":13,"marks":20130,"text":20131},"228036b8ca17",[15,73],"Was Liebe ist",[],{"_key":20134,"_type":754,"audioSize":4,"audioURL":4,"author":15930,"fileURL":4,"image":4,"markDefs":4,"poem":20135,"title":20144},"c1f10af57686",[20136],{"_key":20137,"_type":9,"children":20138,"markDefs":20143,"style":18},"a6ac1b5dcc9d",[20139],{"_key":20140,"_type":13,"marks":20141,"text":20142},"a312fbd58804",[],"“Love is a heavenly power,\nindeed by day and also by night.\nIt has kindled something inside me,\nwhich bangs and cracks\nlike fireworks, a heavenly splendour.\nBut love is also soft and gentle –”\n“That’s exactly what I thought too.”",[],[20145],{"_key":20146,"_type":9,"children":20147,"markDefs":20152,"style":18},"dae1ff3d2a3a",[20148],{"_key":20149,"_type":13,"marks":20150,"text":20151},"bb8a7ac21aba",[15,73],"What Love Is",[],{"_key":20154,"_type":423,"audio":20155,"audioSize":20158,"audioURL":20159,"caption":20160,"fileURL":4,"image":4,"markDefs":4,"musicians":14507},"89a4282701b2",{"_type":416,"asset":20156},{"_ref":20157,"_type":324},"file-a53bac13b7075132316f7c96aa7771f8ab72acc8-mp3",1949779,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fa53bac13b7075132316f7c96aa7771f8ab72acc8.mp3","Was Liebe ist (Song 14) 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Liebe ist — Score",{"_type":416,"asset":20183},{"_ref":20184,"_type":324},"file-b09f7fd819ff34222fa864c6cb2bd36b9a1912b8-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fb09f7fd819ff34222fa864c6cb2bd36b9a1912b8.pdf",[20187,20189,20191,20193],{"caption":20106,"id":20108,"meta":20188,"parentID":20057,"parentType":510,"url":20112},{"_type":506,"aspectRatio":20110,"height":4339,"width":20111},{"caption":4,"id":20164,"meta":20190,"parentID":20057,"parentType":510,"url":20166},{"_type":506,"aspectRatio":17885,"height":2585,"width":17886},{"caption":4,"id":20170,"meta":20192,"parentID":20057,"parentType":510,"url":20172},{"_type":506,"aspectRatio":17885,"height":2585,"width":17886},{"caption":4,"id":20176,"meta":20194,"parentID":20057,"parentType":510,"url":20178},{"_type":506,"aspectRatio":17885,"height":2585,"width":17886},[20196],{"_key":20197,"_type":366,"date":19074,"location":17375,"performers":20198},"cff18c028529","Fiona Powell, Soprano\nDominik Blum, Piano","“Die Liebe ist eine Himmelsmacht,\nund zwar bei Tag wie auch bei Nacht.\nSie hat in mir etwas entfacht,\ndas knallt und kracht\nwie Feuerwerk, eine Himmelspracht.\nDie Liebe ist aber auch sanft und sacht —”\n“Genau das hab ich mir auch so gedacht.”\n\n“Love is a heavenly power,\nindeed by day and also by night.\nIt has kindled something inside me,\nwhich bangs and cracks\nlike fireworks, a heavenly splendour.\nBut love is also soft and gentle –”\n“That’s exactly what I thought too.”","Jürg was asked by the Peter Hammer Verlag to write poems to postcard pictures by Wolf Erlbruch. The resulting book of 18 pictures and poems was published 2012 as Zwei, die sich lieben. My song cycle is a setting of 15 of these texts. Here is the title-song, number 14.",{"_type":375,"current":20202},"was-liebe-ist",{"date":17374,"instrumentation":20204,"length":710,"text":9418},"Soprano, Piano",119,{"_id":20207,"chapters":20208,"content":20209,"images":20398,"performances":20401,"rawPoem":4,"rawText":20405,"slug":20406,"title":20216,"workInfo":20408,"workNumber":1973},"2ae4a9b9-cc6d-494e-86f4-250ac0ba1855",[],[20210,20231,20239,20247,20257,20276,20284,20292,20300,20307,20315,20323,20331,20338,20345,20353,20360,20368,20376,20383,20391],{"_key":20211,"_type":9,"audioSize":4,"audioURL":4,"children":20212,"fileURL":4,"image":4,"markDefs":20228,"style":18},"ae29819f2c88",[20213,20217,20221,20225],{"_key":20214,"_type":13,"marks":20215,"text":20216},"3960a88ed9fb",[15],"Microzoic Piano Suite",{"_key":20218,"_type":13,"marks":20219,"text":20220},"79776d62f39c",[]," is a further collaboration with ",{"_key":20222,"_type":13,"marks":20223,"text":3405},"abde6403e492",[20224],"b36d7d6271e1",{"_key":20226,"_type":13,"marks":20227,"text":2020},"22cf0ef950ee",[],[20229],{"_key":20224,"_type":321,"reference":20230,"slug":3414,"type":326},{"_ref":3413,"_type":324},{"_key":20232,"_type":9,"audioSize":4,"audioURL":4,"children":20233,"fileURL":4,"image":4,"markDefs":20238,"style":18},"a82f9c8c985f",[20234],{"_key":20235,"_type":13,"marks":20236,"text":20237},"f9cbed8cd7e30",[],"These 13 short texts, recount the life of an artist with all its contradictory qualities like ingenuousness (“boy-man”) und sexual maturity (“The glory of it I thought then and still do”), confidence (“always going to sing their way into the hearts of everyone”) and doubt (’Quand on est dans la merde jusqu’au cou . . .’), seriousness (“After all, said father who had been reading forever discovering one thing and another”) and craziness (“Some thought him a little crazy and others agreed.\") plus the important qualities of passion, enthusiasm, sensuality, determination, the readiness to take risks, etc. and the facility to let himself be inspired by nature.",[],{"_key":20240,"_type":9,"audioSize":4,"audioURL":4,"children":20241,"fileURL":4,"image":4,"markDefs":20246,"style":18},"8a6f596ed8af",[20242],{"_key":20243,"_type":13,"marks":20244,"text":20245},"8e352731aba60",[],"Interesting is the role of the piano in the poem: on the one hand it is a symbol for art in general and on the other an erotic symbol. When the piano celebrates its birthday (“They have birthdays too” ), we notice that art can and should celebrate itself.",[],{"_key":20248,"_type":500,"alt":20249,"audioSize":4,"audioURL":4,"caption":20249,"fileURL":4,"image":20250,"markDefs":4},"b842b42c1b2a","Abelian diagram showing the 16 sections of Microzoic Piano Suite",{"caption":4,"id":20251,"meta":20252,"parentID":4,"parentType":510,"url":20256},"5319ba79eeff2e11334a3906fe7fb954650da44e",{"_type":506,"aspectRatio":20253,"height":20254,"width":20255},1.434782608695652,230,330,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F5319ba79eeff2e11334a3906fe7fb954650da44e-330x230.jpg",{"_key":20258,"_type":9,"audioSize":4,"audioURL":4,"children":20259,"fileURL":4,"image":4,"markDefs":20273,"style":18},"8decfd343a8a",[20260,20264,20269],{"_key":20261,"_type":13,"marks":20262,"text":20263},"41f58daf9209",[],"The form of this work is ",{"_key":20265,"_type":13,"marks":20266,"text":20268},"84a56ad95c0f",[20267],"2ec9b48cea79","Abelian",{"_key":20270,"_type":13,"marks":20271,"text":20272},"edc354770bf0",[]," (see diagram above). The numbers with ‘§’ correspond to the 13 paragraphs of the poem. Boxes with the same background patern have similar musical content: e.g. the fugue, which one hears at the beginning of section 4 (§3) (“And then there were the children . . .\"), appears again in section 13 (§10) (“She played the piano and the flute . . .\"), The blue boxes (1, 6, 11 & 16) contain a series of ritornelli (rhythmic fragments, which are also repeated and varied by chance), in which the piano plays the main part.",[20274],{"_key":20267,"_type":321,"reference":20275,"slug":6039,"type":528},{"_ref":6038,"_type":324},{"_key":20277,"_type":423,"alt":20216,"audio":20278,"audioSize":20281,"audioURL":20282,"caption":20283,"fileURL":4,"image":4,"markDefs":4},"7a8223d04e3b",{"_type":416,"asset":20279},{"_ref":20280,"_type":324},"file-8ea8b3b83ae661b8dacb9d5a3713dcffa55dc096-mp3",2422908,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F8ea8b3b83ae661b8dacb9d5a3713dcffa55dc096.mp3","Microzoic Piano Suite, section 4, §3",{"_key":20285,"_type":9,"audioSize":4,"audioURL":4,"children":20286,"fileURL":4,"image":4,"markDefs":20291,"style":634},"9a6cd245b4bb",[20287],{"_key":20288,"_type":13,"marks":20289,"text":20290},"7189c8b9a3dd0",[],"Microzoic Piano Suite - § 3",[],{"_key":20293,"_type":9,"audioSize":4,"audioURL":4,"children":20294,"fileURL":4,"image":4,"markDefs":20299,"style":634},"fdd4a4f0a6d9",[20295],{"_key":20296,"_type":13,"marks":20297,"text":20298},"272f170372a60",[],"3 And then, there were the children. Who kept arriving, one note after another; a swarm that kept vanishing then returning, full of song. Happy to be so alive, they were always going to sing their way into the hearts of anyone",[],{"_key":20301,"_type":9,"audioSize":4,"audioURL":4,"children":20302,"fileURL":4,"image":4,"markDefs":20306,"style":634},"6eed53d0df3b",[20303],{"_key":20304,"_type":13,"marks":20305,"text":3405},"174349ada9eb",[],[],{"_key":20308,"_type":423,"alt":20216,"audio":20309,"audioSize":20312,"audioURL":20313,"caption":20314,"fileURL":4,"image":4,"markDefs":4},"d15263cf4dc2",{"_type":416,"asset":20310},{"_ref":20311,"_type":324},"file-3986c5af5064e005ae596030d7bcf74f9f3fdbeb-mp3",1233814,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F3986c5af5064e005ae596030d7bcf74f9f3fdbeb.mp3","Microzoic Piano Suite, section 13, §10",{"_key":20316,"_type":9,"audioSize":4,"audioURL":4,"children":20317,"fileURL":4,"image":4,"markDefs":20322,"style":634},"68e1512f820d",[20318],{"_key":20319,"_type":13,"marks":20320,"text":20321},"2840edbf21260",[],"Microzoic Piano Suite - § 10",[],{"_key":20324,"_type":9,"audioSize":4,"audioURL":4,"children":20325,"fileURL":4,"image":4,"markDefs":20330,"style":634},"179769869fb7",[20326],{"_key":20327,"_type":13,"marks":20328,"text":20329},"854b1aaa49ad0",[],"10 She played the piano and the flute, sang solo in the choir on more than one delighting occasion. And once was in a fledgling poem and tenderly, called out as that girl Persephone, her breasts bouncing points of light into the air. The glory of it I thought then and still do",[],{"_key":20332,"_type":9,"audioSize":4,"audioURL":4,"children":20333,"fileURL":4,"image":4,"markDefs":20337,"style":634},"e1f11913ffd3",[20334],{"_key":20335,"_type":13,"marks":20336,"text":3405},"25ea80a88ec30",[],[],{"_key":20339,"_type":9,"audioSize":4,"audioURL":4,"children":20340,"fileURL":4,"image":4,"markDefs":20344,"style":18},"2f8366937ac9",[20341],{"_key":20342,"_type":13,"marks":20343,"text":25},"1da9a49b7589",[],[],{"_key":20346,"_type":9,"audioSize":4,"audioURL":4,"children":20347,"fileURL":4,"image":4,"markDefs":20352,"style":18},"fb275b6d9d23",[20348],{"_key":20349,"_type":13,"marks":20350,"text":20351},"3b0395fa3fe1",[],"These ritornelli are at first purely instrumental, but at the end the soloist joins in too.",[],{"_key":20354,"_type":9,"audioSize":4,"audioURL":4,"children":20355,"fileURL":4,"image":4,"markDefs":20359,"style":18},"feb53e47330a",[20356],{"_key":20357,"_type":13,"marks":20358,"text":25},"7f3c515c8b2c",[],[],{"_key":20361,"_type":9,"audioSize":4,"audioURL":4,"children":20362,"fileURL":4,"image":4,"markDefs":20367,"style":634},"1549e9c58a8a",[20363],{"_key":20364,"_type":13,"marks":20365,"text":20366},"2ce320c3020d0",[],"Microzoic Piano Suite - § 13",[],{"_key":20369,"_type":9,"audioSize":4,"audioURL":4,"children":20370,"fileURL":4,"image":4,"markDefs":20375,"style":634},"5ff6c92fbe29",[20371],{"_key":20372,"_type":13,"marks":20373,"text":20374},"754c5607676f0",[],"13 Years later, inside the piano bench a photograph in sepia waiting to tell a story: we see grandfather a Greek boatman on the Golden Horn, eyeing the camera with an impeccable smile. Moustachios waxed to a point, they look almost dangerous. And he is playing a piano his hands a blur, eyes closed now, and next to him a young boy who is sitting on a cushion of air, he is playing the same piano, his hands a blur and he is looking far into the distance. You could say, he has a look of rapture",[],{"_key":20377,"_type":9,"audioSize":4,"audioURL":4,"children":20378,"fileURL":4,"image":4,"markDefs":20382,"style":634},"82a9475b330c",[20379],{"_key":20380,"_type":13,"marks":20381,"text":3405},"3706593485280",[],[],{"_key":20384,"_type":423,"alt":20216,"audio":20385,"audioSize":20388,"audioURL":20389,"caption":20390,"fileURL":4,"image":4,"markDefs":4},"dc8e2f9f7398",{"_type":416,"asset":20386},{"_ref":20387,"_type":324},"file-e9ada6468da4f778bb1ec4a3274624929ba24ee5-mp3",2047999,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fe9ada6468da4f778bb1ec4a3274624929ba24ee5.mp3","Microzoic Piano Suite, section 16, §13",{"_key":20392,"_type":413,"audioSize":4,"audioURL":4,"description":20393,"file":20394,"fileURL":20397,"image":4,"markDefs":4},"f749c23141f4","Microzoic Piano Suite, Score",{"_type":416,"asset":20395},{"_ref":20396,"_type":324},"file-f60585d5d015a30721412fa2d91be09f0ac3db46-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Ff60585d5d015a30721412fa2d91be09f0ac3db46.pdf",[20399],{"caption":20249,"id":20251,"meta":20400,"parentID":20207,"parentType":510,"url":20256},{"_type":506,"aspectRatio":20253,"height":20254,"width":20255},[20402],{"_key":20403,"_type":366,"date":19074,"location":17375,"performers":20404},"8b20989d7c72","David Thorner, Baritone\nensemble für neue musik zürich\nDominik Blum, Conductor","Microzoic Piano Suite is a further collaboration with Michael Harlow.\n\nThese 13 short texts, recount the life of an artist with all its contradictory qualities like ingenuousness (“boy-man”) und sexual maturity (“The glory of it I thought then and still do”), confidence (“always going to sing their way into the hearts of everyone”) and doubt (’Quand on est dans la merde jusqu’au cou . . .’), seriousness (“After all, said father who had been reading forever discovering one thing and another”) and craziness (“Some thought him a little crazy and others agreed.\") plus the important qualities of passion, enthusiasm, sensuality, determination, the readiness to take risks, etc. and the facility to let himself be inspired by nature.\n\nInteresting is the role of the piano in the poem: on the one hand it is a symbol for art in general and on the other an erotic symbol. When the piano celebrates its birthday (“They have birthdays too” ), we notice that art can and should celebrate itself.\n\nThe form of this work is Abelian (see diagram above). The numbers with ‘§’ correspond to the 13 paragraphs of the poem. Boxes with the same background patern have similar musical content: e.g. the fugue, which one hears at the beginning of section 4 (§3) (“And then there were the children . . .\"), appears again in section 13 (§10) (“She played the piano and the flute . . .\"), The blue boxes (1, 6, 11 & 16) contain a series of ritornelli (rhythmic fragments, which are also repeated and varied by chance), in which the piano plays the main part.\n\nMicrozoic Piano Suite - § 3\n\n3 And then, there were the children. Who kept arriving, one note after another; a swarm that kept vanishing then returning, full of song. Happy to be so alive, they were always going to sing their way into the hearts of anyone\n\nMichael Harlow\n\nMicrozoic Piano Suite - § 10\n\n10 She played the piano and the flute, sang solo in the choir on more than one delighting occasion. And once was in a fledgling poem and tenderly, called out as that girl Persephone, her breasts bouncing points of light into the air. The glory of it I thought then and still do\n\nMichael Harlow\n\n\n\nThese ritornelli are at first purely instrumental, but at the end the soloist joins in too.\n\n\n\nMicrozoic Piano Suite - § 13\n\n13 Years later, inside the piano bench a photograph in sepia waiting to tell a story: we see grandfather a Greek boatman on the Golden Horn, eyeing the camera with an impeccable smile. Moustachios waxed to a point, they look almost dangerous. And he is playing a piano his hands a blur, eyes closed now, and next to him a young boy who is sitting on a cushion of air, he is playing the same piano, his hands a blur and he is looking far into the distance. You could say, he has a look of rapture\n\nMichael Harlow",{"_type":375,"current":20407},"microzoic-piano-suite",{"date":17374,"instrumentation":20409,"length":3615,"text":3405},"Baritone, Piano, Flute, Clarinet, Violin, Cello, Trombone, Percussion",{"_id":14965,"chapters":20411,"content":20412,"images":20470,"performances":20471,"rawPoem":4,"rawText":20474,"slug":20475,"title":14957,"workInfo":20476,"workNumber":20479},[],[20413,20431,20449,20456,20464],{"_key":20414,"_type":9,"audioSize":4,"audioURL":4,"children":20415,"fileURL":4,"image":4,"markDefs":20428,"style":18},"e3ef63da8437",[20416,20419,20424],{"_key":20417,"_type":13,"marks":20418,"text":11196},"296709aa1356",[],{"_key":20420,"_type":13,"marks":20421,"text":20423},"9f432ac23f6c",[20422],"4258247aa30f","See Siang Wong",{"_key":20425,"_type":13,"marks":20426,"text":20427},"028de57fa2f1",[]," who has been commissioning and recording works for piano by Swiss composers.",[20429],{"_key":20422,"_type":316,"href":20430},"https:\u002F\u002Fwww.seesiangwong.com",{"_key":20432,"_type":9,"audioSize":4,"audioURL":4,"children":20433,"fileURL":4,"image":4,"markDefs":20446,"style":18},"402f176258c4",[20434,20438,20442],{"_key":20435,"_type":13,"marks":20436,"text":20437},"309d10e488100",[],"It is a virtuoso reworking of my ",{"_key":20439,"_type":13,"marks":20440,"text":14974},"8a216a5a39b3",[20441],"e02ffa96088a",{"_key":20443,"_type":13,"marks":20444,"text":20445},"7e88e452fcb5",[]," which in turn was a transcription of a Humpback song.",[20447],{"_key":20441,"_type":321,"reference":20448,"slug":15016,"type":510},{"_ref":14856,"_type":324},{"_key":20450,"_type":9,"audioSize":4,"audioURL":4,"children":20451,"fileURL":4,"image":4,"markDefs":20455,"style":18},"0671f71470c7",[20452],{"_key":20453,"_type":13,"marks":20454,"text":25},"3c17ff560cdf",[],[],{"_key":20457,"_type":423,"audio":20458,"audioSize":20461,"audioURL":20462,"caption":14957,"fileURL":4,"image":4,"markDefs":4,"musicians":20463},"0a9de12ad2c5",{"_type":416,"asset":20459},{"_ref":20460,"_type":324},"file-c8eafdccd58e5aa21d0e24992d2fcd1f28778476-mp3",9753077,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fc8eafdccd58e5aa21d0e24992d2fcd1f28778476.mp3","Paul Suits",{"_key":20465,"_type":413,"audioSize":4,"audioURL":4,"description":14957,"file":20466,"fileURL":20469,"image":4,"markDefs":4},"fad4ad5a3340",{"_type":416,"asset":20467},{"_ref":20468,"_type":324},"file-16935323e6feabe4de4ac97269d09df48f15a9b4-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F16935323e6feabe4de4ac97269d09df48f15a9b4.pdf",[],[20472],{"_key":20473,"_type":366,"date":7063,"location":7064},"750bbaf93933","Written for See Siang Wong who has been commissioning and recording works for piano by Swiss composers.\n\nIt is a virtuoso reworking of my Whale Song which in turn was a transcription of a Humpback song.\n\n",{"_type":375,"current":14966},{"date":20477,"instrumentation":20478,"length":885},"2013-01-01","piano",121,{"_id":20481,"chapters":20482,"content":20483,"images":20578,"performances":20579,"rawPoem":20583,"rawText":20584,"slug":20585,"title":20555,"workInfo":20587,"workNumber":20589},"ef4b78d4-be33-4029-b695-6e7768576576",[],[20484,20521,20557,20564,20571],{"_key":20485,"_type":9,"audioSize":4,"audioURL":4,"children":20486,"fileURL":4,"image":4,"markDefs":20514,"style":18},"0fd95109f288",[20487,20491,20495,20499,20503,20507,20511],{"_key":20488,"_type":13,"marks":20489,"text":20490},"640a89e90bb4",[],"A work planned for my 80th birthday concert (in this year 2017 both ",{"_key":20492,"_type":13,"marks":20493,"text":3405},"6c30021eb10d",[20494],"d546cac8c556",{"_key":20496,"_type":13,"marks":20497,"text":20498},"f9ba74518c33",[]," and I will be 80) to take place in the Great Hall of the old Zurich Conservatory on 2. 12. 2017 by the ",{"_key":20500,"_type":13,"marks":20501,"text":20502},"e8db7274d33d",[73],"Vokalensemble",{"_key":20504,"_type":13,"marks":20505,"text":20506},"c361d0e6404a",[]," under the baton of ",{"_key":20508,"_type":13,"marks":20509,"text":14327},"23b3675be6df",[20510],"96491ee8cb73",{"_key":20512,"_type":13,"marks":20513,"text":2020},"c5fa4ac16829",[],[20515,20517],{"_key":20494,"_type":321,"reference":20516,"slug":3414,"type":326},{"_ref":3413,"_type":324},{"_key":20510,"_type":321,"reference":20518,"slug":20520,"type":326},{"_ref":20519,"_type":324},"00d4e69d-57af-4404-b63c-6e289e95be75","peter-siegwart",{"_key":20522,"_type":754,"audioSize":4,"audioURL":4,"author":3405,"fileURL":4,"image":4,"markDefs":4,"poem":20523,"title":20548},"64014e985edc",[20524,20532,20540],{"_key":20525,"_type":9,"children":20526,"markDefs":20531,"style":18},"5170d86964d2",[20527],{"_key":20528,"_type":13,"marks":20529,"text":20530},"0e937fb9574d",[],"I am, you are, she is, he is,\nwe are … taking a line for a walk, taking a line\nshe is, I am, you are, we are, for a walk",[],{"_key":20533,"_type":9,"children":20534,"markDefs":20539,"style":18},"5b166c5a1e4d",[20535],{"_key":20536,"_type":13,"marks":20537,"text":20538},"ce728f7ce6100",[],"Inside the word is the music, inside the music\nis the word: to tell love, one must write,\nto tell love, one must write as if you are singing …,\nto say, let all words be music, all music be one song",[],{"_key":20541,"_type":9,"children":20542,"markDefs":20547,"style":18},"de1ded6d1c79",[20543],{"_key":20544,"_type":13,"marks":20545,"text":20546},"b02e93a0575d0",[],"‘Despite all dark things there are in the world,\nthere will always be music’",[],[20549],{"_key":20550,"_type":9,"children":20551,"markDefs":20556,"style":18},"167ad74cd65e",[20552],{"_key":20553,"_type":13,"marks":20554,"text":20555},"b1bdd7d75201",[15,73],"Let all words be music",[],{"_key":20558,"_type":423,"audio":20559,"audioSize":20562,"audioURL":20563,"caption":20555,"fileURL":4,"image":4,"markDefs":4,"musicians":7065},"9fabf6b6b611",{"_type":416,"asset":20560},{"_ref":20561,"_type":324},"file-11b4c2c5cbc94a0b058f87150a1c63dc3e803ec1-mp3",8699401,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F11b4c2c5cbc94a0b058f87150a1c63dc3e803ec1.mp3",{"_key":20565,"_type":413,"audioSize":4,"audioURL":4,"description":20555,"file":20566,"fileURL":20569,"filename":20570,"image":4,"markDefs":4},"69b4a74773d3",{"_type":416,"asset":20567},{"_ref":20568,"_type":324},"file-b1f6ad479893763fac11c578c541d5271a3989c0-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fb1f6ad479893763fac11c578c541d5271a3989c0.pdf","Let all words be music.pdf",{"_key":20572,"_type":9,"audioSize":4,"audioURL":4,"children":20573,"fileURL":4,"image":4,"markDefs":20577,"style":18},"0f86ff7ca053",[20574],{"_key":20575,"_type":13,"marks":20576,"text":4878},"ec8c191bf0940",[],[],[],[20580],{"_key":20581,"_type":366,"date":7063,"location":20582,"performers":7065},"f43a74b210a8","Old Conservatory Zurich","I am, you are, she is, he is,\nwe are … taking a line for a walk, taking a line\nshe is, I am, you are, we are, for a walk\n\nInside the word is the music, inside the music\nis the word: to tell love, one must write,\nto tell love, one must write as if you are singing …,\nto say, let all words be music, all music be one song\n\n‘Despite all dark things there are in the world,\nthere will always be music’","A work planned for my 80th birthday concert (in this year 2017 both Michael Harlow and I will be 80) to take place in the Great Hall of the old Zurich Conservatory on 2. 12. 2017 by the Vokalensemble under the baton of Peter Siegwart.\n\n\n",{"_type":375,"current":20586},"let-all-words-be-music",{"date":712,"instrumentation":20588,"length":885,"text":3405},"Small Choir, Trombone, Piano",122,{"_id":15619,"chapters":20591,"content":20592,"images":21732,"performances":21733,"rawPoem":4,"rawText":21739,"slug":21740,"title":15607,"workInfo":21741,"workNumber":21743},[],[20593,20601,20613,20621,20629,20637,20645,20653,20661,20672,20680,20688,20714,20741,20749,20757,20772,20780,20824,20835,20843,20898,20906,20957,20965,21022,21030,21075,21083,21128,21136,21144,21151,21158,21174,21190,21228,21282,21306,21330,21368,21406,21430,21446,21469,21500,21516,21532,21585,21614,21636,21674,21682,21698,21713,21721],{"_key":20594,"_type":9,"audioSize":4,"audioURL":4,"children":20595,"fileURL":4,"image":4,"markDefs":20600,"style":18},"38e286b3af95",[20596],{"_key":20597,"_type":13,"marks":20598,"text":20599},"9407ac67ce55",[],"BaslerZeitung Agenda:",[],{"_key":20602,"_type":9,"audioSize":4,"audioURL":4,"children":20603,"fileURL":4,"image":4,"markDefs":20612,"style":634},"e1cdd38b6a16",[20604,20608],{"_key":20605,"_type":13,"marks":20606,"text":20607},"ec1aaff27e110",[15],"Kit Powell Meets Schubert",{"_key":20609,"_type":13,"marks":20610,"text":20611},"ec1aaff27e111",[]," Dienstag, 17.04.2018 - 19:30 Uhr Konzert",[],{"_key":20614,"_type":9,"audioSize":4,"audioURL":4,"children":20615,"fileURL":4,"image":4,"markDefs":20620,"style":634},"1feb744b13f3",[20616],{"_key":20617,"_type":13,"marks":20618,"text":20619},"8716088105300",[],"Zürcher Konzertchor, Zürcher Kammerorchester, Leitung: André Fischer, Eva Oltiványi (S), Brigitte Schweizer-Lang (Mezzo-S), Tino Brütsch (T), Tamás Bertalan Henter (T), Ruben Drole (B)",[],{"_key":20622,"_type":9,"audioSize":4,"audioURL":4,"children":20623,"fileURL":4,"image":4,"markDefs":20628,"style":634},"2152bab82cd0",[20624],{"_key":20625,"_type":13,"marks":20626,"text":20627},"6cfe939f45a40",[],"Die beiden Musiker und Komponisten verschmelzen die Moderne und die Klassik zu einem faszinierenden Hörerlebnis! Uraufführung der Sinfonie “Schubert 1828” für Orchester und Elektronik, die Kit Powell speziell aus Anlass dieses Konzertes komponiert hat. Das neue Werk thematisiert Schuberts letztes Lebensjahr und insbesondere seine letzte Messe (Nr. 6 in Es-Dur), die der Zürcher Konzertchor ZKC mit dem Zürcher Kammerorchester ZKO unter der Leitung von André Fischer im Anschluss an die Uraufführung interpretieren wird.",[],{"_key":20630,"_type":9,"audioSize":4,"audioURL":4,"children":20631,"fileURL":4,"image":4,"markDefs":20636,"style":634},"50611f4303c0",[20632],{"_key":20633,"_type":13,"marks":20634,"text":20635},"b87d90bb10490",[],"Location: Tonhalle Maag",[],{"_key":20638,"_type":9,"audioSize":4,"audioURL":4,"children":20639,"fileURL":4,"image":4,"markDefs":20644,"style":634},"29aeffc59e1a",[20640],{"_key":20641,"_type":13,"marks":20642,"text":20643},"d713490afaec0",[],"Datum: 17.04.2018",[],{"_key":20646,"_type":9,"audioSize":4,"audioURL":4,"children":20647,"fileURL":4,"image":4,"markDefs":20652,"style":634},"e1d1c185f16b",[20648],{"_key":20649,"_type":13,"marks":20650,"text":20651},"2bdf68d7bf530",[],"Zeit: 19:30 Uhr",[],{"_key":20654,"_type":9,"audioSize":4,"audioURL":4,"children":20655,"fileURL":4,"image":4,"markDefs":20660,"style":634},"d2efa386ca88",[20656],{"_key":20657,"_type":13,"marks":20658,"text":20659},"7786bccdb6e70",[],"Ort: Tonhalle Maag, Zahnradstrasse 22, 8005 Zürich",[],{"_key":20662,"_type":9,"audioSize":4,"audioURL":4,"children":20663,"fileURL":4,"image":4,"markDefs":20671,"style":18},"d192c3aed2dd",[20664,20667],{"_key":20665,"_type":13,"marks":20666,"text":15607},"9205799233430",[15],{"_key":20668,"_type":13,"marks":20669,"text":20670},"9205799233431",[]," is a symphony using material from compositions in Schubert’s last year of life, in particular from his Mass in E major whose orchestra (with historical instruments) it also uses:",[],{"_key":20673,"_type":9,"audioSize":4,"audioURL":4,"children":20674,"fileURL":4,"image":4,"markDefs":20679,"style":18},"b39c46ed9ed4",[20675],{"_key":20676,"_type":13,"marks":20677,"text":20678},"484cdf6efacf0",[],"2 Oboes, 2 Clarinets in B, 2 Bassoons 2 Horns (E and C), 2 Trumpets (B and A), 3 Trombones (2 tenor and 1 bass), 2 Timpani, Strings",[],{"_key":20681,"_type":9,"audioSize":4,"audioURL":4,"children":20682,"fileURL":4,"image":4,"markDefs":20687,"style":18},"15303d5087fc",[20683],{"_key":20684,"_type":13,"marks":20685,"text":20686},"6079219e7b410",[73],"NB: Although the work was planned with the above instrumentation, we changed to contemporary instruments for practical reasons (see also the paragraph “Schubert’s orchestra differed … \" below).",[],{"_key":20689,"_type":9,"audioSize":4,"audioURL":4,"children":20690,"fileURL":4,"image":4,"markDefs":20711,"style":18},"a105bfc9efc6",[20691,20695,20699,20703,20707],{"_key":20692,"_type":13,"marks":20693,"text":20694},"ad1411134cd20",[],"The work is a realisation of an idea of ",{"_key":20696,"_type":13,"marks":20697,"text":5436},"88428dd2a120",[20698],"60cdbe9a1a36",{"_key":20700,"_type":13,"marks":20701,"text":20702},"3199644b8604",[],"’s, who wished for a piece which could be performed together with the ",{"_key":20704,"_type":13,"marks":20705,"text":20706},"ad1411134cd21",[73],"Schubert Mass in E flat major",{"_key":20708,"_type":13,"marks":20709,"text":20710},"ad1411134cd22",[]," using the same orchestral instruments and in addition electroacoustic sounds which are typical of our contemporary music. The combination of computer music with an early nineteenth century orchestra would accentuate the feeling of a meeting between two musical cultures — or suggest a conversation between Schubert and myself. I decided to use a “tape” in the 1st, 3rd and 4th movements with fragments of Schubert’s works from his last year of life and others from my own electroacoustic works.",[20712],{"_key":20698,"_type":321,"reference":20713,"slug":5468,"type":326},{"_ref":5467,"_type":324},{"_key":20715,"_type":9,"audioSize":4,"audioURL":4,"children":20716,"fileURL":4,"image":4,"markDefs":20740,"style":18},"63bec7ab0654",[20717,20720,20724,20728,20732,20736],{"_key":20718,"_type":13,"marks":20719,"text":15607},"b620b3a47e2f0",[15],{"_key":20721,"_type":13,"marks":20722,"text":20723},"b620b3a47e2f1",[]," has a similar form to ",{"_key":20725,"_type":13,"marks":20726,"text":20727},"b620b3a47e2f2",[73],"Schubert’s Mass in E flat",{"_key":20729,"_type":13,"marks":20730,"text":20731},"b620b3a47e2f3",[]," but is roughly half as long. Each of the five movements makes reference to the corresponding movement in the mass (Schubert’s Sanctus and Benedictus were regarded as one movement). Also woven into the symphony are motives or melodies from the ",{"_key":20733,"_type":13,"marks":20734,"text":20735},"b620b3a47e2f4",[73],"Swan Song",{"_key":20737,"_type":13,"marks":20738,"text":20739},"b620b3a47e2f5",[]," cycle (whose song-texts also supplied the movement-titles) as well as themes from works of Schubert’s last year.",[],{"_key":20742,"_type":9,"audioSize":4,"audioURL":4,"children":20743,"fileURL":4,"image":4,"markDefs":20748,"style":18},"c7c2462bb7d0",[20744],{"_key":20745,"_type":13,"marks":20746,"text":20747},"379dff6db8a10",[],"The listener familiar with these Schubert works will notice two types of “quotations”. In general the references to the Mass are exact, albeit often combined with other material so that they are not always immediately recognisable. Themes from the songs of the Swan Song cycle are however treated in a more abstract way. Often a motive from the piano accompaniment is developed to form a new orchestral texture. These and other Schubert melodies are frequently transformed with chance procedures and are often recognisable only through their rhythms or contours. At André Fischer’s suggestion the texts from these abstracted song fragments are also shown in the score as an additional expressive help for the performers.",[],{"_key":20750,"_type":9,"audioSize":4,"audioURL":4,"children":20751,"fileURL":4,"image":4,"markDefs":20756,"style":18},"3b513207b654",[20752],{"_key":20753,"_type":13,"marks":20754,"text":20755},"5b0c3bd32a540",[],"The last movement is an elegy. It is built on material from Der Doppelgänger (song 13 of the Swan Song cycle — almost the complete harmonic accompaniment of this dark song is present) combined with contrapuntal themes from the Agnus Dei and bemoans Schubert’s early death at the age of only 31.",[],{"_key":20758,"_type":9,"audioSize":4,"audioURL":4,"children":20759,"fileURL":4,"image":4,"markDefs":20771,"style":18},"ef76f55985a0",[20760,20764,20767],{"_key":20761,"_type":13,"marks":20762,"text":20763},"8e6d604fc1880",[],"Schubert’s orchestra differed from our modern orchestra especially in the brass section. Horns and trumpets had no valves and were therefore restricted to the notes of the harmonic series (although horn players could “fake” many notes in the gaps of that series by inserting their right hands more or less far into the bell of the instrument). These “valveless” instruments could play in various keys but the players had to be given time to change crooks ¬(tubes of different lengths which would produce different harmonic series). In the case of ",{"_key":20765,"_type":13,"marks":20766,"text":15607},"8e6d604fc1881",[15],{"_key":20768,"_type":13,"marks":20769,"text":20770},"8e6d604fc1882",[]," I decide to use modern horns and trumpets but to write for them as if they were without valves: as if each instrument had only one crook, but each with one of a different key.",[],{"_key":20773,"_type":9,"audioSize":4,"audioURL":4,"children":20774,"fileURL":4,"image":4,"markDefs":20779,"style":18},"90c967788ef3",[20775],{"_key":20776,"_type":13,"marks":20777,"text":20778},"96dd77de615a0",[],"More interesting are the trombones. Thanks to their slides these instruments had a complete set of chromatic notes over more than two octaves. Curiously, however, they were seldom used in the baroque and classical periods except for doubling the singers in choral works. This changed with Beethoven’s fifth symphony, when a group of three trombones appeared—but only in the last movement! Schubert seems to have shared Beethoven’s interest in the trombone and indeed extended its use. Apart from the choral doubling in the Eb Mass the three trombones are also often given independent functions and in most movements of his two last symphonies (the “Unfinished” and the “Great”) they are used frequently and to great effect. Since the latter symphony belongs to the works of his last year I have quoted the wonderful trombone passage (with its extraordinary Schubertian modulation) from the development section of the first movement in my first movement.",[],{"_key":20781,"_type":9,"audioSize":4,"audioURL":4,"children":20782,"fileURL":4,"image":4,"markDefs":20821,"style":18},"b792bb42cb03",[20783,20787,20791,20795,20798,20802,20806,20810,20814,20817],{"_key":20784,"_type":13,"marks":20785,"text":20786},"f7699237330c0",[],"A word from the composer: Schubert was criticised by the church for making important omissions to the text in his settings of the mass – notably the words: ",{"_key":20788,"_type":13,"marks":20789,"text":20790},"f7699237330c1",[73],"et unam sanctam catholicam et apostolicam ecclesiam",{"_key":20792,"_type":13,"marks":20793,"text":20794},"f7699237330c2",[]," are missing from the Credo. 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Powell traces connections among these late works and creates others himself with a subtle composition technique related to the principle of collage.",[],{"_key":21191,"_type":9,"audioSize":4,"audioURL":4,"children":21192,"fileURL":4,"image":4,"markDefs":21227,"style":634},"b5080c366ffe",[21193,21197,21201,21205,21208,21212,21216,21220,21223],{"_key":21194,"_type":13,"marks":21195,"text":21196},"426984fc324b0",[],"Powell uses a ‘tape’ or rather a sound engineer in the movements I, III & IV who, as an additional ‘instrumentalist’ plays electronic sounds from a computer at precise moments. In the first movement these are fragments from his work ",{"_key":21198,"_type":13,"marks":21199,"text":21200},"426984fc324b1",[73],"Whale",{"_key":21202,"_type":13,"marks":21203,"text":21204},"426984fc324b2",[]," for trombone and tape and other computer music works. In the third movement Powell integrates sounds from his ",{"_key":21206,"_type":13,"marks":21207,"text":15544},"426984fc324b3",[73],{"_key":21209,"_type":13,"marks":21210,"text":21211},"426984fc324b4",[],": New Zealand bird and whale song, which are filtered and laid over each other to form a new texture. Finally in the fourth movement we hear sounds from Powell’s ",{"_key":21213,"_type":13,"marks":21214,"text":21215},"426984fc324b5",[73],"Flötenspieler und Fledermäuse",{"_key":21217,"_type":13,"marks":21218,"text":21219},"426984fc324b6",[]," which he produced many years ago in Paris in the studio of Iannis Xenakis whose UPIC machine he was allowed to use. ",{"_key":21221,"_type":13,"marks":21222,"text":15607},"426984fc324b7",[15],{"_key":21224,"_type":13,"marks":21225,"text":21226},"426984fc324b8",[]," appears to have animated the composer to make a retrospective of his own electro-acoustic compositions.",[],{"_key":21229,"_type":9,"audioSize":4,"audioURL":4,"children":21230,"fileURL":4,"image":4,"markDefs":21281,"style":634},"6291aabeb139",[21231,21235,21239,21242,21246,21250,21253,21257,21261,21265,21269,21273,21277],{"_key":21232,"_type":13,"marks":21233,"text":21234},"46eac8e125e70",[],"Movement I (",{"_key":21236,"_type":13,"marks":21237,"text":21238},"46eac8e125e71",[15],"Ade",{"_key":21240,"_type":13,"marks":21241,"text":11858},"46eac8e125e72",[],{"_key":21243,"_type":13,"marks":21244,"text":21245},"46eac8e125e73",[73],"Farewell",{"_key":21247,"_type":13,"marks":21248,"text":21249},"46eac8e125e74",[],") Immediately after the unmistakeable opening of the KYRIE we hear a disruptive trill motive from the higher strings and high whistle sounds (synthetic whale song) which distract us from the solemn E flat major music and make room for the accompanying figure of the song ",{"_key":21251,"_type":13,"marks":21252,"text":20884},"46eac8e125e75",[73],{"_key":21254,"_type":13,"marks":21255,"text":21256},"46eac8e125e76",[]," (Farewell, no. 7 of the ",{"_key":21258,"_type":13,"marks":21259,"text":21260},"46eac8e125e77",[73],"Swansong Cycle",{"_key":21262,"_type":13,"marks":21263,"text":21264},"46eac8e125e78",[],", text by Ludwig Rellstab, and also in E flat major): ",{"_key":21266,"_type":13,"marks":21267,"text":21268},"46eac8e125e79",[73],"Schon scharret mein Rösslein mit lustigem Fuss – Jetzt nimm noch den letzten, den scheidenden Gruss",{"_key":21270,"_type":13,"marks":21271,"text":21272},"46eac8e125e710",[]," (My horse is so restless and scrabbling to go – Take then the last and the final farewell). Thereby the heart breaking gulf is set between inside and outside, between painful parting feelings and trotting-out-bravely-into-the-world with the words: ",{"_key":21274,"_type":13,"marks":21275,"text":21276},"46eac8e125e711",[73],"Vorüber, ach, ritt ich so manches Mal – und wär’ es denn heute zum letzten Mal?",{"_key":21278,"_type":13,"marks":21279,"text":21280},"46eac8e125e712",[]," (Passed here, alas, I rode so many times — Perhaps today for the very last time?)",[],{"_key":21283,"_type":9,"audioSize":4,"audioURL":4,"children":21284,"fileURL":4,"image":4,"markDefs":21305,"style":634},"a89a0a36f74e",[21285,21289,21293,21297,21301],{"_key":21286,"_type":13,"marks":21287,"text":21288},"b39a49d1478b0",[],"The three trombones ‘call’ — each separately — ",{"_key":21290,"_type":13,"marks":21291,"text":21292},"b39a49d1478b1",[73],"Ade!",{"_key":21294,"_type":13,"marks":21295,"text":21296},"b39a49d1478b2",[],", while the strings ‘trot on’ and single woodwinds are challenged to a bustling solo. Compared to the Schubert song however the horse falls out of step and out of key, while strands of solemn wind sounds from the mass remain hanging in the background. Then the timpani quotes the main motive from the first movement of the ",{"_key":21298,"_type":13,"marks":21299,"text":21300},"b39a49d1478b3",[73],"Great C Major Symphony",{"_key":21302,"_type":13,"marks":21303,"text":21304},"b39a49d1478b4",[]," which leads on to a development of further material from this movement.",[],{"_key":21307,"_type":9,"audioSize":4,"audioURL":4,"children":21308,"fileURL":4,"image":4,"markDefs":21329,"style":634},"516280f8b7a9",[21309,21313,21317,21321,21325],{"_key":21310,"_type":13,"marks":21311,"text":21312},"2aeda3a39d350",[],"Like a ritornello the trotting returns, this time together with tremolo tape sounds which remind one of the clattering of a roulette wheel or a gambling machine. Quotes from the ",{"_key":21314,"_type":13,"marks":21315,"text":21316},"2aeda3a39d351",[73],"f minor Fantasie",{"_key":21318,"_type":13,"marks":21319,"text":21320},"2aeda3a39d352",[]," for piano duet and the calling motive from the second movement of the ",{"_key":21322,"_type":13,"marks":21323,"text":21324},"2aeda3a39d353",[73],"String Quintet",{"_key":21326,"_type":13,"marks":21327,"text":21328},"2aeda3a39d354",[]," interrupt the trotting and form a second episode before the horse sets off for the third time and, amid the farewell calls from the trombones, finally stops exhausted.",[],{"_key":21331,"_type":9,"audioSize":4,"audioURL":4,"children":21332,"fileURL":4,"image":4,"markDefs":21367,"style":634},"79dd836d1a16",[21333,21337,21341,21344,21348,21352,21355,21359,21363],{"_key":21334,"_type":13,"marks":21335,"text":21336},"25a3dac29c000",[],"Movement II (",{"_key":21338,"_type":13,"marks":21339,"text":21340},"25a3dac29c001",[15],"Du stolzes Herz",{"_key":21342,"_type":13,"marks":21343,"text":11858},"25a3dac29c002",[],{"_key":21345,"_type":13,"marks":21346,"text":21347},"25a3dac29c003",[73],"You Proud Heart",{"_key":21349,"_type":13,"marks":21350,"text":21351},"25a3dac29c004",[],") quotes at the beginning the first verse of the song ",{"_key":21353,"_type":13,"marks":21354,"text":20931},"25a3dac29c005",[73],{"_key":21356,"_type":13,"marks":21357,"text":21358},"25a3dac29c006",[]," (no. 8 of the ",{"_key":21360,"_type":13,"marks":21361,"text":21362},"25a3dac29c007",[73],"Swansong cycle",{"_key":21364,"_type":13,"marks":21365,"text":21366},"25a3dac29c008",[],", g minor, text by Heinrich Heine) and confronts this with the fanfare like soaring triplet figure from the GLORIA (bar 5), which becomes a decisive element of the first section. As we can expect from the title of this movement, we hear a majestic proud music dominated by a basic dotted rhythm.",[],{"_key":21369,"_type":9,"audioSize":4,"audioURL":4,"children":21370,"fileURL":4,"image":4,"markDefs":21405,"style":634},"6d902eaf7a1d",[21371,21375,21379,21383,21387,21391,21394,21398,21401],{"_key":21372,"_type":13,"marks":21373,"text":21374},"1acb3fbece2e0",[],"Soon we notice a very slow version of the opening sounds of the ",{"_key":21376,"_type":13,"marks":21377,"text":21378},"1acb3fbece2e1",[73],"Gloria in excelsis Deo",{"_key":21380,"_type":13,"marks":21381,"text":21382},"1acb3fbece2e2",[],", intoned by clarinets and bassoons over an agitated string tremolo. A little later the trombones quote the pithy crucifixion music from the ",{"_key":21384,"_type":13,"marks":21385,"text":21386},"1acb3fbece2e3",[73],"Domine Deus",{"_key":21388,"_type":13,"marks":21389,"text":21390},"1acb3fbece2e4",[]," (like the Atlas song also in G minor), which leads on to a faster section. This uses a motive and its function from the ",{"_key":21392,"_type":13,"marks":21393,"text":21386},"1acb3fbece2e5",[73],{"_key":21395,"_type":13,"marks":21396,"text":21397},"1acb3fbece2e6",[]," (four staccatissimo quavers from the strings, from bar 169 on), which Schubert uses to turn the music of each verse in a new direction, i.e. to a new key (Schubert’s key scheme in the ",{"_key":21399,"_type":13,"marks":21400,"text":21386},"1acb3fbece2e7",[73],{"_key":21402,"_type":13,"marks":21403,"text":21404},"1acb3fbece2e8",[],": g minor, c minor, d minor, g minor).",[],{"_key":21407,"_type":9,"audioSize":4,"audioURL":4,"children":21408,"fileURL":4,"image":4,"markDefs":21429,"style":634},"37874626896f",[21409,21413,21417,21421,21425],{"_key":21410,"_type":13,"marks":21411,"text":21412},"cac36bc486b80",[],"The section reaches a climax in a quotation from ",{"_key":21414,"_type":13,"marks":21415,"text":21416},"cac36bc486b81",[73],"Cum Sancto Spiritu",{"_key":21418,"_type":13,"marks":21419,"text":21420},"cac36bc486b82",[]," by the brass before the beginning texture in a much faster tempo returns and makes way for a second working of the ",{"_key":21422,"_type":13,"marks":21423,"text":21424},"cac36bc486b83",[73],"Atlas",{"_key":21426,"_type":13,"marks":21427,"text":21428},"cac36bc486b84",[]," song.",[],{"_key":21431,"_type":9,"audioSize":4,"audioURL":4,"children":21432,"fileURL":4,"image":4,"markDefs":21445,"style":634},"359e458e67f1",[21433,21437,21441],{"_key":21434,"_type":13,"marks":21435,"text":21436},"9af60af9a8720",[],"The fourth and last section brings us the quintessence of the second movement in a calmer tempo: ",{"_key":21438,"_type":13,"marks":21439,"text":21440},"9af60af9a8721",[73],"Die ganze Welt der Schmerzen musst Du tragen!",{"_key":21442,"_type":13,"marks":21443,"text":21444},"9af60af9a8722",[]," (You must carry the pains of the whole world!)",[],{"_key":21447,"_type":9,"audioSize":4,"audioURL":4,"children":21448,"fileURL":4,"image":4,"markDefs":21468,"style":634},"e71c890fb951",[21449,21453,21457,21460,21464],{"_key":21450,"_type":13,"marks":21451,"text":21452},"ee5c3b60e60b0",[],"Movement III (",{"_key":21454,"_type":13,"marks":21455,"text":21456},"ee5c3b60e60b1",[15],"Wehmutstränen",{"_key":21458,"_type":13,"marks":21459,"text":11858},"ee5c3b60e60b2",[],{"_key":21461,"_type":13,"marks":21462,"text":21463},"ee5c3b60e60b3",[73],"Tears of Longing",{"_key":21465,"_type":13,"marks":21466,"text":21467},"ee5c3b60e60b4",[],") is formally simple and analogous to its pendant, Schubert’s CREDO: A – B – A’ – C. Soft timpani rolls mark the joins in the form, exactly as with Schubert.",[],{"_key":21470,"_type":9,"audioSize":4,"audioURL":4,"children":21471,"fileURL":4,"image":4,"markDefs":21499,"style":634},"0c3e02a50f0c",[21472,21476,21480,21484,21487,21491,21495],{"_key":21473,"_type":13,"marks":21474,"text":21475},"a5585f23238b0",[],"After introductory music from the tape, which seems to change gradually to a dripping sound, we hear Powell’s ",{"_key":21477,"_type":13,"marks":21478,"text":21479},"a5585f23238b1",[73],"Credo in unam naturam",{"_key":21481,"_type":13,"marks":21482,"text":21483},"a5585f23238b2",[]," over a network of wind instrumental solos. Both A sections develop the song ",{"_key":21485,"_type":13,"marks":21486,"text":20997},"a5585f23238b3",[73],{"_key":21488,"_type":13,"marks":21489,"text":21490},"a5585f23238b4",[]," (Her Picture, no. 9 from the ",{"_key":21492,"_type":13,"marks":21493,"text":21494},"a5585f23238b5",[73],"Swansong",{"_key":21496,"_type":13,"marks":21497,"text":21498},"a5585f23238b6",[],", B flat minor, text by Heinrich Heine), the first time to the already mentioned choir of New Zealand bird song and in the recapitulation to whale calls (this time real, i.e. recorded in the wild).",[],{"_key":21501,"_type":9,"audioSize":4,"audioURL":4,"children":21502,"fileURL":4,"image":4,"markDefs":21515,"style":634},"3b22bdb95f26",[21503,21507,21511],{"_key":21504,"_type":13,"marks":21505,"text":21506},"deb615a6c60e0",[],"The contrasting B section is without tape and contains an abundance of borrowings from Schubert’s first and third CREDO sections (Et resurrexit). Very impressive is, how the celebratory music corresponds with the key points of the ",{"_key":21508,"_type":13,"marks":21509,"text":21510},"deb615a6c60e1",[73],"Swansong: Und ach, ich kann es nicht glauben — Dass ich dich verloren hab!",{"_key":21512,"_type":13,"marks":21513,"text":21514},"deb615a6c60e2",[]," (And oh, I cannot believe — That I have lost you). The close relationship of these two pieces becomes apparent thanks to Powell’s juxtaposition of them.",[],{"_key":21517,"_type":9,"audioSize":4,"audioURL":4,"children":21518,"fileURL":4,"image":4,"markDefs":21531,"style":634},"ad504a8c45f8",[21519,21523,21527],{"_key":21520,"_type":13,"marks":21521,"text":21522},"65cb46cf86310",[],"The following C section is a sort of “ghost fugue”: new tape sounds (among them a quote from the ",{"_key":21524,"_type":13,"marks":21525,"text":21526},"65cb46cf86311",[73],"c minor piano sonata",{"_key":21528,"_type":13,"marks":21529,"text":21530},"65cb46cf86312",[],") are confronted with fleeting string runs (also from that sonata) which, over a pizzicato bass, disappear in the highest of high registers: an adumbration of the final end in the fifth movement.",[],{"_key":21533,"_type":9,"audioSize":4,"audioURL":4,"children":21534,"fileURL":4,"image":4,"markDefs":21584,"style":634},"be8a0294b6d7",[21535,21539,21543,21546,21550,21554,21557,21561,21564,21568,21572,21576,21580],{"_key":21536,"_type":13,"marks":21537,"text":21538},"77ffeacb90920",[],"Movement IV (",{"_key":21540,"_type":13,"marks":21541,"text":21542},"77ffeacb90921",[15],"Abenddämmerung",{"_key":21544,"_type":13,"marks":21545,"text":11858},"77ffeacb90922",[],{"_key":21547,"_type":13,"marks":21548,"text":21549},"77ffeacb90923",[73],"Dusk",{"_key":21551,"_type":13,"marks":21552,"text":21553},"77ffeacb90924",[],") begins with the introductory music to the song ",{"_key":21555,"_type":13,"marks":21556,"text":21054},"77ffeacb90925",[73],{"_key":21558,"_type":13,"marks":21559,"text":21560},"77ffeacb90926",[]," (The City, no. 11 of the ",{"_key":21562,"_type":13,"marks":21563,"text":21494},"77ffeacb90927",[73],{"_key":21565,"_type":13,"marks":21566,"text":21567},"77ffeacb90928",[],", c minor, text Heinrich Heine). Striking is the falling octave motive in a diminished triad which builds the counterpart to the theme in the ",{"_key":21569,"_type":13,"marks":21570,"text":21571},"77ffeacb90929",[73],"Osanna",{"_key":21573,"_type":13,"marks":21574,"text":21575},"77ffeacb909210",[]," fugue, which will be quoted in a high violin register at the end of this movement in a much too slow tempo when clarinets, bassoons and horns play the song melody in crepuscular alienation ",{"_key":21577,"_type":13,"marks":21578,"text":21579},"77ffeacb909211",[73],"mit traurigem Takte",{"_key":21581,"_type":13,"marks":21582,"text":21583},"77ffeacb909212",[]," (with sorrowful beat).",[],{"_key":21586,"_type":9,"audioSize":4,"audioURL":4,"children":21587,"fileURL":4,"image":4,"markDefs":21613,"style":634},"63ff6ef4e5b3",[21588,21592,21595,21599,21603,21607,21610],{"_key":21589,"_type":13,"marks":21590,"text":21591},"ea0e7e4c90500",[],"The introduction ends, not as we expect, in the first verse of the song, but in the familiar calling motive from the second movement of the ",{"_key":21593,"_type":13,"marks":21594,"text":21324},"ea0e7e4c90501",[73],{"_key":21596,"_type":13,"marks":21597,"text":21598},"ea0e7e4c90502",[]," (played here on the oboe), supported by apparently damp tape sounds: ",{"_key":21600,"_type":13,"marks":21601,"text":21602},"ea0e7e4c90503",[73],"Ein feuchter Windzug kräuselt — Die graue Wasserbahn",{"_key":21604,"_type":13,"marks":21605,"text":21606},"ea0e7e4c90504",[]," (A damp wind ripples —The grey waterway). The slow rising development leads to a wild, strongly syncopated vivace main section in f minor. It is the clearly recognisable famous contrast section from the second movement of the ",{"_key":21608,"_type":13,"marks":21609,"text":21324},"ea0e7e4c90505",[73],{"_key":21611,"_type":13,"marks":21612,"text":2020},"ea0e7e4c90506",[],[],{"_key":21615,"_type":9,"audioSize":4,"audioURL":4,"children":21616,"fileURL":4,"image":4,"markDefs":21635,"style":634},"537620c05ef6",[21617,21621,21624,21628,21631],{"_key":21618,"_type":13,"marks":21619,"text":21620},"d30d845d8da30",[],"This main section leads immediately to a threefold tutti cadence, the climax of the whole movement which is a harmonic and gestural sequence taken from the SANCTUS: E flat major, B major (instead of b minor, which is saved for the last movement) and g minor are placed abruptly alongside one another separated only by a rough tape flimmering. Afterwards we hear a varied repetition of the introductory music, which ends in the long expected ",{"_key":21622,"_type":13,"marks":21623,"text":21494},"d30d845d8da31",[73],{"_key":21625,"_type":13,"marks":21626,"text":21627},"d30d845d8da32",[]," verse combined with an ",{"_key":21629,"_type":13,"marks":21630,"text":21571},"d30d845d8da33",[73],{"_key":21632,"_type":13,"marks":21633,"text":21634},"d30d845d8da34",[]," quotation. The fourth movement is striking for its economical use of material and its compactness of expression.",[],{"_key":21637,"_type":9,"audioSize":4,"audioURL":4,"children":21638,"fileURL":4,"image":4,"markDefs":21673,"style":634},"22028b39a13e",[21639,21643,21647,21650,21654,21658,21662,21666,21669],{"_key":21640,"_type":13,"marks":21641,"text":21642},"e12e0919c97b0",[],"Movement V (",{"_key":21644,"_type":13,"marks":21645,"text":21646},"e12e0919c97b1",[15],"Nacht",{"_key":21648,"_type":13,"marks":21649,"text":11858},"e12e0919c97b2",[],{"_key":21651,"_type":13,"marks":21652,"text":21653},"e12e0919c97b3",[73],"Night",{"_key":21655,"_type":13,"marks":21656,"text":21657},"e12e0919c97b4",[],") finally quotes the crucifix theme from the AGNUS DEI, but in the key of the ",{"_key":21659,"_type":13,"marks":21660,"text":21661},"e12e0919c97b5",[73],"Der Doppelgänger",{"_key":21663,"_type":13,"marks":21664,"text":21665},"e12e0919c97b6",[]," (b minor, penultimate song — no. 13! of the ",{"_key":21667,"_type":13,"marks":21668,"text":21494},"e12e0919c97b7",[73],{"_key":21670,"_type":13,"marks":21671,"text":21672},"e12e0919c97b8",[],", text Heinrich Heine) in which Schubert himself already based the key and chord pattern of the final movement of his Mass.",[],{"_key":21675,"_type":9,"audioSize":4,"audioURL":4,"children":21676,"fileURL":4,"image":4,"markDefs":21681,"style":634},"82ad69c94f33",[21677],{"_key":21678,"_type":13,"marks":21679,"text":21680},"d38cfce934b50",[],"In this movement the timpanist plays a central rôle since the pulsating rhythm over many bars determines the dramatic quality of the music. In a second section the timpani stop and we hear trombones, bassoons and clarinets play the countersubject of the crucifix theme which, at an especially sensitive point, is excruciatingly alienated by a “wrong” note (a major instead of a minor third).",[],{"_key":21683,"_type":9,"audioSize":4,"audioURL":4,"children":21684,"fileURL":4,"image":4,"markDefs":21697,"style":634},"c2ccdada118c",[21685,21689,21693],{"_key":21686,"_type":13,"marks":21687,"text":21688},"2b85324d013d0",[],"Horns and oboes add the melody of the Doppelgänger song which, however, is only recognisable at the line: ",{"_key":21690,"_type":13,"marks":21691,"text":21692},"2b85324d013d1",[73],"Der Mond zeigt mir meine eigene Gestalt",{"_key":21694,"_type":13,"marks":21695,"text":21696},"2b85324d013d2",[]," (The moon shows me my own figure) but then all the more strongly: the struggle of the protagonist with himself and his terrible realisation becomes musically so insistent, as to be scarcely bearable.",[],{"_key":21699,"_type":9,"audioSize":4,"audioURL":4,"children":21700,"fileURL":4,"image":4,"markDefs":21712,"style":634},"ee12b364a959",[21701,21705,21708],{"_key":21702,"_type":13,"marks":21703,"text":21704},"cdbfb8c6e8830",[],"The third section is again dominated by the pulsating rhythm of the timpani. The crucifix theme rises chromatically until the tonic E flat (with major and minor third) is reached. From the timpani rhythm a trill motive is developed which starts in the low register of the bassoons and in a new start reproduces itself in the cellos, violas right up to the high registers of the violins. Only now is it clear that this trill motive (from the ",{"_key":21706,"_type":13,"marks":21707,"text":20892},"cdbfb8c6e8831",[73],{"_key":21709,"_type":13,"marks":21710,"text":21711},"cdbfb8c6e8832",[]," for piano duet) is in fact identical with the very first disruptive motive at the beginning of the KYRIE.",[],{"_key":21714,"_type":9,"audioSize":4,"audioURL":4,"children":21715,"fileURL":4,"image":4,"markDefs":21720,"style":634},"2e24d03bd22b",[21716],{"_key":21717,"_type":13,"marks":21718,"text":21719},"a16b5a086aa60",[],"The trumpets take over the timpani motive with a minor second in a high register, before a restored version of the crucifix theme (in b minor) starts for the third and last time in the contrabasses, while the solo violin makes its way higher and higher with an expressive melody in g minor through the sounds of the winds and strings, until it is accompanied only by the other violins, and together they reach the transfigured last chord (G major enriched by two bright foreign colours), which dissolves finally into silence.",[],{"_key":21722,"_type":9,"audioSize":4,"audioURL":4,"children":21723,"fileURL":4,"image":4,"markDefs":21731,"style":634},"c87b31c9a7fe",[21724,21727],{"_key":21725,"_type":13,"marks":21726,"text":15607},"51285d55497a0",[15],{"_key":21728,"_type":13,"marks":21729,"text":21730},"51285d55497a1",[]," ends, so to speak, in heaven, without our being able to rejoice.",[],[],[21734],{"_key":21735,"_type":366,"date":21736,"location":21737,"performers":21738},"4a656706c51c","2018-01-01","Tonhalle Maag","Zürcher Kammerorchester, conductor: André Fischer","BaslerZeitung Agenda:\n\nKit Powell Meets Schubert Dienstag, 17.04.2018 - 19:30 Uhr Konzert\n\nZürcher Konzertchor, Zürcher Kammerorchester, Leitung: André Fischer, Eva Oltiványi (S), Brigitte Schweizer-Lang (Mezzo-S), Tino Brütsch (T), Tamás Bertalan Henter (T), Ruben Drole (B)\n\nDie beiden Musiker und Komponisten verschmelzen die Moderne und die Klassik zu einem faszinierenden Hörerlebnis! Uraufführung der Sinfonie “Schubert 1828” für Orchester und Elektronik, die Kit Powell speziell aus Anlass dieses Konzertes komponiert hat. Das neue Werk thematisiert Schuberts letztes Lebensjahr und insbesondere seine letzte Messe (Nr. 6 in Es-Dur), die der Zürcher Konzertchor ZKC mit dem Zürcher Kammerorchester ZKO unter der Leitung von André Fischer im Anschluss an die Uraufführung interpretieren wird.\n\nLocation: Tonhalle Maag\n\nDatum: 17.04.2018\n\nZeit: 19:30 Uhr\n\nOrt: Tonhalle Maag, Zahnradstrasse 22, 8005 Zürich\n\nSchubert 1828 is a symphony using material from compositions in Schubert’s last year of life, in particular from his Mass in E major whose orchestra (with historical instruments) it also uses:\n\n2 Oboes, 2 Clarinets in B, 2 Bassoons 2 Horns (E and C), 2 Trumpets (B and A), 3 Trombones (2 tenor and 1 bass), 2 Timpani, Strings\n\nNB: Although the work was planned with the above instrumentation, we changed to contemporary instruments for practical reasons (see also the paragraph “Schubert’s orchestra differed … \" below).\n\nThe work is a realisation of an idea of André Fischer’s, who wished for a piece which could be performed together with the Schubert Mass in E flat major using the same orchestral instruments and in addition electroacoustic sounds which are typical of our contemporary music. The combination of computer music with an early nineteenth century orchestra would accentuate the feeling of a meeting between two musical cultures — or suggest a conversation between Schubert and myself. I decided to use a “tape” in the 1st, 3rd and 4th movements with fragments of Schubert’s works from his last year of life and others from my own electroacoustic works.\n\nSchubert 1828 has a similar form to Schubert’s Mass in E flat but is roughly half as long. Each of the five movements makes reference to the corresponding movement in the mass (Schubert’s Sanctus and Benedictus were regarded as one movement). Also woven into the symphony are motives or melodies from the Swan Song cycle (whose song-texts also supplied the movement-titles) as well as themes from works of Schubert’s last year.\n\nThe listener familiar with these Schubert works will notice two types of “quotations”. In general the references to the Mass are exact, albeit often combined with other material so that they are not always immediately recognisable. Themes from the songs of the Swan Song cycle are however treated in a more abstract way. Often a motive from the piano accompaniment is developed to form a new orchestral texture. These and other Schubert melodies are frequently transformed with chance procedures and are often recognisable only through their rhythms or contours. At André Fischer’s suggestion the texts from these abstracted song fragments are also shown in the score as an additional expressive help for the performers.\n\nThe last movement is an elegy. It is built on material from Der Doppelgänger (song 13 of the Swan Song cycle — almost the complete harmonic accompaniment of this dark song is present) combined with contrapuntal themes from the Agnus Dei and bemoans Schubert’s early death at the age of only 31.\n\nSchubert’s orchestra differed from our modern orchestra especially in the brass section. Horns and trumpets had no valves and were therefore restricted to the notes of the harmonic series (although horn players could “fake” many notes in the gaps of that series by inserting their right hands more or less far into the bell of the instrument). These “valveless” instruments could play in various keys but the players had to be given time to change crooks ¬(tubes of different lengths which would produce different harmonic series). In the case of Schubert 1828 I decide to use modern horns and trumpets but to write for them as if they were without valves: as if each instrument had only one crook, but each with one of a different key.\n\nMore interesting are the trombones. Thanks to their slides these instruments had a complete set of chromatic notes over more than two octaves. Curiously, however, they were seldom used in the baroque and classical periods except for doubling the singers in choral works. This changed with Beethoven’s fifth symphony, when a group of three trombones appeared—but only in the last movement! Schubert seems to have shared Beethoven’s interest in the trombone and indeed extended its use. Apart from the choral doubling in the Eb Mass the three trombones are also often given independent functions and in most movements of his two last symphonies (the “Unfinished” and the “Great”) they are used frequently and to great effect. Since the latter symphony belongs to the works of his last year I have quoted the wonderful trombone passage (with its extraordinary Schubertian modulation) from the development section of the first movement in my first movement.\n\nA word from the composer: Schubert was criticised by the church for making important omissions to the text in his settings of the mass – notably the words: et unam sanctam catholicam et apostolicam ecclesiam are missing from the Credo. Schubert 1828 is in no way a religious work even if it does draw strongly on the Schubert Mass in Eb. However, inspired by Schubert’s courage in imposing his own beliefs on the liturgical text, I allowed myself to include sounds from my own non-religious Credo in unam Naturam with its chorus of New Zealand birds and whale song in the third movement.\n\nList of Quotations in Schubert 1828\n\nThe recordings are of the live performance of the Zürcher Kammerorchester under the baton of André Fischer.\n\n\n1. Ade – Farewell (Andante con moto – Allegro assai) with tape\nMass in Eb, DV 950: Kyrie; Schwanengesang, DV 957: Nr. 7, Abschied;\nSymphony in C, DV 944; Fantasie in f minor (piano duet), DV 940\n\n2. Stolzes Herz – Proud Heart (Andante – Più mosso – Meno mosso)\nSchwanengesang, DV 957: Nr. 8, Der Atlas; Mass in Eb, DV 950: Gloria;\nString Quintet in C, DV 956\n\n3. Wehmutstränen – Tears of Longing (Adagio – Allegro assai – Tempo primo – Allegro) with tape\nSymphony in C, DV 944; Schwanengesang, DV 957: Nr. 9, Ihr Bild; Mass in Eb, DV 950: Credo; Klaviersonate in c, DV 958\n\n4. Abenddämmerung – Dusk (Adagio – Vivace – Adagio) with tape\nSchwanengesang, DV 957: Nr. 11, Die Stadt; String Quintet in C, DV 956;\nMass in Eb, DV 950: Sanctus\n\n5. Nacht – Night (Una Elegia, Mesto)\nFantasie in f minor (piano duet), DV 940; Schwanengesang, DV 957:\nNr. 13, Der Doppelgänger; Mass in Eb, DV 950: Agnus Dei\n\n\n\nThoughts on Kit Powell’s “Schubert 1828”\nby André Fischer — trans. KP\n\nKit Powell’s symphonic homage “Schubert 1828” leads us not only through Schubert’s Mass in E flat, but kaleidoscopically through a group of other pieces also created in Schubert’s last year of life. Powell traces connections among these late works and creates others himself with a subtle composition technique related to the principle of collage.\n\nPowell uses a ‘tape’ or rather a sound engineer in the movements I, III & IV who, as an additional ‘instrumentalist’ plays electronic sounds from a computer at precise moments. In the first movement these are fragments from his work Whale for trombone and tape and other computer music works. In the third movement Powell integrates sounds from his Credo in unam Naturam: New Zealand bird and whale song, which are filtered and laid over each other to form a new texture. Finally in the fourth movement we hear sounds from Powell’s Flötenspieler und Fledermäuse which he produced many years ago in Paris in the studio of Iannis Xenakis whose UPIC machine he was allowed to use. Schubert 1828 appears to have animated the composer to make a retrospective of his own electro-acoustic compositions.\n\nMovement I (Ade — Farewell) Immediately after the unmistakeable opening of the KYRIE we hear a disruptive trill motive from the higher strings and high whistle sounds (synthetic whale song) which distract us from the solemn E flat major music and make room for the accompanying figure of the song Abschied (Farewell, no. 7 of the Swansong Cycle, text by Ludwig Rellstab, and also in E flat major): Schon scharret mein Rösslein mit lustigem Fuss – Jetzt nimm noch den letzten, den scheidenden Gruss (My horse is so restless and scrabbling to go – Take then the last and the final farewell). Thereby the heart breaking gulf is set between inside and outside, between painful parting feelings and trotting-out-bravely-into-the-world with the words: Vorüber, ach, ritt ich so manches Mal – und wär’ es denn heute zum letzten Mal? (Passed here, alas, I rode so many times — Perhaps today for the very last time?)\n\nThe three trombones ‘call’ — each separately — Ade!, while the strings ‘trot on’ and single woodwinds are challenged to a bustling solo. Compared to the Schubert song however the horse falls out of step and out of key, while strands of solemn wind sounds from the mass remain hanging in the background. Then the timpani quotes the main motive from the first movement of the Great C Major Symphony which leads on to a development of further material from this movement.\n\nLike a ritornello the trotting returns, this time together with tremolo tape sounds which remind one of the clattering of a roulette wheel or a gambling machine. Quotes from the f minor Fantasie for piano duet and the calling motive from the second movement of the String Quintet interrupt the trotting and form a second episode before the horse sets off for the third time and, amid the farewell calls from the trombones, finally stops exhausted.\n\nMovement II (Du stolzes Herz — You Proud Heart) quotes at the beginning the first verse of the song Der Atlas (no. 8 of the Swansong cycle, g minor, text by Heinrich Heine) and confronts this with the fanfare like soaring triplet figure from the GLORIA (bar 5), which becomes a decisive element of the first section. As we can expect from the title of this movement, we hear a majestic proud music dominated by a basic dotted rhythm.\n\nSoon we notice a very slow version of the opening sounds of the Gloria in excelsis Deo, intoned by clarinets and bassoons over an agitated string tremolo. A little later the trombones quote the pithy crucifixion music from the Domine Deus (like the Atlas song also in G minor), which leads on to a faster section. This uses a motive and its function from the Domine Deus (four staccatissimo quavers from the strings, from bar 169 on), which Schubert uses to turn the music of each verse in a new direction, i.e. to a new key (Schubert’s key scheme in the Domine Deus: g minor, c minor, d minor, g minor).\n\nThe section reaches a climax in a quotation from Cum Sancto Spiritu by the brass before the beginning texture in a much faster tempo returns and makes way for a second working of the Atlas song.\n\nThe fourth and last section brings us the quintessence of the second movement in a calmer tempo: Die ganze Welt der Schmerzen musst Du tragen! (You must carry the pains of the whole world!)\n\nMovement III (Wehmutstränen — Tears of Longing) is formally simple and analogous to its pendant, Schubert’s CREDO: A – B – A’ – C. Soft timpani rolls mark the joins in the form, exactly as with Schubert.\n\nAfter introductory music from the tape, which seems to change gradually to a dripping sound, we hear Powell’s Credo in unam naturam over a network of wind instrumental solos. Both A sections develop the song Ihr Bild (Her Picture, no. 9 from the Swansong, B flat minor, text by Heinrich Heine), the first time to the already mentioned choir of New Zealand bird song and in the recapitulation to whale calls (this time real, i.e. recorded in the wild).\n\nThe contrasting B section is without tape and contains an abundance of borrowings from Schubert’s first and third CREDO sections (Et resurrexit). Very impressive is, how the celebratory music corresponds with the key points of the Swansong: Und ach, ich kann es nicht glauben — Dass ich dich verloren hab! (And oh, I cannot believe — That I have lost you). The close relationship of these two pieces becomes apparent thanks to Powell’s juxtaposition of them.\n\nThe following C section is a sort of “ghost fugue”: new tape sounds (among them a quote from the c minor piano sonata) are confronted with fleeting string runs (also from that sonata) which, over a pizzicato bass, disappear in the highest of high registers: an adumbration of the final end in the fifth movement.\n\nMovement IV (Abenddämmerung — Dusk) begins with the introductory music to the song Die Stadt (The City, no. 11 of the Swansong, c minor, text Heinrich Heine). Striking is the falling octave motive in a diminished triad which builds the counterpart to the theme in the Osanna fugue, which will be quoted in a high violin register at the end of this movement in a much too slow tempo when clarinets, bassoons and horns play the song melody in crepuscular alienation mit traurigem Takte (with sorrowful beat).\n\nThe introduction ends, not as we expect, in the first verse of the song, but in the familiar calling motive from the second movement of the String Quintet (played here on the oboe), supported by apparently damp tape sounds: Ein feuchter Windzug kräuselt — Die graue Wasserbahn (A damp wind ripples —The grey waterway). The slow rising development leads to a wild, strongly syncopated vivace main section in f minor. It is the clearly recognisable famous contrast section from the second movement of the String Quintet.\n\nThis main section leads immediately to a threefold tutti cadence, the climax of the whole movement which is a harmonic and gestural sequence taken from the SANCTUS: E flat major, B major (instead of b minor, which is saved for the last movement) and g minor are placed abruptly alongside one another separated only by a rough tape flimmering. Afterwards we hear a varied repetition of the introductory music, which ends in the long expected Swansong verse combined with an Osanna quotation. The fourth movement is striking for its economical use of material and its compactness of expression.\n\nMovement V (Nacht — Night) finally quotes the crucifix theme from the AGNUS DEI, but in the key of the Der Doppelgänger (b minor, penultimate song — no. 13! of the Swansong, text Heinrich Heine) in which Schubert himself already based the key and chord pattern of the final movement of his Mass.\n\nIn this movement the timpanist plays a central rôle since the pulsating rhythm over many bars determines the dramatic quality of the music. In a second section the timpani stop and we hear trombones, bassoons and clarinets play the countersubject of the crucifix theme which, at an especially sensitive point, is excruciatingly alienated by a “wrong” note (a major instead of a minor third).\n\nHorns and oboes add the melody of the Doppelgänger song which, however, is only recognisable at the line: Der Mond zeigt mir meine eigene Gestalt (The moon shows me my own figure) but then all the more strongly: the struggle of the protagonist with himself and his terrible realisation becomes musically so insistent, as to be scarcely bearable.\n\nThe third section is again dominated by the pulsating rhythm of the timpani. The crucifix theme rises chromatically until the tonic E flat (with major and minor third) is reached. From the timpani rhythm a trill motive is developed which starts in the low register of the bassoons and in a new start reproduces itself in the cellos, violas right up to the high registers of the violins. Only now is it clear that this trill motive (from the Fantasie in f minor for piano duet) is in fact identical with the very first disruptive motive at the beginning of the KYRIE.\n\nThe trumpets take over the timpani motive with a minor second in a high register, before a restored version of the crucifix theme (in b minor) starts for the third and last time in the contrabasses, while the solo violin makes its way higher and higher with an expressive melody in g minor through the sounds of the winds and strings, until it is accompanied only by the other violins, and together they reach the transfigured last chord (G major enriched by two bright foreign colours), which dissolves finally into silence.\n\nSchubert 1828 ends, so to speak, in heaven, without our being able to rejoice.",{"_type":375,"current":15620},{"date":712,"instrumentation":21742,"length":3615},"Orchestra, Tape",123,{"_id":21745,"chapters":21746,"content":21747,"images":21931,"performances":4,"rawPoem":4,"rawText":21938,"slug":21939,"title":21761,"workInfo":21941,"workNumber":21943},"7f8eaa07-558d-4665-b39a-a70bf631b5ce",[],[21748,21755,21773,21783,21791,21798,21806,21814,21823,21831,21839,21846,21854,21861,21868,21876,21883,21891,21898,21905,21912,21919,21926],{"_key":21749,"_type":413,"audioSize":4,"audioURL":4,"description":21750,"file":21751,"fileURL":21754,"image":4,"markDefs":4},"7b4dbdd43e68"," Symphonic Reflections Orchestral Parts",{"_type":416,"asset":21752},{"_ref":21753,"_type":324},"file-d967f72ef6d44fc180851652c9cef1615b4fca60-zip","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fd967f72ef6d44fc180851652c9cef1615b4fca60.zip",{"_key":21756,"_type":9,"audioSize":4,"audioURL":4,"children":21757,"fileURL":4,"image":4,"markDefs":21770,"style":18},"aa836a36373a",[21758,21762,21766],{"_key":21759,"_type":13,"marks":21760,"text":21761},"4a92d4cf6156",[15],"Symphonic Reflections",{"_key":21763,"_type":13,"marks":21764,"text":21765},"9b23a3af21ed",[]," is scored for two soloists (soprano and baritone) and a large orchestra. It is the most recent in a long line of collaborative works with the poet ",{"_key":21767,"_type":13,"marks":21768,"text":3405},"2d8d7509d783",[21769],"e3071ba3e2b9",[21771],{"_key":21769,"_type":321,"reference":21772,"slug":3414,"type":326},{"_ref":3413,"_type":324},{"_key":21774,"_type":500,"audioSize":4,"audioURL":4,"caption":21775,"fileURL":4,"image":21776,"markDefs":4},"039eb2341759","I asked Michael Harlow for phrases which describe the mood of each of his texts. These are shown in red.",{"caption":4,"id":21777,"meta":21778,"parentID":4,"parentType":510,"url":21782},"15b1aecb6f1956e547d8ce34841c8380eb70b884",{"_type":506,"aspectRatio":21779,"height":21780,"width":21781},0.7035611164581328,1039,731,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F15b1aecb6f1956e547d8ce34841c8380eb70b884-731x1039.jpg",{"_key":21784,"_type":9,"audioSize":4,"audioURL":4,"children":21785,"fileURL":4,"image":4,"markDefs":21790,"style":18},"e57e18bc3e26",[21786],{"_key":21787,"_type":13,"marks":21788,"text":21789},"69e2b12080780",[],"The nine Harlow texts are grouped in threes making three movements. The texts themselves are as the title suggests, reflective, thoughtful about everyday situations. If there is a common theme it is the feeling of wonder. This feeling is often accompanied in the music by a sequence of chords with strings, harp, piano and crotales which serves as an “idée fixe” throughout the work. This theme is heard for the first time at the end of the first song: bars 67 to 74, p. 14",[],{"_key":21792,"_type":9,"audioSize":4,"audioURL":4,"children":21793,"fileURL":4,"image":4,"markDefs":21797,"style":18},"d6f7734f3b9d",[21794],{"_key":21795,"_type":13,"marks":21796,"text":25},"aed88aceeca7",[],[],{"_key":21799,"_type":500,"audioSize":4,"audioURL":4,"caption":21800,"fileURL":4,"image":21801,"markDefs":4},"d3ddb0e5b9ed","\"This is called the holiness of attention.\"",{"caption":4,"id":21802,"meta":21803,"parentID":4,"parentType":510,"url":21805},"25ece14a57e59eb38204bdceff4f64cece83181f",{"_type":506,"aspectRatio":21804,"height":17886,"width":2585},1.4151260504201681,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F25ece14a57e59eb38204bdceff4f64cece83181f-842x595.svg",{"_key":21807,"_type":9,"audioSize":4,"audioURL":4,"children":21808,"fileURL":4,"image":4,"markDefs":21813,"style":18},"a3f4beb525ab",[21809],{"_key":21810,"_type":13,"marks":21811,"text":21812},"5cbbb817f1f1",[],"The \"swarms of angels\" in Text 3 inspired me to make the following \"swarms of triangles\":",[],{"_key":21815,"_type":500,"audioSize":4,"audioURL":4,"caption":21816,"fileURL":4,"image":21817,"markDefs":4},"be2c5ea54e99","Made with a \"Basic\" program. The background shows a framework of bars in 4\u002F4 time. The triangles show starting times and durations (all determined by chance) of instruments. The numbers (1 to 12, also chosen according to a chance system) are for translating into pitches.",{"caption":4,"id":21818,"meta":21819,"parentID":4,"parentType":510,"url":21822},"b475bf589df49fd01fa9245944ef99d5636ca8b2",{"_type":506,"aspectRatio":21820,"height":7433,"width":21821},1.3989547038327526,803,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fb475bf589df49fd01fa9245944ef99d5636ca8b2-803x574.jpg",{"_key":21824,"_type":9,"audioSize":4,"audioURL":4,"children":21825,"fileURL":4,"image":4,"markDefs":21830,"style":18},"5fe93957961c",[21826],{"_key":21827,"_type":13,"marks":21828,"text":21829},"a4827b2642ba",[],"This information was used several times during the work but notably in the introduction to the third text (movement 1).",[],{"_key":21832,"_type":9,"audioSize":4,"audioURL":4,"children":21833,"fileURL":4,"image":4,"markDefs":21838,"style":18},"5f805c7bdf37",[21834],{"_key":21835,"_type":13,"marks":21836,"text":21837},"1cf4a416cc99",[],"Here are the computer sounds for the three movements, followed by the Full Score, Parts and the Piano Score (for rehearsing with the soloists)",[],{"_key":21840,"_type":9,"audioSize":4,"audioURL":4,"children":21841,"fileURL":4,"image":4,"markDefs":21845,"style":18},"73fd0883bd60",[21842],{"_key":21843,"_type":13,"marks":21844,"text":25},"e18501627272",[],[],{"_key":21847,"_type":423,"audio":21848,"audioSize":21851,"audioURL":21852,"caption":21853,"fileURL":4,"image":4,"markDefs":4},"ac80cce69dab",{"_type":416,"asset":21849},{"_ref":21850,"_type":324},"file-ba0db51162015f0ff2ab687e2120f0cd4b22cda5-mp3",13243036,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fba0db51162015f0ff2ab687e2120f0cd4b22cda5.mp3","Symphonic Reflections 1 (computer 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sounds)",{"_key":21892,"_type":9,"audioSize":4,"audioURL":4,"children":21893,"fileURL":4,"image":4,"markDefs":21897,"style":18},"d0d82f975105",[21894],{"_key":21895,"_type":13,"marks":21896,"text":25},"5836d4b0f40d",[],[],{"_key":21899,"_type":413,"audioSize":4,"audioURL":4,"description":21900,"file":21901,"fileURL":21904,"image":4,"markDefs":4},"66fa79c6a270","Symphonic Reflections Full Score",{"_type":416,"asset":21902},{"_ref":21903,"_type":324},"file-d3cf4119186339ef4debc4bed5c17a28fdc45748-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fd3cf4119186339ef4debc4bed5c17a28fdc45748.pdf",{"_key":21906,"_type":9,"audioSize":4,"audioURL":4,"children":21907,"fileURL":4,"image":4,"markDefs":21911,"style":18},"0aeb6bc6ab0c",[21908],{"_key":21909,"_type":13,"marks":21910,"text":25},"1eebd5c02990",[],[],{"_key":21913,"_type":413,"audioSize":4,"audioURL":4,"description":21914,"file":21915,"fileURL":21918,"image":4,"markDefs":4},"b9be690cd7e6","Symphonic Reflections Piano Score",{"_type":416,"asset":21916},{"_ref":21917,"_type":324},"file-e75f025ae29b8e5c99b44fa9975d648b6695c670-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fe75f025ae29b8e5c99b44fa9975d648b6695c670.pdf",{"_key":21920,"_type":9,"audioSize":4,"audioURL":4,"children":21921,"fileURL":4,"image":4,"markDefs":21925,"style":18},"5415a60e30f7",[21922],{"_key":21923,"_type":13,"marks":21924,"text":25},"ce8ac43ee43a",[],[],{"_key":21927,"_type":413,"audioSize":4,"audioURL":4,"description":21928,"file":21929,"fileURL":21754,"image":4,"markDefs":4},"128400cef83f"," Symphonic Reflections Parts",{"_type":416,"asset":21930},{"_ref":21753,"_type":324},[21932,21934,21936],{"caption":21775,"id":21777,"meta":21933,"parentID":21745,"parentType":510,"url":21782},{"_type":506,"aspectRatio":21779,"height":21780,"width":21781},{"caption":21800,"id":21802,"meta":21935,"parentID":21745,"parentType":510,"url":21805},{"_type":506,"aspectRatio":21804,"height":17886,"width":2585},{"caption":21816,"id":21818,"meta":21937,"parentID":21745,"parentType":510,"url":21822},{"_type":506,"aspectRatio":21820,"height":7433,"width":21821},"Symphonic Reflections is scored for two soloists (soprano and baritone) and a large orchestra. It is the most recent in a long line of collaborative works with the poet Michael Harlow\n\nThe nine Harlow texts are grouped in threes making three movements. The texts themselves are as the title suggests, reflective, thoughtful about everyday situations. If there is a common theme it is the feeling of wonder. This feeling is often accompanied in the music by a sequence of chords with strings, harp, piano and crotales which serves as an “idée fixe” throughout the work. This theme is heard for the first time at the end of the first song: bars 67 to 74, p. 14\n\n\n\nThe \"swarms of angels\" in Text 3 inspired me to make the following \"swarms of triangles\":\n\nThis information was used several times during the work but notably in the introduction to the third text (movement 1).\n\nHere are the computer sounds for the three movements, followed by the Full Score, Parts and the Piano Score (for rehearsing with the soloists)\n\n\n\n\n\n\n\n\n\n\n\n\n\n",{"_type":375,"current":21940},"symphonic-reflections",{"date":19237,"instrumentation":21942,"text":3405},"Soprano, Baritone and large Orchestra",124,{"_id":21945,"chapters":21946,"content":21947,"images":22041,"performances":22042,"rawPoem":4,"rawText":22047,"slug":22048,"title":22050,"workInfo":22051,"workNumber":22054},"e083fa3b-19eb-487d-8e72-e38020195462",[],[21948,21956,21982,21990,22000,22008,22016,22025,22033],{"_key":21949,"_type":9,"audioSize":4,"audioURL":4,"children":21950,"fileURL":4,"image":4,"markDefs":21955,"style":18},"7f281d504aef",[21951],{"_key":21952,"_type":13,"marks":21953,"text":21954},"bebec20e55fc",[],"I was delighted to find these pieces recently—quite by chance! Unfortunately I don’t remember any details of how I made them. According to my computer they were written in 2011.",[],{"_key":21957,"_type":9,"audioSize":4,"audioURL":4,"children":21958,"fileURL":4,"image":4,"markDefs":21977,"style":18},"7f7f7414ba49",[21959,21963,21968,21972],{"_key":21960,"_type":13,"marks":21961,"text":21962},"d45ad7d4a26d0",[],"I have dedicated them to my pianist friend ",{"_key":21964,"_type":13,"marks":21965,"text":21967},"d45ad7d4a26d1",[21966],"842cc01ffccf","Tomas Dratva",{"_key":21969,"_type":13,"marks":21970,"text":21971},"d45ad7d4a26d2",[],". See also ",{"_key":21973,"_type":13,"marks":21974,"text":21976},"d45ad7d4a26d3",[21975],"708a5ebf3916","Pianoversal",[21978,21980],{"_key":21966,"_type":316,"href":21979},"http:\u002F\u002Fwww.tomasdratva.com\u002F",{"_key":21975,"_type":316,"href":21981},"https:\u002F\u002Fwww.pianoversal.com\u002F",{"_key":21983,"_type":9,"audioSize":4,"audioURL":4,"children":21984,"fileURL":4,"image":4,"markDefs":21989,"style":18},"89203f16ed75",[21985],{"_key":21986,"_type":13,"marks":21987,"text":21988},"2694c2bce0440",[],"Tomas premièred them in Aarau in October 2018. Here are the live recordings from that concert which he kindly agreed to my showing here:",[],{"_key":21991,"_type":423,"alt":21992,"audio":21993,"audioSize":21996,"audioURL":21997,"caption":21998,"fileURL":4,"image":4,"markDefs":4,"musicians":21999},"c4fdde39d1ba","Short Chance Piece 1",{"_type":416,"asset":21994},{"_ref":21995,"_type":324},"file-c074a8fc7b5424fcab02de835c0a522571552679-mp3",1171330,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fc074a8fc7b5424fcab02de835c0a522571552679.mp3","Short Chance Piece 1 ","Tomas Dratva (Piano)",{"_key":22001,"_type":423,"alt":22002,"audio":22003,"audioSize":22006,"audioURL":22007,"caption":22002,"fileURL":4,"image":4,"markDefs":4,"musicians":21999},"64c27c85a210","Short Chance Piece 2",{"_type":416,"asset":22004},{"_ref":22005,"_type":324},"file-b67bcc5c836d866ebe54eab1c42882d2f3446a65-mp3",1965975,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fb67bcc5c836d866ebe54eab1c42882d2f3446a65.mp3",{"_key":22009,"_type":423,"alt":22010,"audio":22011,"audioSize":22014,"audioURL":22015,"caption":22010,"fileURL":4,"image":4,"markDefs":4,"musicians":21999},"e2c87afa184f","Short Chance Piece 3",{"_type":416,"asset":22012},{"_ref":22013,"_type":324},"file-1c68bccd9c44ad12b31dee300b25f913def0b54a-mp3",1003102,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F1c68bccd9c44ad12b31dee300b25f913def0b54a.mp3",{"_key":22017,"_type":423,"alt":22018,"audio":22019,"audioSize":22022,"audioURL":22023,"caption":22024,"fileURL":4,"image":4,"markDefs":4,"musicians":21999},"50e2dbc3bcdd","Short Chance Piece 4",{"_type":416,"asset":22020},{"_ref":22021,"_type":324},"file-f05b2ee056ae8ff5fac68b924c6a062dc48a5ecf-mp3",3104391,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Ff05b2ee056ae8ff5fac68b924c6a062dc48a5ecf.mp3","Short Chance Piece 4 ",{"_key":22026,"_type":423,"alt":22027,"audio":22028,"audioSize":22031,"audioURL":22032,"caption":22027,"fileURL":4,"image":4,"markDefs":4,"musicians":21999},"f83ec191411d","Short Chance Piece 5",{"_type":416,"asset":22029},{"_ref":22030,"_type":324},"file-9882d06e469024f88ec30f7ff760385fc16c8f54-mp3",1597126,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F9882d06e469024f88ec30f7ff760385fc16c8f54.mp3",{"_key":22034,"_type":413,"audioSize":4,"audioURL":4,"description":22035,"file":22036,"fileURL":22039,"filename":22040,"image":4,"markDefs":4},"d24c12044a25","Short Chance Pieces for Piano",{"_type":416,"asset":22037},{"_ref":22038,"_type":324},"file-42c03a7f13abd8d4f69bf62295c255f8b10c6d55-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F42c03a7f13abd8d4f69bf62295c255f8b10c6d55.pdf","Short Chance Pieces for Piano.pdf",[],[22043],{"_key":22044,"_type":366,"date":21736,"location":15011,"performers":22045,"title":22046},"08c38cc8f2aa","Tomas Dratva, Piano","inmusic pianolounge aarau","I was delighted to find these pieces recently—quite by chance! Unfortunately I don’t remember any details of how I made them. According to my computer they were written in 2011.\n\nI have dedicated them to my pianist friend Tomas Dratva. See also Pianoversal\n\nTomas premièred them in Aarau in October 2018. Here are the live recordings from that concert which he kindly agreed to my showing here:",{"_type":375,"current":22049},"5-short-chance-pieces-for-piano","5 Short Chance Pieces for Piano",{"date":22052,"dedicated":21967,"endDate":19237,"instrumentation":22053,"length":883},"2011-01-01","Piano",125,{"_id":22056,"chapters":22057,"content":22058,"images":22125,"performances":22128,"rawPoem":4,"rawText":22133,"slug":22134,"title":22136,"workInfo":22137,"workNumber":22141},"4c552e57-f261-4d1d-bda0-5d5f908cdd3b",[],[22059,22074,22084,22092,22100,22108,22117],{"_key":22060,"_type":9,"audioSize":4,"audioURL":4,"children":22061,"fileURL":4,"image":4,"markDefs":22071,"style":18},"c6cfbd8dab89",[22062,22067],{"_key":22063,"_type":13,"marks":22064,"text":22066},"77a3078dbcee",[22065],"c378dc5dba93","Neil",{"_key":22068,"_type":13,"marks":22069,"text":22070},"9234e7a766d8",[]," and I met in 1955 at Victoria University in Wellington and we both graduated with MSc in mathematics (he with honours and I with a bare pass!)",[22072],{"_key":22065,"_type":316,"href":22073},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FNeil_Ashcroft",{"_key":22075,"_type":500,"audioSize":4,"audioURL":4,"caption":22076,"fileURL":4,"image":22077,"markDefs":4},"8a997332c7d2","Neil and Kit ca. 1959, at the capping ceremony in Wellington",{"caption":4,"id":22078,"meta":22079,"parentID":4,"parentType":510,"url":22083},"de4f6bddb93858dbb97e4fe32b93320ab0dafae6",{"_type":506,"aspectRatio":22080,"height":22081,"width":22082},1.341842397336293,901,1209,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fde4f6bddb93858dbb97e4fe32b93320ab0dafae6-1209x901.jpg",{"_key":22085,"_type":9,"audioSize":4,"audioURL":4,"children":22086,"fileURL":4,"image":4,"markDefs":22091,"style":18},"96258153436a",[22087],{"_key":22088,"_type":13,"marks":22089,"text":22090},"07fa99d8b221",[],"Thereafter our paths went in different directions but we kept in contact throughout the rest of our lives. After his doctorate in Cambridge (GB) he and Judith (also from our maths class at VUW) moved to Ithaca (NY State) where he was Professor of Solid State Physics at Cornell University and where he remained for the rest of his life. One of his colleagues at the university was Professor Robert Pohl. Neil's son Robert wrote in the program to the Neil Ashcroft Memorial Concert in Wellington on the 8 August 2021: \"The Ashcrofts and the Pohls became close family friends, meaning that Neil knew Helene Pohl, first violinist of the NZ String Quartet, almost her entire life. … So, in thinking of a way to give a little bit back to New Zealand for all it provided to Neil, it seemed natural to work with the New Zealand String Quartet and sponsor this free concert\". ",[],{"_key":22093,"_type":9,"audioSize":4,"audioURL":4,"children":22094,"fileURL":4,"image":4,"markDefs":22099,"style":18},"631a8451c812",[22095],{"_key":22096,"_type":13,"marks":22097,"text":22098},"862adeee8807",[],"The concert was planned with two Beethoven quartets: Op 18\u002F1 and Op 135. I then wrote to Judith suggesting this present piece which she and the quartet immediately accepted. ",[],{"_key":22101,"_type":9,"audioSize":4,"audioURL":4,"children":22102,"fileURL":4,"image":4,"markDefs":22107,"style":18},"60791934b795",[22103],{"_key":22104,"_type":13,"marks":22105,"text":22106},"1fedb2ed2443",[],"(see further notes to the music in the preamble to the score)",[],{"_key":22109,"_type":423,"audio":22110,"audioSize":22113,"audioURL":22114,"caption":22115,"fileURL":4,"image":4,"markDefs":4,"musicians":22116},"13c2a88168c4",{"_type":416,"asset":22111},{"_ref":22112,"_type":324},"file-2dc9cabc646765e03caccd2b5fc0336ee8e3208c-mp3",10706817,"https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F2dc9cabc646765e03caccd2b5fc0336ee8e3208c.mp3","\"In Memoriam NWA\" Audio recorded at The Public Trust Hall, Wellington, Sunday 8 August 2021, by Bruce Foster, audio and visual production for the New Zealand String Quartet.","NZ String Quartet, 2021",{"_key":22118,"_type":413,"audioSize":4,"audioURL":4,"description":22119,"file":22120,"fileURL":22123,"filename":22124,"image":4,"markDefs":4},"55d306af4bb9","In Memoriam NWA - Full Score",{"_type":416,"asset":22121},{"_ref":22122,"_type":324},"file-dc7b288f08fe29fa269033bce58acef277a4a8f7-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fdc7b288f08fe29fa269033bce58acef277a4a8f7.pdf","In Memoriam NWA - Full Score.pdf",[22126],{"caption":22076,"id":22078,"meta":22127,"parentID":22056,"parentType":510,"url":22083},{"_type":506,"aspectRatio":22080,"height":22081,"width":22082},[22129],{"_key":22130,"_type":366,"date":17746,"location":22131,"performers":22132},"a4e8bd20f15f","Wellington New Zealand","New Zealand String Quartet","Neil and I met in 1955 at Victoria University in Wellington and we both graduated with MSc in mathematics (he with honours and I with a bare pass!)\n\nThereafter our paths went in different directions but we kept in contact throughout the rest of our lives. After his doctorate in Cambridge (GB) he and Judith (also from our maths class at VUW) moved to Ithaca (NY State) where he was Professor of Solid State Physics at Cornell University and where he remained for the rest of his life. One of his colleagues at the university was Professor Robert Pohl. Neil's son Robert wrote in the program to the Neil Ashcroft Memorial Concert in Wellington on the 8 August 2021: \"The Ashcrofts and the Pohls became close family friends, meaning that Neil knew Helene Pohl, first violinist of the NZ String Quartet, almost her entire life. … So, in thinking of a way to give a little bit back to New Zealand for all it provided to Neil, it seemed natural to work with the New Zealand String Quartet and sponsor this free concert\". \n\nThe concert was planned with two Beethoven quartets: Op 18\u002F1 and Op 135. I then wrote to Judith suggesting this present piece which she and the quartet immediately accepted. \n\n(see further notes to the music in the preamble to the score)",{"_type":375,"current":22135},"in-memoriam-nwa","In Memoriam NWA",{"commissioned":22138,"date":17746,"dedicated":22139,"instrumentation":22140,"length":713},"the Ashcroft family","Neil Ashcroft","string quartet",126,{"_id":22143,"chapters":22144,"content":22145,"images":22274,"performances":4,"rawPoem":4,"rawText":22287,"slug":22288,"title":22290,"workInfo":22291,"workNumber":22294},"60d294fc-5c02-45cd-a6cc-f3b4d1998dae",[],[22146,22165,22173,22183,22202,22210,22218,22225,22232,22239,22247,22255,22263],{"_key":22147,"_type":9,"audioSize":4,"audioURL":4,"children":22148,"fileURL":4,"image":4,"markDefs":22162,"style":18},"a3d2ab2f3c4a",[22149,22153,22158],{"_key":22150,"_type":13,"marks":22151,"text":22152},"821e97358ce20",[],"Film by Fabienne Steiner showing the building of the rammed earth ",{"_key":22154,"_type":13,"marks":22155,"text":22157},"9bdf025f0a75",[22156],"3694ac1c365a","Kiln Tower",{"_key":22159,"_type":13,"marks":22160,"text":22161},"6f4b9bc87aec",[]," in Cham, Canton Zug. ",[22163],{"_key":22156,"_type":316,"href":22164},"https:\u002F\u002Fofenturm.ch\u002F",{"_key":22166,"_type":9,"audioSize":4,"audioURL":4,"children":22167,"fileURL":4,"image":4,"markDefs":22172,"style":18},"5188707a30a5",[22168],{"_key":22169,"_type":13,"marks":22170,"text":22171},"3523bdcfb98c",[],"For the raw material used for the music, Brigitte and I visited the rammed earth factory in Brunnen, Canton Schwyz and recorded sounds made during the production of the rammed earth blocks. ",[],{"_key":22174,"_type":500,"audioSize":4,"audioURL":4,"caption":22175,"fileURL":4,"image":22176,"markDefs":4,"size":22182},"2f905a77805d","Kit recording sounds in the rammed earth factory in Brunnen, Switzerland, 20. 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March, Swiss Mountains",{"_key":22429,"text":22430},"13a9b051ee4c","4. April: Perugia 1",{"_key":22432,"text":22433},"9d0920a5be3b","5. May: Perugia 2",{"_key":22435,"text":22436},"48aaf4acd3ec","6. June, Perugia 3",{"_key":22438,"text":22439},"1d9b5eb0392e","7. July 1966: Naples, Orbetello, Siena",{"_key":22441,"text":22442},"5bae66c91ff5","8. August, Siena 1",{"_key":22444,"text":22445},"95d8ac33a7f6","9. September 1966: Siena, Zurich",{"_key":22447,"text":22448},"fc2a691ddf0a","10. October 1966: Zurich, Vienna\n",{"_key":22450,"text":22451},"0eeb035e094a","11. November 1966: Vienna, Zurich",{"_key":22453,"text":22454},"af0489f422a8","12. December 1966: Bülach, Honeymoon in Paris\n",{"_key":22456,"text":22457},"38de33e2dbf9","13. Epilogue 1967",[22459,22467,22475,22483,22495,22503,22510,22516,22524,22540,22548,22556,22564,22574,22582,22590,22598,22606,22614,22622,22631,22639,22647,22655,22663,22671,22687,22695,22703,22711,22719,22726,22732,22764,22803,22843,22928,22943,22953,22961,22993,23017,23033,23043,23058,23066,23074,23090,23114,23124,23140,23150,23198,23206,23214,23222,23238,23316,23325,23356,23365,23395,23404,23468,23478,23526,23533,23563,23570,23608,23618,23624,23640,23649,23657,23667,23675,23683,23691,23699,23707,23715,23723,23731,23739,23749,23757,23765,23773,23781,23789,23797,23804,23810,23818,23828,23856,23904,23935,23943,23951,23959,23966,24003,24019,24074,24082,24098,24108,24132,24150,24158,24174,24184,24192,24208,24215,24221,24229,24245,24252,24259,24267,24276,24284,24292,24300,24308,24316,24387,24419,24442,24458,24465,24471,24479,24490,24501,24509,24517,24525,24540,24561,24690,24706,24717,24728,24736,24744,24752,24763,24771,24787,24797,24805,24813,24824,24832,24840,24856,24864,24872,24880,24888,24897,24908,24919,24927,24935,24944,24952,24960,24971,24979,24987,24995,25006,25014,25022,25033,25041,25049,25057,25065,25073,25081,25117,25125,25133,25141,25149,25157,25168,25176,25184,25192,25200,25208,25224,25232,25240,25248,25256,25264,25272,25280,25291,25299,25307,25315,25323,25331,25339,25347,25355,25363,25372,25379,25385,25393,25401,25417,25427,25435,25443,25451,25459,25467,25478,25486,25494,25502,25510,25518,25526,25534,25542,25553,25561,25569,25577,25593,25601,25609,25619,25627,25635,25644,25651,25659,25667,25675,25683,25691,25699,25707,25715,25723,25731,25739,25747,25755,25763,25771,25782,25790,25798,25809,25817,25825,25840,25856,25866,25874,25884,25898,25906,25915,25923,25931,25939,25950,25958,25966,25974,25982,25990,25998,26006,26017,26025,26033,26041,26049,26064,26073,26096,26133,26142,26150,26173,26185,26208,26217,26232,26248,26264,26271,26277,26284,26292,26300,26308,26319,26327,26335,26343,26367,26375,26384,26392,26400,26429,26443,26454,26462,26473,26535,26557,26601,26611,26650,26660,26676,26691,26699,26707,26715,26723,26734,26750,26812,26820,26836,26844,26852,26862,26869,26877,26885,26896,26904,26912,26920,26928,26936,26944,26952,26960,26968,26976,26984,26995,27003,27011,27035,27043,27050,27056,27067,27078,27086,27094,27102,27110,27126,27134,27142,27152,27160,27170,27177,27185,27193,27201,27212,27220,27228,27236,27244,27252,27260,27268,27276,27284,27292,27300,27308,27316,27324,27332,27340,27349,27357,27365,27373,27381,27389,27397,27405,27413,27421,27429,27437,27445,27453,27461,27469,27477,27485,27493,27501,27509,27517,27525,27533,27549,27556,27562,27570,27578,27589,27597,27605,27613,27622,27630,27638,27646,27662,27670,27678,27686,27702,27709,27717,27724,27732,27740,27748,27756,27764,27772,27780,27788,27852,27863,27871,27882,27890,27901,27940,27947,27955,27963,28002,28010,28018,28025,28035,28043,28066,28075,28091,28143,28167,28175,28183,28247,28255,28263,28271,28282,28290,28298,28306,28314,28325,28405,28427,28435,28443,28451,28459,28467,28475,28483,28491,28499,28506,28513,28520,28526,28533,28540,28572,28581,28589,28604,28612,28620,28628,28636,28675,28683,28691,28700,28708,28715,28723,28731,28739,28747,28755,28762,28770,28778,28786,28794,28804,28812,28820,28828,28836,28844,28852,28860,28868,28876,28884,28892,28900,28908,28916,28924,28932,28940,28948,28963,28971,28979,28987,28995,29003,29010,29017,29023,29031,29039,29047,29055,29065,29072,29082,29090,29099,29107,29114,29124,29132,29139,29148,29156,29166,29174,29184,29192,29202,29210,29220,29228,29235,29244,29252,29262,29277,29284,29294,29302,29310,29317,29325,29348,29358,29366,29373,29381,29388,29398,29405,29411,29418,29426,29442,29450,29473,29482,29490,29499,29507,29515,29523,29530,29566,29574,29581,29620,29626,29634,29642,29652,29660,29676,29686,29693,29701,29710,29717,29725,29733,29743,29751,29760,29767,29775,29783,29794,29802,29810,29825,29833,29849,29857,29865,29873,29881,29889,29897,29936,29944,29952,29960,29971,29979,29987,30003,30019,30029,30037,30048,30056,30079,30087,30094,30102,30110,30118,30128,30144,30155,30166,30174,30182,30189,30200,30208,30219,30227,30235,30243,30250,30258,30266,30274,30285,30292,30300,30308,30316,30323,30331,30339,30347,30354,30361,30369,30377,30385,30393,30401,30408,30416,30424,30432,30440,30448,30456,30464,30471,30479,30487,30495,30503,30511,30519,30527,30535,30543,30551,30561,30569,30577,30584,30592,30600,30608,30616,30624,30632,30640,30648,30656,30666,30674,30682,30690,30698,30705,30713,30721,30728,30736,30744,30751,30759,30767,30775,30783,30790,30798,30806,30814,30822,30832,30840,30848,30856,30864,30872,30880,30887,30895,30903,30910,30917,30926,30934,30942,30950,30958,30966,30974,30983,30991,30999,31007,31015,31023,31031,31039,31047,31055,31063,31071,31079],{"_key":22460,"_type":9,"children":22461,"image":4,"markDefs":22466,"style":1358},"5dc5de8e2acd",[22462],{"_key":22463,"_type":13,"marks":22464,"text":22465},"134baf67305b0",[15],"1966",[],{"_key":22468,"_type":9,"children":22469,"image":4,"markDefs":22474,"style":18},"1265eefb9cc6",[22470],{"_key":22471,"_type":13,"marks":22472,"text":22473},"d28696dea12e",[15],"Chronicle of a Special Year",[],{"_key":22476,"_type":9,"children":22477,"image":4,"markDefs":22482,"style":18},"fbf4383c3864",[22478],{"_key":22479,"_type":13,"marks":22480,"text":22481},"c259985b038a0",[],"Brigitte & Kit",[],{"_key":22484,"_type":9,"children":22485,"image":4,"markDefs":22494,"style":18},"e1a51cdb4673",[22486,22490],{"_key":22487,"_type":13,"marks":22488,"text":22489},"4f67de1df78b0",[73],"„On ne voit bien qu‘avec le cœur. L‘essentiel est invisible pour les yeux.“ — ",{"_key":22491,"_type":13,"marks":22492,"text":22493},"4f67de1df78b1",[],"Le Petit Prince, chap. XXI",[],{"_key":22496,"_type":9,"children":22497,"image":4,"markDefs":22502,"style":18},"722d91828821",[22498],{"_key":22499,"_type":13,"marks":22500,"text":22501},"7c70022f1caa0",[],"Antoine de Saint-Exupéry (1900-1944)",[],{"_key":22504,"_type":9,"children":22505,"image":4,"markDefs":22509,"style":18},"48abd09070f2",[22506],{"_key":22507,"_type":13,"marks":22508,"text":25},"672b3e551a0a0",[],[],{"_key":22420,"_type":9,"children":22511,"image":4,"markDefs":22515,"style":6894},[22512],{"_key":22513,"_type":13,"marks":22514,"text":22421},"c90ab1cd67a50",[15],[],{"_key":22517,"_type":9,"children":22518,"image":4,"markDefs":22523,"style":18},"e15e9b8f2289",[22519],{"_key":22520,"_type":13,"marks":22521,"text":22522},"fdafef6e3e980",[],"\nA well known New Zealand disease is: “going overseas”, “doing the big trip” or as it was still called in the 60s “visiting the old country” or even “going home” (to Britain). It is a direct consequence of being planted on a couple of islands as remote as is possible from everywhere else in the world. The nearest neighbour, Australia, was in those days to all but the very rich, at least two days sailing away and if you went to the trouble to save enough to “go overseas” then rather a bit more for a bit further and rather not to a country with exactly the same culture and problems as New Zealand.",[],{"_key":22525,"_type":9,"children":22526,"image":4,"markDefs":22539,"style":18},"21a1807a7aa1",[22527,22531,22535],{"_key":22528,"_type":13,"marks":22529,"text":22530},"e08aca97c66d0",[],"After four years of teaching mathematics at Linwood High School, I had saved enough to be able to “do the big trip”, but in my case I was determined not to do what everybody else was doing. My aim was to learn more about my main passion: Composition. Although I could have done this very well in “the old country”, I was quite sure I wanted to do it somewhere else — anywhere else, where the culture would be different from everything I knew so far. My mother, Betty, had already done such a trip, a three months course of study at the University for Foreigners (",{"_key":22532,"_type":13,"marks":22533,"text":22534},"14f633ad32b61",[73],"L’Università per stranieri",{"_key":22536,"_type":13,"marks":22537,"text":22538},"14f633ad32b62",[],") in Perugia. She had returned from there a few years earlier and had started teaching Italian at Victoria University (in Wellington) and in so doing she was fulfilling a life long dream of involvement in an academic life. As I left the university with my science degree she had started her arts course and her enthusiasm for Italian language and culture had not only given her a first class degree, it had inspired me to learn the language too. ",[],{"_key":22541,"_type":9,"children":22542,"image":4,"markDefs":22547,"style":18},"cfff4dea9a32",[22543],{"_key":22544,"_type":13,"marks":22545,"text":22546},"222443cafa9b",[],"In the middle of December 1965 therefore, I boarded the “Fair Sky” with four hundred pounds in my pocket and a ticket to Italy where I would first extend my basic knowledge of the Italian language and then find an Italian composition teacher. My first choice of teacher was Luciano Berio in Milan, but Berio had already left for foreign shores and was working in America. The fact that I really didn’t know another name in Italy didn’t bother me too much, I was quite sure I would find someone.",[],{"_key":22549,"_type":9,"children":22550,"image":4,"markDefs":22555,"style":18},"3113f467a9ac",[22551],{"_key":22552,"_type":13,"marks":22553,"text":22554},"72e7d34421060",[],"On the wharf to see me off were my parents and a few friends:",[],{"_key":22557,"_type":9,"children":22558,"image":4,"markDefs":22563,"style":634},"69991c4e84c7",[22559],{"_key":22560,"_type":13,"marks":22561,"text":22562},"f6abdc57cee60",[],"But yes, it was awful, the departure from Wellington cos a ship goes away much more slowly than a plane. I left it till the very last moment to go on board. All went well and after a while I lost sight of the family and group of friends who were there all together in the middle of the enormous crowd. Then all of a sudden I saw Betty — she was waving her coat or something large. It was very funny and then very sad. I had to cry.",[],{"_key":22565,"_type":500,"alt":22566,"caption":22566,"image":22567,"markDefs":4},"e3218ad5b627","Leaving Wellington — photo: Tim Ashcroft",{"caption":4,"id":22568,"meta":22569,"parentID":4,"parentType":3456,"url":22573},"b30ad12132441be56f80d202bba255b80c93de4f",{"_type":506,"aspectRatio":22570,"height":22571,"width":22572},1.4141156462585034,1176,1663,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fb30ad12132441be56f80d202bba255b80c93de4f-1663x1176.jpg",{"_key":22575,"_type":9,"children":22576,"image":4,"markDefs":22581,"style":18},"c7785ac5bc25",[22577],{"_key":22578,"_type":13,"marks":22579,"text":22580},"ffd8b89698f50",[],"Two days later we reached Sydney and for one day we were allowed to roam the city. I found out that in fact Australia was quite different from New Zealand. It was bigger and hotter and had many more flies and the centre of Sydney was blessed with a most interesting modern architecture — tall buildings on slender supports, something I hadn’t seen in earthquake prone New Zealand. ",[],{"_key":22583,"_type":9,"children":22584,"image":4,"markDefs":22589,"style":18},"5e758d54c92d",[22585],{"_key":22586,"_type":13,"marks":22587,"text":22588},"8c0bcca438d6",[],"A few days later we sailed up the Brisbane river and stopped again for a whole day. This time I visited a sort of open zoo and saw my first kangaroos, emus and koalas. The hot dry eucalyptus smell was certainly not like New Zealand bush.",[],{"_key":22591,"_type":500,"image":22592,"markDefs":4},"db3cfdf2554d",{"caption":4,"id":22593,"meta":22594,"parentID":4,"parentType":3456,"url":22597},"7cf7e9d8a0db7c01ac255f0aeb549303062b43d9",{"_type":506,"aspectRatio":22595,"height":17356,"width":22596},1.1934826883910388,1172,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F7cf7e9d8a0db7c01ac255f0aeb549303062b43d9-1172x982.jpg",{"_key":22599,"_type":9,"children":22600,"image":4,"markDefs":22605,"style":18},"29937d8cf5d3",[22601],{"_key":22602,"_type":13,"marks":22603,"text":22604},"a99af3089e970",[],"From here the ship travelled further north between the mainland and the Great Barrier Reef, rounded the corner at the top of Australia and headed through tropical waters towards Singapore. I was delighted with shipboard life, we celebrated Christmas, New Year and Crossing the Equator all in quick succession. I found lots of interesting people to talk to, to eat and dance with. Dancing on board was particularly amusing, because if the ship rolled a little all the dancers could find themselves suddenly in a pile on one side of the dance floor.",[],{"_key":22607,"_type":9,"children":22608,"image":4,"markDefs":22613,"style":18},"418287a11bc2",[22609],{"_key":22610,"_type":13,"marks":22611,"text":22612},"121656c2c43d0",[],"Since it was an Italian ship there were Italian lessons offered which I was delighted to take part in and I also tried to overhear what the crew members were talking about together. I was bitterly disappointed; I understood not one word. Later I heard that most of the crew were Sicilians and therefore had been speaking their dialect. I also got to know Jenny and Peter Murray who were on their way to Britain to further their studies, Peter as an English doctoral student with special interest in Jonathon Swift and Jenny a historian.",[],{"_key":22615,"_type":9,"children":22616,"image":4,"markDefs":22621,"style":18},"309c21011973",[22617],{"_key":22618,"_type":13,"marks":22619,"text":22620},"1c285387e22b0",[],"Singapore was the first really foreign port. Everything was different: the climate (unbearably hot and damp), the Chinesey faces, the busy clean look. I joined a tour which took us to the botanic gardens where we were suddenly surprised by monkeys which descended on us out of the trees like trapeze acrobats. These were rhesus monkeys we were told and it was here in Singapore that the original work on blood groups was done with monkeys of this species, which gave its name to the Rh factor.",[],{"_key":22623,"_type":500,"image":22624,"markDefs":4},"ea8d4373fa62",{"caption":4,"id":22625,"meta":22626,"parentID":4,"parentType":3456,"url":22630},"583cca25271f521919a31771de51623018133607",{"_type":506,"aspectRatio":22627,"height":22628,"width":22629},1.3111111111111111,900,1180,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F583cca25271f521919a31771de51623018133607-1180x900.jpg",{"_key":22632,"_type":9,"children":22633,"image":4,"markDefs":22638,"style":18},"2c6f991ca9bb",[22634],{"_key":22635,"_type":13,"marks":22636,"text":22637},"fcdc38d573fc0",[],"From Singapore there was now another long sail to Colombo (where I was shocked to see a taxi driver lean out of his car and spit blood red onto the pavement — not knowing it was betel nut, I thought he had some terrible disease!) and a further even longer stretch to Aden, the largest city of Yemen at the foot of the Saudi peninsular. Here we were warned not to go ashore but I was too curious to stay on the ship the whole day. I was fascinated with this poor dry country where people often had their beds on the street and were anxious to sell us the little that they had. There was a very strong military presence and people and cars were often stopped and searched. I returned to the ship in the evening thankful to be still in one piece but delighted with these new experiences. As we sailed away into the Red Sea I looked back on the city with its backdrop of a stone mountain riddled with holes and completely void of green. Here was a culture much older than anything I had seen before but apparently without the barest essentials (vegetation and water) that a culture needed.",[],{"_key":22640,"_type":500,"image":22641,"markDefs":4},"c9b53e6cba5d",{"caption":4,"id":22642,"meta":22643,"parentID":4,"parentType":3456,"url":22646},"ce7e408f6c37e111fa12a8e3a08fa470cb3c2e20",{"_type":506,"aspectRatio":22644,"height":22645,"width":22571},1.3213483146067415,890,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fce7e408f6c37e111fa12a8e3a08fa470cb3c2e20-1176x890.jpg",{"_key":22648,"_type":9,"children":22649,"image":4,"markDefs":22654,"style":18},"9b3c9eff8192",[22650],{"_key":22651,"_type":13,"marks":22652,"text":22653},"39fad67f9e390",[],"The Red Sea although no different in colour from the other seas was comforting in that land was always in sight. It can be very disturbing sailing for weeks without being able to see land and one wonders how our forefathers managed with this problem, who travelled from the “old country” in sailing vessels which took about three times as long as modern ships. No doubt the strict discipline of shipboard life, cleaning, preparing food and taking part in the church services three times a day would have helped to distract them from the psychological stress of the endless ocean.",[],{"_key":22656,"_type":9,"children":22657,"image":4,"markDefs":22662,"style":18},"e20b58772d0d",[22658],{"_key":22659,"_type":13,"marks":22660,"text":22661},"5dfd210036140",[],"Before we reached the Suez Canal we were informed that those who wished to visit Cairo could leave the ship at the Port of Suez, travel by bus to Cairo, visit the Pyramids, Sphinx and Cairo Museum and then go on by bus to Port Said to pick up the boat again after its passage through the Canal. It was a difficult decision because, attractive as the trip was, it meant forgoing the experience of the Canal itself. But I decided on Cairo and set out in a full bus through the dry treeless landscape. Next to me sat a girl who after an hour or so confided in me that she needed to go to the lavatory. It was obviously quite urgent or she would never have spoken of such a thing. I offered to go to the driver and ask him to stop. She looked out again at the desert on all sides and it was painfully clear that there was not the slightest shelter for her to relieve herself without being in full view of everyone in the bus. She refused my offer. After that she spoke very little and tried as best she could to bare the pain. Before we arrived in the city, tears were rolling down her cheeks.",[],{"_key":22664,"_type":9,"children":22665,"image":4,"markDefs":22670,"style":18},"b6104c3a4f03",[22666],{"_key":22667,"_type":13,"marks":22668,"text":22669},"5a877d7bfbae0",[],"Although very commercial the Pyramids were most impressive. The pictures we had seen at school of slaves pulling these massive blocks of stone, rolling them over tree trunks, up slopes of earth that would later be removed, had given me no real idea of the enormity of the task. And about how the blocks were cut in the first place nobody had ever spoken. We were taken as a group into the bowels of one of these World Wonders, a long dark passage with even longer staircases to reach the burial chamber of some long forgotten and long plundered pharaoh. Leaving this chamber and returning down the stairs was (for me at least) a more difficult operation since it had obviously been constructed for much smaller people (which makes the miracle of its construction even greater). There was almost no light and one had to grope as best one could, holding a railing with one hand and feeling for the steps with the feet and at the same time doubled over forwards because of the low ceiling. In this rather uncomfortable attitude I heard something drop very close to me and immediately after noticed something soft on the step I was about to place my foot on. I bent down and picked up the object. It was my own passport which I had fondly imagined to be very safely stored in the inside pocket of my jacket. But because of my bent-over stance it had been free to drop out and lose itself in an Egyptian pyramid had I not by chance felt it with my foot.",[],{"_key":22672,"_type":9,"children":22673,"image":4,"markDefs":22686,"style":18},"72ca872e483c",[22674,22678,22682],{"_key":22675,"_type":13,"marks":22676,"text":22677},"851caa7f63580",[],"After a camel ride we drove off to the city centre to visit the Cairo Museum. At this time it was very difficult to assess what this place had to offer. It promised to offer very much, but it was so badly exhibited that it was almost impossible to see the wood for the trees. If a tenth of the objects had been well set out, one would have come away with a much more positive feeling of having learnt something about ancient Egypt. So we left the museum rather despondently and gathered in a street café where the locals were drinking coffee. One elderly gentleman addressed us in beautiful English and asked where we came from. We were all New Zealanders. “Ah”, he said, “you’re pakeha” (",{"_key":22679,"_type":13,"marks":22680,"text":22681},"4d7f27e1517f1",[73],"pakeha",{"_key":22683,"_type":13,"marks":22684,"text":22685},"4d7f27e1517f2",[]," = non-Maori). To hear this Maori word outside New Zealand was very unexpected. But he went on to explain. The Maori battalion had been stationed in Cairo during the war. From there they left to fight the Germans under the legendary General Rommel, the “Desert Fox”. The Maoris obviously had had the sympathy of the Egyptian people. The elderly man went on to defend them, even although nothing had been levelled against them. We assumed that sometimes their behaviour had been a bit rough, a bit too boisterous for guests in a foreign country. “But if you knew” he went on, “that you may not return from the next battle, you would also want to enjoy your last sure moment of freedom”. We all sat there, admiring his wisdom and being proud to be from the same country as this famous battalion.",[],{"_key":22688,"_type":9,"children":22689,"image":4,"markDefs":22694,"style":18},"1f775ecb9e5a",[22690],{"_key":22691,"_type":13,"marks":22692,"text":22693},"94569ec2f8720",[],"Before we left Cairo we were told that the plans had been changed. Since our ship was still waiting in a queue to enter the Suez Canal and we would therefore return to Suez and be on board for the trip through the canal.",[],{"_key":22696,"_type":9,"children":22697,"image":4,"markDefs":22702,"style":18},"c77d87b3d64e",[22698],{"_key":22699,"_type":13,"marks":22700,"text":22701},"f9740d7ab12d0",[],"I was very excited and was up before dawn keeping watch over every movement the ship made. It was so big and the canal so narrow it was hard to imagine that it could possibly fit. Of course it did, but there was no room for passing or overtaking. For this there were “parking bays” something that looked totally surrealistic: a ship parked in the desert. Alongside the canal there was a narrow strip of green and beyond as far as the eye could see sand and more sand. And then like an apparition with its under parts covered by sand dunes, a waiting ship. The passage took a full day so I was eventually forced to go to bed and when I awoke next morning there were the happy painted cascades of coloured buildings in Port Said. We had entered the Mediterranean.",[],{"_key":22704,"_type":9,"children":22705,"image":4,"markDefs":22710,"style":18},"e81dd310070b",[22706],{"_key":22707,"_type":13,"marks":22708,"text":22709},"570200f3eb030",[],"And we had also entered winter, not bitterly cold but it was the end of the swimming pool on board and the beginning of pullovers and jackets. The ship sailed northwest towards the Straits of Messina and just before Naples there was one last surprise: Stromboli was active: This island volcano was glowing in the night with a stream of lava from the tip down to the sea.",[],{"_key":22712,"_type":9,"children":22713,"image":4,"markDefs":22718,"style":18},"484a84646900",[22714],{"_key":22715,"_type":13,"marks":22716,"text":22717},"b905083c23390",[],"I packed away my few possessions, said goodbye to Jenny and Peter Murray who would disembark in London and arranged to meet them again in Italy. Told the cabin steward that I was not prepared to carry his hubble-bubble through the customs for him and descended onto Italian soil.",[],{"_key":22720,"_type":9,"children":22721,"image":4,"markDefs":22725,"style":18},"71243c2518db",[22722],{"_key":22723,"_type":13,"marks":22724,"text":25},"7ee3c332156a",[],[],{"_key":22423,"_type":9,"children":22727,"image":4,"markDefs":22731,"style":6894},[22728],{"_key":22729,"_type":13,"marks":22730,"text":22424},"7d8cf6acc1c1",[15],[],{"_key":22733,"_type":9,"children":22734,"image":4,"markDefs":22763,"style":18},"32aaea655d03",[22735,22739,22743,22747,22751,22755,22759],{"_key":22736,"_type":13,"marks":22737,"text":22738},"20a1eb2b58af0",[],"On a cold sunny morning in early February I waved goodbye to my friends on board and set out on my own to discover Naples. The city was lively and friendly but it was ugly and poor and the scares of the war were still visible after more than twenty years. Rather than “dying for the sight of Naples” one was reminded of the corruption of this saying that came from the air force bombers of the second world war: “See Naples and dive”. There was hardly a block of the city near the harbour that didn’t still have a ruined building, a bombed out house. But it was the people who caught most of my attention, fishermen for instance who stood at the street corners with big gong shaped dishes of ",{"_key":22740,"_type":13,"marks":22741,"text":22742},"f23e94654d6e1",[73],"frutta di mare",{"_key":22744,"_type":13,"marks":22745,"text":22746},"f23e94654d6e2",[],": shellfish, sardines, ",{"_key":22748,"_type":13,"marks":22749,"text":22750},"4f41ec607d331",[73],"scampi",{"_key":22752,"_type":13,"marks":22753,"text":22754},"4f41ec607d332",[],", whatever was portable and could be kept alive for a few hours in a bowl of water. I was watching such a man standing alongside his wares, talking and gesticulating to a second man and then as I watched he bent down casually and picked up a shrimp and popped it into his own mouth. I had completely overlooked the fact that someone like myself, a fascinated, even a mildly shocked observer, was at least as interesting to him being observed as he was for me. He had seen me and he beckoned me with his finger. As I approached he dipped into his aquarium again and pulled out another shrimp which as I came closer, I could see struggling between his fingers. He motioned to me that I should eat it, and I knew I would have to try. I took it, felt its frightened movement in my mouth, chewed it and swallowed it as quickly as possible. I thanked him and left before he could offer anything else. Both men laughed uproariously and I pondered on having tried my first live ",{"_key":22756,"_type":13,"marks":22757,"text":22758},"1ac10c3bd6981",[73],"scampo",{"_key":22760,"_type":13,"marks":22761,"text":22762},"1ac10c3bd6982",[]," but on having absolutely no idea of how it had tasted.",[],{"_key":22765,"_type":9,"children":22766,"image":4,"markDefs":22802,"style":18},"06dfbfb2d937",[22767,22771,22775,22779,22783,22787,22791,22795,22798],{"_key":22768,"_type":13,"marks":22769,"text":22770},"298952a56b660",[],"One didn’t need to speak to be spoken to — everywhere I went people approached me and offered help even if it wasn’t required. A man in the vegetable market tried to teach me Italian: ",{"_key":22772,"_type":13,"marks":22773,"text":22774},"bab696e7db301",[73],"arrancia, limone",{"_key":22776,"_type":13,"marks":22777,"text":22778},"bab696e7db302",[]," — words I already knew, but he was not to be put off by such a minor detail. During this Italian lesson, I heard a loud noise, which sounded like a carnival and so I left the lesson politely and walked in the direction of these very shrill sounds. Soon I saw a parade of people blowing whistles and shouting. I asked someone what this was: “",{"_key":22780,"_type":13,"marks":22781,"text":22782},"c96f9d1530481",[73],"Oggi è scioppero",{"_key":22784,"_type":13,"marks":22785,"text":22786},"c96f9d1530482",[],"”, he said. I didn’t know this word ",{"_key":22788,"_type":13,"marks":22789,"text":22790},"e0bbde0fe9b51",[73],"scioppero",{"_key":22792,"_type":13,"marks":22793,"text":22794},"e0bbde0fe9b52",[]," so I looked it up quickly in my dictionary: Strike: “Today is strike”. How curious, almost like saying “today is market day”, something that happens every week — a strike every week?. This was in fact, sadly for Italy, not far from the truth. The word ",{"_key":22796,"_type":13,"marks":22797,"text":22790},"808002fd1de91",[73],{"_key":22799,"_type":13,"marks":22800,"text":22801},"808002fd1de92",[]," would be a frequently used part of my Italian vocabulary. What they were striking about I didn’t find out, instead I decided it was urgent for me to deposit my cases somewhere if I was to be able to see any more of the city. I asked a young man where the Youth Hostel was and he replied that he would take me there. This was something that happened a number of times when I asked directions in Naples. People seemed to have time to go on long walks. In this case it was a very long walk because the Youth Hostel was some kilometers away on a headland overlooking the sea and somewhat outside the city centre. We walked and talked, he helped carry my bags and at the end I looked for a coin to give him but this was evidently not what had motivated him to help me. I was later to be stolen from and cheated but there were many more Italians who were kindly just because they enjoyed company and this was evidently one of those. The Youth Hostel was almost empty, in fact I was lucky that it was open at all in mid winter. It was clean and comfortable and so I stayed there a couple of nights.",[],{"_key":22804,"_type":9,"children":22805,"image":4,"markDefs":22842,"style":18},"57ef88fae994",[22806,22810,22814,22818,22822,22826,22830,22834,22838],{"_key":22807,"_type":13,"marks":22808,"text":22809},"0ebd43fe71220",[],"There were two cultural things I knew to look out for in Naples, one was the city art gallery on ",{"_key":22811,"_type":13,"marks":22812,"text":22813},"aa290d6e51ab1",[73],"Capodimonte",{"_key":22815,"_type":13,"marks":22816,"text":22817},"aa290d6e51ab2",[]," (which hill was visible from most parts of the city) and the other was the opera house ",{"_key":22819,"_type":13,"marks":22820,"text":22821},"1e91a83db0411",[73],"San Carlo",{"_key":22823,"_type":13,"marks":22824,"text":22825},"1e91a83db0412",[],". I decided to look for this. I walked to the place where it should have been and found only a busy looking shopping area. I asked someone: ",{"_key":22827,"_type":13,"marks":22828,"text":22829},"e61240928b821",[73],"“Dov’è San Carlo?”, “è lì!”",{"_key":22831,"_type":13,"marks":22832,"text":22833},"e61240928b822",[]," he said and pointed into the middle of the busiest throng. I walked to where he had pointed and saw that it was indeed the entrance to the theatre. I enquired what was on today: “Lucrezia Borgia” by Donizetti. I’d never heard of this work although I did know that this lady was the daughter of one of the most infamous popes in the Renaissance. I bought a ticket for a seat in a ",{"_key":22835,"_type":13,"marks":22836,"text":22837},"27f3bf4a3aa61",[73],"loggia",{"_key":22839,"_type":13,"marks":22840,"text":22841},"27f3bf4a3aa62",[]," for that afternoon.",[],{"_key":22844,"_type":9,"children":22845,"image":4,"markDefs":22927,"style":18},"da4241a38d6e",[22846,22850,22853,22857,22861,22865,22868,22872,22876,22880,22884,22888,22892,22896,22900,22904,22908,22912,22915,22919,22923],{"_key":22847,"_type":13,"marks":22848,"text":22849},"1805487ab5420",[],"Each ",{"_key":22851,"_type":13,"marks":22852,"text":22837},"1805487ab5421",[73],{"_key":22854,"_type":13,"marks":22855,"text":22856},"1805487ab5422",[]," had about five or six seats and the loggias themselves formed a large curving wall opposite the stage. This meant that not only the stage was well visible but also the people sitting in the ",{"_key":22858,"_type":13,"marks":22859,"text":22860},"627b3175a1831",[73],"loggias",{"_key":22862,"_type":13,"marks":22863,"text":22864},"627b3175a1832",[]," on the other side. I have long since forgotten anything about the action or the music on stage but the action in my ",{"_key":22866,"_type":13,"marks":22867,"text":22837},"1f88271c10b60",[73],{"_key":22869,"_type":13,"marks":22870,"text":22871},"1f88271c10b61",[]," was unforgettable. The audience reminded me of a football audience at home. Everything that took place on the stage was followed and commented on with the same precision and passion of a rugby fan in New Zealand. Every aria was greeted with load applause and with shouts of “",{"_key":22873,"_type":13,"marks":22874,"text":22875},"1655fc9bf41a1",[73],"bravo",{"_key":22877,"_type":13,"marks":22878,"text":22879},"1655fc9bf41a2",[],"!” (for male singers), “",{"_key":22881,"_type":13,"marks":22882,"text":22883},"0ee5ddc639371",[73],"brava",{"_key":22885,"_type":13,"marks":22886,"text":22887},"0ee5ddc639372",[],"!” (for females) or for groups “",{"_key":22889,"_type":13,"marks":22890,"text":22891},"0ee5ddc639373",[73],"bravi",{"_key":22893,"_type":13,"marks":22894,"text":22895},"0ee5ddc639374",[],"!” or even “",{"_key":22897,"_type":13,"marks":22898,"text":22899},"0ee5ddc639375",[73],"brave",{"_key":22901,"_type":13,"marks":22902,"text":22903},"0ee5ddc639376",[],"!”. The man sitting next to me was especially excited and especially loud and kept me informed about all his opinions (although I understood very little of what he said). Suddenly after a particularly enthusiastic applause and vocal appraisal he jumped up, left the ",{"_key":22905,"_type":13,"marks":22906,"text":22907},"44de4089866d1",[73],"loggia ",{"_key":22909,"_type":13,"marks":22910,"text":22911},"525782d5dff70",[],"and was gone for some minutes. When he returned he explained: Someone in a ",{"_key":22913,"_type":13,"marks":22914,"text":22837},"f3594b9616f40",[73],{"_key":22916,"_type":13,"marks":22917,"text":22918},"f3594b9616f41",[]," on the other side had called out: “",{"_key":22920,"_type":13,"marks":22921,"text":22922},"f3594b9616f42",[73],"cane",{"_key":22924,"_type":13,"marks":22925,"text":22926},"f3594b9616f43",[],"!” (dog!) which didn’t agree at all with his assessment of the last aria and so he’d gone to have a private argument — all part of the Neapolitan opera game.",[],{"_key":22929,"_type":9,"children":22930,"image":4,"markDefs":22942,"style":18},"e60446270d1e",[22931,22935,22938],{"_key":22932,"_type":13,"marks":22933,"text":22934},"f1ae4a2ddd050",[],"The next station was the art museum ",{"_key":22936,"_type":13,"marks":22937,"text":22813},"f1ae4a2ddd051",[73],{"_key":22939,"_type":13,"marks":22940,"text":22941},"f1ae4a2ddd052",[],". When I now read the catalogue of works from this museum I am struck by what I did not see. But looking at pictures is more difficult than just opening the eyes in front of a picture. In general one sees only what one already knows. What one doesn’t know is therefore invisible. This is the only explanation I have for why I missed seeing works there by Masaccio and Caravaggio, two painters I was later to learn to appreciate greatly. I have had no formal training in art history, but my interest in music history had already widened to include painting and sculpture and before leaving New Zealand I had read Irving Stone’s book about Michelangelo “The Agony and the Ecstacy” which not only made me want to see as much as possible of Michelangelo but also gave me a strong interest in renaissance painting in general. I knew enough before going to this Neapolitan gallery that there would be no Michelangelo here, but I was hoping to see earlier renaissance painters, and of course I did. In fact one picture dominated my visit: It wasn’t even an Italian work, it was Breugel’s “Parable of the Blind Leading the Blind”. Why this should have had such an impact I still don’t know. It is a very fine picture, but there were certainly other good pictures there too. Curious is, that I didn’t know Breugel very well at all and yet I saw it! I did however know the biblical story which is so brilliantly portrayed and this must have helped me to see this work. Another important fact is that the picture is very un-Italian. It must have been very striking by contrast with all the other pictures — its pale sombre colours, its North European landscape and the figures themselves (frighteningly demented faces) are not Italian. Whatever the reason, this picture has remained with me, and all others have faded into obscurity.",[],{"_key":22944,"_type":500,"caption":22945,"image":22946,"markDefs":4},"96874f557f1e","Pieter Breughel the Elder: Parable of the Blind Leading the Blind, Capodimonte, Naples",{"caption":4,"id":22947,"meta":22948,"parentID":4,"parentType":3456,"url":22952},"67d844bf1969fdc3e39ba3d67b4b457982895baf",{"_type":506,"aspectRatio":22949,"height":22950,"width":22951},1.779585798816568,1352,2406,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F67d844bf1969fdc3e39ba3d67b4b457982895baf-2406x1352.jpg",{"_key":22954,"_type":9,"children":22955,"image":4,"markDefs":22960,"style":18},"31182758714b",[22956],{"_key":22957,"_type":13,"marks":22958,"text":22959},"f3220b3faea20",[],"The strong association with this picture was strengthened by a copy we had on our dining room wall in Christchurch in the 70s. I still like it very much, even although I now see (having seen much more Breugel in the mean time) that it is quite atypical of his work in general. Here the figures are large and in the foreground, the background of church and fields is relatively unimportant. Although his other more famous works do often have figures in the foreground (the musicians in the “Peasant Wedding” or the ploughman in “Icarus”) they are not the main object of the picture. Here, however, the figures are the picture and they are painted with a remarkable attention to detail giving us a social portrait of the poor people of thepainter’s day. Most have a scull cap as well as a “normal” hat, the men seem to be carrying all their possessions attached to their clothes — one can look into the picture and see more and more. In fact it fulfils one of the main criteria for good art in that one can always find something new in it, one can never know it totally, one can always be surprised by it.",[],{"_key":22962,"_type":9,"children":22963,"image":4,"markDefs":22992,"style":18},"34d180563503",[22964,22968,22972,22976,22980,22984,22988],{"_key":22965,"_type":13,"marks":22966,"text":22967},"cc8f22b06c740",[],"Before leaving Naples I decided to make a trip to Ischia. I had heard of this island in the Bay of Naples because I knew that the English composer Sir William Walton had a villa there. Just before leaving New Zealand I had met the New Zealand composer and harpist Dorothia Franchi who had talked to me about Walton. In the previous year Walton had visited New Zealand to conduct a performance of his “Belshazzar’s Feast”. Dorothia, who had played in the orchestra which he conducted, had given him a copy of the record “Six Carols for Christmas” which contained a work of hers and of mine. I thought, if he has a recording of a work of mine, then surely he would be pleased if I visited him! At the wharf in Ischia I looked around for a taxi, which would take me to Walton’s villa. All I could find was a ",{"_key":22969,"_type":13,"marks":22970,"text":22971},"fad02d3036221",[73],"furgoncino ",{"_key":22973,"_type":13,"marks":22974,"text":22975},"fad02d3036222",[],"(also called ",{"_key":22977,"_type":13,"marks":22978,"text":22979},"fad02d3036223",[73],"ape",{"_key":22981,"_type":13,"marks":22982,"text":22983},"fad02d3036224",[]," = bee), a cross between a motorbike and a delivery van. I squeezed into the only seat alongside the driver whose steering wheel was the handlebar of the motorbike part of this tiny vehicle. We bounced over narrow roads in this precipitous landscape to the side of the island most remote from the harbour. When we arrived at the villa I was surprised to hear the sounds of loud Italian pop music coming out of the garden. I rang the bell at the gate and after a minute a young man with a cultivated British accent opened the gate and greeted me. I knew well enough what Sir William looked like to know that this was not him. He explained that the composer had fallen ill and was in a hospital in London. As the noise from the gardener’s radio continued, he looked apologetically at me and said: These sounds would never be heard if the master were here. And so I climbed back into the ",{"_key":22985,"_type":13,"marks":22986,"text":22987},"f28bd7073a151",[73],"furgoncino",{"_key":22989,"_type":13,"marks":22990,"text":22991},"f28bd7073a152",[]," and wondered if it was not, in fact, a good thing that Sir William and I had not met. What would I have said to him, or asked him? I really hadn’t thought very clearly about what I had hoped to achieve by this visit and I (and he!) had been spared an embarrassing moment.",[],{"_key":22994,"_type":9,"children":22995,"image":4,"markDefs":23016,"style":18},"f1fbcb1fca64",[22996,23000,23004,23008,23012],{"_key":22997,"_type":13,"marks":22998,"text":22999},"a38e43f3f3c30",[],"My next station was Rome, the Eternal City. I was excited to make my first real contact with Michelangelo. I booked into the youth hostel and early next morningset out for the Vatican City. However the first thing was to go the Central Post Office for mail from home. Betty had agreed to write to me here c\u002Fo ",{"_key":23001,"_type":13,"marks":23002,"text":23003},"5def75b1a5731",[73],"posta restante",{"_key":23005,"_type":13,"marks":23006,"text":23007},"5def75b1a5732",[],". But Rome is enormous and a simple operation like going to the post office can take hours. To be sure I was moving in the right direction, I asked a boy on the street and, as I had experienced in Naples, instead of giving me instructions, he said he would show me the way. We walked and walked and I tried to talk to him as best I could. It seemed strange to me that a child of this age would be on the street at all at this time. I asked him why he wasn’t at school: ",{"_key":23009,"_type":13,"marks":23010,"text":23011},"4546d2730c5d1",[73],"Ho marinato la scuola",{"_key":23013,"_type":13,"marks":23014,"text":23015},"4546d2730c5d2",[]," (literally: I have marinated the school = I’ve wagged school). Like seeing only that which one has learnt to see, one hears only that which one has learnt to hear. No doubt much of what he spoke to me I didn’t hear, but once in my Italian lessons I had come across this curious expression which I was delighted to understand at this moment. Unfortunately I didn’t know enough Italian to ask why, or for how long, that would have to wait until later. He left me at the Post Office where I was rewarded with several letters from home.",[],{"_key":23018,"_type":9,"children":23019,"image":4,"markDefs":23032,"style":18},"0c6b76466b91",[23020,23024,23028],{"_key":23021,"_type":13,"marks":23022,"text":23023},"f82df9293abb0",[],"From here I found my own way to the Vatican. I knew what I wanted to see most and I was not disappointed: Michelangelo’s “",{"_key":23025,"_type":13,"marks":23026,"text":23027},"4c0337442f271",[73],"Pietà”",{"_key":23029,"_type":13,"marks":23030,"text":23031},"4c0337442f272",[],". It was a very emotional meeting — the first real contact with a work which I already knew so well from reading and from pictures. It was like finding a long lost friend — tears rolled down my face.",[],{"_key":23034,"_type":500,"caption":23035,"image":23036,"markDefs":4},"fa6cb41bef34","Michelangelo: La Pietà, St. Peters, Rome",{"caption":4,"id":23037,"meta":23038,"parentID":4,"parentType":3456,"url":23042},"b6e416f1b47a721f20ed6138d73afbdfc028a454",{"_type":506,"aspectRatio":23039,"height":23040,"width":23041},1.2676923076923077,1300,1648,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fb6e416f1b47a721f20ed6138d73afbdfc028a454-1648x1300.jpg",{"_key":23044,"_type":9,"children":23045,"image":4,"markDefs":23057,"style":18},"d7a24a26132d",[23046,23050,23053],{"_key":23047,"_type":13,"marks":23048,"text":23049},"e0d30316e0360",[],"But there was more Michelangelo to be seen — the Sistine Chapel. This was much more difficult to see and consequently a less emotional meeting than with the “",{"_key":23051,"_type":13,"marks":23052,"text":23027},"5384b68825a11",[73],{"_key":23054,"_type":13,"marks":23055,"text":23056},"5384b68825a12",[]," — all the frescos were so far away. Those on the ceiling were not only very distant, you had to crane your neck backwards to be able to see them at all.",[],{"_key":23059,"_type":9,"children":23060,"image":4,"markDefs":23065,"style":18},"95df5782ca3d",[23061],{"_key":23062,"_type":13,"marks":23063,"text":23064},"99cdb6a498ea0",[],"There were mirrors, which solved the neck problem, but then one was seeing a reflection (reversed image) and not the real thing. Some people had binoculars and lay on the pews gazing upwards. The “Last Judgement”, on the wall behind the altar was also wonderful (one single picture instead of a collection of scenes as the ceiling is) and could be seen without lying down or bending over backwards.",[],{"_key":23067,"_type":9,"children":23068,"image":4,"markDefs":23073,"style":18},"7595c88071e2",[23069],{"_key":23070,"_type":13,"marks":23071,"text":23072},"6accb7b24f310",[],"I was especially interested by the figure of “Minos” in the bottom right corner and by Bartholomew holding the the skin of Michelangelo. Twenty five years later we visited this chapel again with our children. What a different experience! There were now so many visitors that it was no longer quiet. In fact there was a priest on duty at the front whose sole job was to try to make people be quiet. In order to do this he had to make a louder noise, after which the crowd-noise subdued but then grew louder again until he was forced to call again: priest shouts, quietness and then crescendo, priest shouts again, quietness and then crescendo, and so on.",[],{"_key":23075,"_type":9,"children":23076,"image":4,"markDefs":23089,"style":18},"cc21e4b9a108",[23077,23081,23085],{"_key":23078,"_type":13,"marks":23079,"text":23080},"c31bd53114790",[],"The following morning I went to see “Moses” in ",{"_key":23082,"_type":13,"marks":23083,"text":23084},"c31bd53114791",[73],"San Pietro in Vincoli",{"_key":23086,"_type":13,"marks":23087,"text":23088},"c31bd53114792",[],". This Michelangelo sculpture shows Moses sitting, with horns like a devil, receiving the Commandments. Apparently the Hebrew was wrongly translated and the description of rays of light (divine inspiration?) that shone onto his head were translated as horns. Throughout the Renaissance he was always portrayed with horns. This is a huge piece and Moses looks truely authoratative, and quite capable of destroying any group of religious extremists being silly enough to worship a golden calf.",[],{"_key":23091,"_type":9,"children":23092,"image":4,"markDefs":23113,"style":18},"109e53dd361f",[23093,23097,23101,23105,23109],{"_key":23094,"_type":13,"marks":23095,"text":23096},"6555d55893540",[],"I went on to the ",{"_key":23098,"_type":13,"marks":23099,"text":23100},"6555d55893541",[73],"Galleria Borghese",{"_key":23102,"_type":13,"marks":23103,"text":23104},"6555d55893542",[],", not being quite sure what to expect. There was a wonderful Caravaggio ",{"_key":23106,"_type":13,"marks":23107,"text":23108},"2876772690831",[73],"chiaroscuro",{"_key":23110,"_type":13,"marks":23111,"text":23112},"2876772690832",[]," of St Jerome whose bald head on one side of the picture is nicely balanced by an inspirational skull on the other.",[],{"_key":23115,"_type":500,"caption":23116,"image":23117,"markDefs":4},"ed30fd539a4e","Caravaggio: St. Jerome, Galleria Borghese, Rome",{"caption":4,"id":23118,"meta":23119,"parentID":4,"parentType":3456,"url":23123},"54d8890de1d0d79ca9f86f429e1d4e1519c782b2",{"_type":506,"aspectRatio":23120,"height":23121,"width":23122},1.375763747454175,1964,2702,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F54d8890de1d0d79ca9f86f429e1d4e1519c782b2-2702x1964.jpg",{"_key":23125,"_type":9,"children":23126,"image":4,"markDefs":23139,"style":18},"7b8745de70db",[23127,23131,23135],{"_key":23128,"_type":13,"marks":23129,"text":23130},"cce3fdf964580",[],"This was the start of my interest in that controversial of all painters, Caravaggio. Unfortunately I didn’t realise that the works of his I would later admire most (“The Calling of Matthew”, “The Conversion of Paul”) were also here in Rome, so I missed them. The other work here in the ",{"_key":23132,"_type":13,"marks":23133,"text":23134},"662e594d70d31",[73],"Galleria Borghese ",{"_key":23136,"_type":13,"marks":23137,"text":23138},"662e594d70d32",[],"which I have never forgotten is Bernini’s “David”. I had prepared myself for Michelangelo’s “David” (about to throw the stone) and Donatello’s “David” (standing triumphantly over the severed head of Goliath) in Florence but here in Rome Bernini is showing us a David in full action just after the stone has been set in flight — body twisted round, the hand with the sling behind his right leg which is thrust forward and most memorable of all, his face is grim with tension and concentration and he is biting his lower lip.",[],{"_key":23141,"_type":500,"caption":23142,"image":23143,"markDefs":4},"61a6d3edb256","David: Michelangelo (ca. 1504)     Bernini (ca. 1624)       Donatello (ca. 1430)",{"caption":4,"id":23144,"meta":23145,"parentID":4,"parentType":3456,"url":23149},"2a358505d51d4515cc250521b85db68fc6b7b084",{"_type":506,"aspectRatio":23146,"height":23147,"width":23148},1.6961206896551724,928,1574,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F2a358505d51d4515cc250521b85db68fc6b7b084-1574x928.jpg",{"_key":23151,"_type":9,"children":23152,"image":4,"markDefs":23197,"style":18},"00fa76e3fc9f",[23153,23157,23161,23165,23169,23173,23177,23181,23185,23189,23193],{"_key":23154,"_type":13,"marks":23155,"text":23156},"0f0150f94de30",[],"The next day I kept away from galleries. I walked to the Coliseum and I walked to the Forum Romanum and I walked to the Pantheon and I was exhausted. About three o’clock I found myself near the Tiber and the ",{"_key":23158,"_type":13,"marks":23159,"text":23160},"da8df4c3bc461",[73],"Castello Sant’Angelo",{"_key":23162,"_type":13,"marks":23163,"text":23164},"da8df4c3bc462",[]," looking for somewhere to sit down. There was of course nowhere, but then I heard a voice, an American voice, asking if I spoke English. It came from a small Italian car that had pulled up not far away. I wandered over to the car and the man explained his problem: he needed someone who spoke English and Italian — Could I speak Italian? I said I could and he suggested I might like to sit in the back of the car and act as interpreter for him. Never was I so pleased to sit down! He wanted to goto General Motors and he was being driven by an Italian who didn’t understand English — could I tell the driver where he wanted to go? I tried something like ",{"_key":23166,"_type":13,"marks":23167,"text":23168},"3788780a007e0",[73],"Generali Motori ",{"_key":23170,"_type":13,"marks":23171,"text":23172},"3788780a007e1",[],"and immediately the driver understood and we set off through the winding narrow streets for ",{"_key":23174,"_type":13,"marks":23175,"text":23176},"e1a47f4b85241",[73],"Generali Motori",{"_key":23178,"_type":13,"marks":23179,"text":23180},"e1a47f4b85242",[],". We arrived somewhere — I had no idea where — and the American got out of the car and disappeared into the crowd on the footpath. As soon as he was gone the Italian started to explain to me how he came from a town on the coast and every day he went to ",{"_key":23182,"_type":13,"marks":23183,"text":23184},"f503f9d51d491",[73],"Fumicino Airport",{"_key":23186,"_type":13,"marks":23187,"text":23188},"f503f9d51d492",[]," with his tiny car to try to get work as a private taxi driver. In this case he had had the misfortune to be hired by a man he couldn’t understand (all this in good Italian). After about 10 minutes the American returned and said that the General Motors Office was shut and he hadn’t been able to get the money he had hoped to. The problem was that he had been on a trip to South Africa buying diamonds. The plane had stopped in Italy and his diamonds had been confiscated by the authorities and he required about $1000 to get them back. I didn’t really understand all this but then it didn’t concern me, I was just the translator, so I tried to tell the Italian as best I could what the other had said. He was very interested. The American went on to say that fortunately he had three large diamonds on his person, which he had managed to smuggle out and he wondered if the Italian would be interested in giving him the money he needed — he could pay him with these diamonds which were much more valuable. Again I translated and the Italian grew even more interested. The only trouble was that he would have to travel all the way back to the coast and then back to ",{"_key":23190,"_type":13,"marks":23191,"text":23192},"b2049df029a61",[73],"Fumicino",{"_key":23194,"_type":13,"marks":23195,"text":23196},"b2049df029a62",[]," by which time the American’s flight would already have left. Then the American turned to me and said that perhaps I could help, did I have any money? If I was prepared to help just until this evening, I could keep the diamonds as security, and the Italian would arrange to meet me later tonight with the money. I didn’t care much about helping the American but the Italian seemed a very nice man and if he was so keen to have these diamonds, I decided I would help him. The American scribbled away on a small block of paper converting pounds to lire to dollars until it seemed in the end that my contribution, together with the little he had himself, would be enough to save the situation. They took me to a bank where I changed NZ£200.- in travellers’ cheques (half my total fortune) into Italian lire. In those days Italian paper money was enormous, one really had the feeling of having a lot of money and I came out and exchanged it for the three large diamonds wrapped loosely in soft paper. The Italian and I agreed to meet between 7 and 8 pm in a nearby restaurant and off the two went waving almost too friendlily. ",[],{"_key":23199,"_type":9,"children":23200,"image":4,"markDefs":23205,"style":18},"8a06d1e7a6f7",[23201],{"_key":23202,"_type":13,"marks":23203,"text":23204},"42d9000a832e",[],"Although I was far less tired than before, a new discomfort was descending on me, so I walked to the railway station and hired a cabin to take a shower. There in front of the mirror I took out my new diamonds and tested them. I knew that real diamonds were harder than glass and so very discretely I made a tiny scratch on the side of the mirror. The test worked positively. Nevertheless a nagging doubt remained. At 7pm I returned to the meeting place and waited. How long I waited I can’t remember, probably until 9pm but no nice Italian ever showed his face there and so I returned to the Youth Hostel and the next day I left Rome for Florence.",[],{"_key":23207,"_type":9,"children":23208,"image":4,"markDefs":23213,"style":18},"3c5de04b7166",[23209],{"_key":23210,"_type":13,"marks":23211,"text":23212},"5d271420ed690",[],"I’ve often thought about this story and about what it should have taught me. There’s no doubt I’m a little more careful now than I was then but in spite of losing half my savings I still believe in people and I still believe in trusting them. What it told me was, that trusting people is important, one cannot do the simplest of operations in our society without trust, but from time to time this trust will be taken advantage of and this will cost me something. But to worry about always being taken advantage of was certainly not what I was going to do, there are many more good people than bad in this world, but curiously it’s the bad that often make it interesting.",[],{"_key":23215,"_type":9,"children":23216,"image":4,"markDefs":23221,"style":18},"127d1526dc41",[23217],{"_key":23218,"_type":13,"marks":23219,"text":23220},"a50cf240334b0",[],"At the Rome railway station I met Patrick. He was Chinese but spoke English with an Australian accent. He had trained for the priesthood but had left before taking the final binding vows. Now he was like me, travelling around in the origins of his culture. Although he had rejected much of Catholicism he was steeped in it and was also interested in its impact on the visual and aural arts. I explained that I wanted to study music in Italy but that I would first attend a language course at Perugia University for Foreigners. Since the train to Florence took us past Perugia we stopped and walked up to this lovely ancient town although I knew that the University didn’t open until the beginning of April. It was bitterly cold and even a little unfriendly so we returned to the railway station and continued our journey to Florence.",[],{"_key":23223,"_type":9,"children":23224,"image":4,"markDefs":23237,"style":18},"788ac907c960",[23225,23229,23233],{"_key":23226,"_type":13,"marks":23227,"text":23228},"bb6f13e3b5a00",[],"In many ways Florence was the goal of my travels. Florence for me was the centre of our culture — especially as far as painting and sculpture was concerned, Florence was the city of Michelangelo, the seat of the Medici Family, the home of Masaccio, Donatello, Brunelleschi and Ghiberti, it was the very cradle of the Renaissance. It was however a very different Florence that met my eyes — and nose. There was a strike (",{"_key":23230,"_type":13,"marks":23231,"text":23232},"e083a2059c771",[73],"ancora uno scioppero!",{"_key":23234,"_type":13,"marks":23235,"text":23236},"e083a2059c772",[],") of the garbage collectors and on every street corner rubbish was piled several metres high. It was fortunate that it was still cold which reduced the danger of infection and contained the evil smell which would otherwisehave been unbearable.",[],{"_key":23239,"_type":9,"children":23240,"image":4,"markDefs":23315,"style":18},"d90785050528",[23241,23245,23249,23253,23257,23261,23265,23269,23273,23277,23281,23285,23289,23293,23296,23300,23304,23308,23312],{"_key":23242,"_type":13,"marks":23243,"text":23244},"af97ba10f1c80",[],"Patrick and I signed into the Florentine Youth Hostel (a rundown Villa from better days) and started discovering the treasures of Florence together. One really has to discover (or uncover) them, with the exception of the fabulous ",{"_key":23246,"_type":13,"marks":23247,"text":23248},"6df852063b951",[73],"Duomo",{"_key":23250,"_type":13,"marks":23251,"text":23252},"6df852063b952",[]," or the ",{"_key":23254,"_type":13,"marks":23255,"text":23256},"54de2639c3300",[73],"Palazzo Vecchio",{"_key":23258,"_type":13,"marks":23259,"text":23260},"54de2639c3301",[]," they do not leap out at you. I was determined to see as much as possible of Michelangelo and so we visited the ",{"_key":23262,"_type":13,"marks":23263,"text":23264},"b0cd975a49501",[73],"Accademia",{"_key":23266,"_type":13,"marks":23267,"text":23268},"b0cd975a49502",[]," (“David” and the magnificent unfinished “Captives”), the ",{"_key":23270,"_type":13,"marks":23271,"text":23272},"5f340792d5c81",[73],"Bargello",{"_key":23274,"_type":13,"marks":23275,"text":23276},"5f340792d5c82",[]," (“Bacchus” and “Brutus”), the ",{"_key":23278,"_type":13,"marks":23279,"text":23280},"c459db6b4d890",[73],"Casa Buonarotti",{"_key":23282,"_type":13,"marks":23283,"text":23284},"c459db6b4d891",[]," (early works including a newly rediscovered wooden crucifix and the “Madonna of the Stairs”), the ",{"_key":23286,"_type":13,"marks":23287,"text":23288},"ff0e479e63171",[73],"Uffizzi",{"_key":23290,"_type":13,"marks":23291,"text":23292},"ff0e479e63172",[]," (the “Tondo”) and the “",{"_key":23294,"_type":13,"marks":23295,"text":23027},"ff0e479e63173",[73],{"_key":23297,"_type":13,"marks":23298,"text":23299},"ff0e479e63174",[]," in the ",{"_key":23301,"_type":13,"marks":23302,"text":23303},"ff0e479e63175",[73],"Duomo ",{"_key":23305,"_type":13,"marks":23306,"text":23307},"7be47e01cb0b0",[],"(later moved to the ",{"_key":23309,"_type":13,"marks":23310,"text":23311},"7be47e01cb0b1",[73],"Museo del Duomo",{"_key":23313,"_type":13,"marks":23314,"text":9601},"7be47e01cb0b2",[],[],{"_key":23317,"_type":500,"caption":23318,"image":23319,"markDefs":4},"eb13b137fd72","Andrea Pisano, Giotto Campanile, Florence: Self Portrait, Creation of Eve",{"caption":4,"id":23320,"meta":23321,"parentID":4,"parentType":3456,"url":23324},"dc36f6fbf19dc128d0f49462dc7a8afe9687941f",{"_type":506,"aspectRatio":23322,"height":23323,"width":1312},1.7564841498559078,694,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fdc36f6fbf19dc128d0f49462dc7a8afe9687941f-1219x694.jpg",{"_key":23326,"_type":9,"children":23327,"image":4,"markDefs":23355,"style":18},"db9d4b3a57e7",[23328,23332,23336,23340,23343,23347,23351],{"_key":23329,"_type":13,"marks":23330,"text":23331},"e8ece37eccb50",[],"On the way we discovered unexpected treasures: like Pisano’s delightful hexagonal relief sculptures on the ",{"_key":23333,"_type":13,"marks":23334,"text":23335},"c9880cbcbab41",[73],"Giotto Campanile",{"_key":23337,"_type":13,"marks":23338,"text":23339},"c9880cbcbab42",[]," and in the ",{"_key":23341,"_type":13,"marks":23342,"text":23288},"8f987abd4a2d1",[73],{"_key":23344,"_type":13,"marks":23345,"text":23346},"8f987abd4a2d2",[]," Simone Martini’s ",{"_key":23348,"_type":13,"marks":23349,"text":23350},"8f987abd4a2d3",[73],"Annunciation",{"_key":23352,"_type":13,"marks":23353,"text":23354},"8f987abd4a2d4",[],". Here Patrick was ready to make fun of things which during his earlier life as a young priest would have been sacrosanct: Maria is listening very coyly to the message of the archangel telling her that she has been chosen to be Mother of God, to which she seems to be saying incredulously (we decided), “Who? Me!”: ",[],{"_key":23357,"_type":500,"caption":23358,"image":23359,"markDefs":4},"6363c8d3a0ec","Simone Martini: Annunciation, Uffizzi, Florence",{"caption":4,"id":23360,"meta":23361,"parentID":4,"parentType":3456,"url":23364},"d9469ba8d0509ec85b1e9e914fcf0c96dc19b0ce",{"_type":506,"aspectRatio":23362,"height":23363,"width":4775},1.7793594306049823,562,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fd9469ba8d0509ec85b1e9e914fcf0c96dc19b0ce-1000x562.jpg",{"_key":23366,"_type":9,"children":23367,"image":4,"markDefs":23394,"style":18},"a5a3e997e4f7",[23368,23372,23376,23380,23383,23387,23390],{"_key":23369,"_type":13,"marks":23370,"text":23371},"0575289d7ca50",[],"And no visit to Florence would be complete without a visit to Ghiberti’s fabulous Baptistery doors which Michelangelo called ",{"_key":23373,"_type":13,"marks":23374,"text":23375},"064723fefdc41",[73],"la Porta del Paradiso. ",{"_key":23377,"_type":13,"marks":23378,"text":23379},"064723fefdc42",[],"These works took the artist half a lifetime to complete and the originals were still placed on the Babtistary doors alongside the ",{"_key":23381,"_type":13,"marks":23382,"text":23248},"0a8a99f96aa61",[73],{"_key":23384,"_type":13,"marks":23385,"text":23386},"0a8a99f96aa62",[]," (later moved to the ",{"_key":23388,"_type":13,"marks":23389,"text":23311},"0a8a99f96aa63",[73],{"_key":23391,"_type":13,"marks":23392,"text":23393},"0a8a99f96aa64",[],").  ",[],{"_key":23396,"_type":500,"caption":23397,"image":23398,"markDefs":4},"08c16402ce0c","Ghiberti: Creation of Adam and Eve.        Abraham sacrificing Isaac.",{"caption":4,"id":23399,"meta":23400,"parentID":4,"parentType":3456,"url":23403},"6b484bb7ce04bb11127e00862c48a7498bcd9e8c",{"_type":506,"aspectRatio":23401,"height":2352,"width":23402},2.011111111111111,1267,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F6b484bb7ce04bb11127e00862c48a7498bcd9e8c-1267x630.jpg",{"_key":23405,"_type":9,"children":23406,"image":4,"markDefs":23467,"style":18},"7f2afdff4690",[23407,23411,23415,23419,23423,23427,23431,23435,23439,23443,23447,23451,23455,23459,23463],{"_key":23408,"_type":13,"marks":23409,"text":23410},"d9cf0975dfd4",[],"In reading about Michelangelo I had learned of another artist who had influenced him profoundly, Masaccio (1400-1427). In his very short life he made the decisive leap out of the gothic style and with just a few pictures created a new direction which was to be studied by many of the great names of the Renaissance. Most of Masaccio’s work is concentrated in the ",{"_key":23412,"_type":13,"marks":23413,"text":23414},"e3814868a2111",[73],"Brancacci Chapel",{"_key":23416,"_type":13,"marks":23417,"text":23418},"e3814868a2112",[]," of a little church, ",{"_key":23420,"_type":13,"marks":23421,"text":23422},"e3814868a2113",[73],"Santa Maria del Carmine,",{"_key":23424,"_type":13,"marks":23425,"text":23426},"d800c876f7571",[]," on the “other” side of the river ",{"_key":23428,"_type":13,"marks":23429,"text":23430},"d800c876f7572",[73],"Arno",{"_key":23432,"_type":13,"marks":23433,"text":23434},"d800c876f7573",[],". To get there you cross the ",{"_key":23436,"_type":13,"marks":23437,"text":23438},"831e61484a961",[73],"Ponte Vecchio",{"_key":23440,"_type":13,"marks":23441,"text":23442},"831e61484a962",[]," and take a right turn down through narrow streets lined with tiny carpentry, upholstery and other one-man businesses until you reach a godforsaken ",{"_key":23444,"_type":13,"marks":23445,"text":23446},"6ab18dfeae901",[73],"piazza",{"_key":23448,"_type":13,"marks":23449,"text":23450},"6ab18dfeae902",[]," packed with cars and with a very uninteresting looking church on one side of it. Even the inside of the church of ",{"_key":23452,"_type":13,"marks":23453,"text":23454},"72b8a18710371",[73],"Santa Maria del Carmine",{"_key":23456,"_type":13,"marks":23457,"text":23458},"72b8a18710372",[]," is no different from thousands of other small churches throughout Italy, only the ",{"_key":23460,"_type":13,"marks":23461,"text":23462},"c7933f8a052b0",[73],"Brancacci Chapel ",{"_key":23464,"_type":13,"marks":23465,"text":23466},"c7933f8a052b1",[],"makes it special and here you can see Masaccio’s “Tribute Money” fresco as Michelangelo and Raphael also saw it over five hundred years ago. It tells the little known story of a visit Jesus and his disciples made to a town where they were asked by a “customs officer” for the tribute money before entering the town. Apparently they had no money because Jesus directs Peter to go to the edge of the nearby lake where a fish will swim up with a coin in its mouth. The painting is like a comic with three episodes in one picture: we see Jesus in the middle surrounded by the apostles and talking to the tribute collector and to Peter. Peter is also on the left removing the coin from the fish’s mouth and again on the right giving it to the collector. Described like this it sounds quaint and certainly not world shattering but the experience of the real thing does “shatter”. All the faces are “real” – obviously Masaccio has had real models. He does bow to tradition with the hallos but these are unobtrusive, and, most remarkable, the (renaissance) building in the background has been drawn in perfect perspective (we know that Masaccio’s friend Filipo Brunneleschi had just discovered the use of a vanishing point in drawing perspective).",[],{"_key":23469,"_type":500,"caption":23470,"image":23471,"markDefs":4},"5ae05fbd88bd","Masaccio: The Tribute Money, Santa Maria del Carmine, Florence",{"caption":4,"id":23472,"meta":23473,"parentID":4,"parentType":3456,"url":23477},"0d39b4a58549b45460988f4a23c1abec5706a2d2",{"_type":506,"aspectRatio":23474,"height":23475,"width":23476},1.903345724907063,538,1024,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F0d39b4a58549b45460988f4a23c1abec5706a2d2-1024x538.jpg",{"_key":23479,"_type":9,"children":23480,"image":4,"markDefs":23525,"style":18},"db50088af2c8",[23481,23485,23489,23493,23497,23501,23505,23509,23513,23517,23521],{"_key":23482,"_type":13,"marks":23483,"text":23484},"facfff3bd5c80",[],"Just before leaving New Zealand I had been present at an excellent talk at the Dante Society in which not only the enthusiasm of the speaker for the ",{"_key":23486,"_type":13,"marks":23487,"text":23488},"849b270d391f1",[73],"Brancacci Chappel ",{"_key":23490,"_type":13,"marks":23491,"text":23492},"1e5ecafb61211",[],"had impressed me but also the names of the artists: there was Nasty Tom (Masaccio: ",{"_key":23494,"_type":13,"marks":23495,"text":23496},"b31ba3fe9a521",[73],"Tommaso ",{"_key":23498,"_type":13,"marks":23499,"text":23500},"b31ba3fe9a522",[],"shortened to ",{"_key":23502,"_type":13,"marks":23503,"text":23504},"b31ba3fe9a523",[73],"Maso ",{"_key":23506,"_type":13,"marks":23507,"text":23508},"b31ba3fe9a524",[],"and then lengthened with the negative suffix -",{"_key":23510,"_type":13,"marks":23511,"text":23512},"e1735dbf646b1",[73],"accio",{"_key":23514,"_type":13,"marks":23515,"text":23516},"e1735dbf646b2",[],") and Nice Little Tom (",{"_key":23518,"_type":13,"marks":23519,"text":23520},"e1735dbf646b3",[73],"Masolino",{"_key":23522,"_type":13,"marks":23523,"text":23524},"e1735dbf646b4",[],"). Having seen the work of both Toms I now think that Masolino’s pictures would probably never have been specially noticed had he not had the extraordinary luck to be able to exhibit them alongside Nasty Tom’s frescos. It obviously needed an inspired, clever and determined character (i.e. a rather uncomfortable, “nasty” person) to break with tradition and give the painting world a brand new direction.",[],{"_key":23527,"_type":9,"children":23528,"image":4,"markDefs":23532,"style":18},"e2d75ed13f37",[23529],{"_key":23530,"_type":13,"marks":23531,"text":25},"432cfde09e990",[],[],{"_key":23534,"_type":9,"children":23535,"image":4,"markDefs":23562,"style":18},"51fa9a030b71",[23536,23540,23544,23547,23550,23554,23558],{"_key":23537,"_type":13,"marks":23538,"text":23539},"6ad45f3f3af50",[],"After three or four days in Florence I sent a telegram to my friend Luke in Leysin, Switzerland, saying that I would be taking a train the following day to visit him. I said goodbye to Patrick, copied his address into my book, and set off early in the morning on the journey north. Uppermost in my mind was the fact that there was another important Michelangelo which I specially wanted to see in Milan: the last, the “",{"_key":23541,"_type":13,"marks":23542,"text":23543},"81d763996bd91",[73],"Rondanini",{"_key":23545,"_type":13,"marks":23546,"text":2840},"81d763996bd92",[],{"_key":23548,"_type":13,"marks":23549,"text":23027},"81d763996bd93",[73],{"_key":23551,"_type":13,"marks":23552,"text":23553},"81d763996bd94",[],", an extraordinary work, done when he was very old and still experimenting. This unfinished work is in the ",{"_key":23555,"_type":13,"marks":23556,"text":23557},"39d7403d93511",[73],"Castello Sforzesco ",{"_key":23559,"_type":13,"marks":23560,"text":23561},"1341b4b573230",[],"and shows the dead body of Christ in greatly elongated (almost El Greco) proportions. ",[],{"_key":23564,"_type":9,"children":23565,"image":4,"markDefs":23569,"style":18},"fbe1b0e6e068",[23566],{"_key":23567,"_type":13,"marks":23568,"text":25},"d29ffad902b1",[],[],{"_key":23571,"_type":9,"children":23572,"image":4,"markDefs":23607,"style":18},"87f49ada3e5c",[23573,23577,23581,23585,23589,23593,23596,23600,23603],{"_key":23574,"_type":13,"marks":23575,"text":23576},"849fafa9be50",[],"I had worked out that I could leave the train at the Milan Main Station, take a quick look at the façade of the Cathedral, jump onto a tram for the da Vinci “Last Supper” at ",{"_key":23578,"_type":13,"marks":23579,"text":23580},"fc5e405744931",[73],"Santa Maria delle Grazie ",{"_key":23582,"_type":13,"marks":23583,"text":23584},"93f439ecafb61",[],"and onto another for the ",{"_key":23586,"_type":13,"marks":23587,"text":23588},"93f439ecafb62",[73],"Castello Sforzesco",{"_key":23590,"_type":13,"marks":23591,"text":23592},"77b948c9e9a11",[]," and the Michelangelo sculpture and then be back at the railway station for the second half of my trip to Switzerland. It is one of the rare times when such a ridiculous schedule actually worked. I saw all three things: the Cathedral rather fleetingly, the da Vinci rather sadly (he had evidently experimented with the colours and the medium is now being attacked by a fungus which seems impossible to halt), and the Michelangelo, not with tears as I had had with his Roman “",{"_key":23594,"_type":13,"marks":23595,"text":23027},"cbae7792249e1",[73],{"_key":23597,"_type":13,"marks":23598,"text":23599},"cbae7792249e2",[]," but with quiet fulfilment, with the feeling of having come ",{"_key":23601,"_type":13,"marks":23602,"text":2840},"2181dfc7d73a",[73],{"_key":23604,"_type":13,"marks":23605,"text":23606},"094ec64992cc",[],"another step closer to the master. ",[],{"_key":23609,"_type":500,"caption":23610,"image":23611,"markDefs":4},"175ecfa7ba80","Michelangelo: Rondanini Pietà, Castello Sforzesca, Milan",{"caption":4,"id":23612,"meta":23613,"parentID":4,"parentType":3456,"url":23617},"980160c28a447b1fced91b5b4e51601f40130e16",{"_type":506,"aspectRatio":23614,"height":23615,"width":23616},0.5807002561912895,1171,680,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F980160c28a447b1fced91b5b4e51601f40130e16-680x1171.jpg",{"_key":22426,"_type":9,"children":23619,"image":4,"markDefs":23623,"style":6894},[23620],{"_key":23621,"_type":13,"marks":23622,"text":22427},"fb90717b25b7",[15],[],{"_key":23625,"_type":9,"children":23626,"image":4,"markDefs":23639,"style":18},"ea3a7837976e",[23627,23631,23635],{"_key":23628,"_type":13,"marks":23629,"text":23630},"0511d06d533a0",[],"Train journeys in Italy are always entertaining, Italians enjoy talking to their neighbours and don’t seem to worry at all if the neighbour’s Italian isn’t very good. Interesting is that the same train which is so friendly and chaotic in Italy can change abruptly as soon as it crosses the border. Some years later I was to read on a train seat, written in indelible ink by a frustrated Italian travelling in the opposite direction: ",{"_key":23632,"_type":13,"marks":23633,"text":23634},"0cf0892669d8",[73],"Perché, che questo treno che funzione nella Svizzera normalmente, appena attraverso la frontiera diventa un treno di merda? ",{"_key":23636,"_type":13,"marks":23637,"text":23638},"47e79461a5d4",[],"(Why is it, that this train, which functions normally in Switzerland, scarcely has it crossed the border, becomes a train of shit?) My train emerged from the Simplon Tunnel into the clean and polished landscape of the Rhone valley and started its well ordered but less friendly journey through Switzerland. It was not far to Aigle where I descended and lugged my suitcases across to the train for Leysin which, in comparison to what I had just left, looked as if made for a model railway. This little train set off, more like a tram, through the streets of Aigle and then halted at the bottom of a slope. There it made a jolt and a clatter and then continued in loud but slow motion. Only then did I realise that it was a rack and pinion system and that the rack had now engaged with the pinion to be able to scale the steep slope up to Leysin.",[],{"_key":23641,"_type":500,"caption":23642,"image":23643,"markDefs":4},"08f6ab194014","Aigle-Leysin rack and pinion train",{"caption":4,"id":23644,"meta":23645,"parentID":4,"parentType":3456,"url":23648},"a49b5f211e6469714de51607a37a6d64dd92fea9",{"_type":506,"aspectRatio":23646,"height":23647,"width":17701},1.6129032258064515,372,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fa49b5f211e6469714de51607a37a6d64dd92fea9-600x372.jpg",{"_key":23650,"_type":9,"children":23651,"image":4,"markDefs":23656,"style":18},"bfe3e9bfd9d0",[23652],{"_key":23653,"_type":13,"marks":23654,"text":23655},"feaae49426fe",[],"\nAlthough the distance was comparatively short the train took a whole hour to arrive at its destination. At the top I looked out expectantly, descended with my bags and looked around further, but no Luke. I knew that he lived in Club Vagabond which even with my bad French pronunciation was clear enough for someone to tell me the direction to walk in — in fact I soon found that Leysin had such an international clientele in the skiing season (which was still in full swing) that I could easily have used English — or even Italian.\nClub Vagabond was a cheap hotel for young skiers. Like many buildings in Leysin it had been a Cure Resort for TB patients in the 1930s and had been put out of business by the invention of penicillin. Now it looked somewhat sad and neglected and smelled strongly of heating oil as one entered. However the magnificent view of the mountains on all sides more than made up for the hotel’s run-down look.\n",[],{"_key":23658,"_type":500,"caption":23659,"image":23660,"markDefs":4},"68e6b6241fc0","View of Les Dents-du-Midi from Leysin",{"caption":4,"id":23661,"meta":23662,"parentID":4,"parentType":3456,"url":23666},"74e6e90819264f26a50edf047a49ca0fa0c52d65",{"_type":506,"aspectRatio":23663,"height":23664,"width":23665},1.3571428571428572,420,570,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F74e6e90819264f26a50edf047a49ca0fa0c52d65-570x420.jpg",{"_key":23668,"_type":9,"children":23669,"image":4,"markDefs":23674,"style":18},"0818b6ca1e05",[23670],{"_key":23671,"_type":13,"marks":23672,"text":23673},"ca387fd15369",[],"\nI asked at the desk for Luke and in a moment he was there and fell on my neck and made me very welcome. I thought that perhaps he hadn’t received my telegram — he had, I just hadn’t said exactly with which train I would be coming!",[],{"_key":23676,"_type":9,"children":23677,"image":4,"markDefs":23682,"style":18},"82589786a5c0",[23678],{"_key":23679,"_type":13,"marks":23680,"text":23681},"646c6edcb0ba",[],"\nI had met Luke first on the Wellington wharves in the late 50s as I was working as a tractor driver during my university holidays and he was also doing a summer job as a tally clerk before the winter when he would return to the mountains as a ski instructor. One day he had greeted me (he later confessed he had mistaken me for someone else whom he didn’t even like very much!) and I had seen him carrying some long playing records (the latest in high fidelity then!) and had asked him what was on them. He was fascinated because most “wharfies” if they asked such a question at all would ask: What’s the rock ‘n roll? He had had among other things Pergolesi’s Stabat Mater, of which I’d never heard. So he lent it to me and, during that summer, many other records of music quite new to me so that through him my knowledge of music advanced rapidly. If it rained, then work on the waterfront stopped, and so we could go to his flat near Oriental Bay and listen to music. There I heard Mahler for the first time, a composer who was seldom to be heard on concert programs in New Zealand in the 50s. Luke was a Dutchman (of whom there were many in New Zealand immediately after the war) and had come with a self-paid ticket and not as most had come as assisted immigrants who were being offered a new start in life after the horrors of the Second World War. He was kept in music by record parcels sent to him by his mother, and although this music was his life blood, he could just as easily sell it before the winter to buy new skis and skins (for ski-mountaineering) only to do the same procedure in the other direction before the summer.",[],{"_key":23684,"_type":9,"children":23685,"image":4,"markDefs":23690,"style":18},"16188238162b",[23686],{"_key":23687,"_type":13,"marks":23688,"text":23689},"8b6ee265ccf6",[],"\nOne rainy day when I had turned up at his place to talk music with him he tried to explain to me “the other reason” that he had left Europe. To do this he asked me to read a passage in a book by André Gide — something which taxed my school French beyond its limits. But the word for homosexuality is very similar in French and although as an 18 year old I was very ignorant about exactly what this was, I understood enough to realise that he preferred men to women. However, I still didn’t understand why this should have led to his coming to New Zealand, which at that time was every bit as restrictive in its laws against homosexuality as any European country. Curiously I wasn’t in the slightest perturbed that he might have been hoping to seduce me, and this trust was rewarded by a long friendship in which both of us respected the other’s sexuality.",[],{"_key":23692,"_type":9,"children":23693,"image":4,"markDefs":23698,"style":18},"eb705d32b71e",[23694],{"_key":23695,"_type":13,"marks":23696,"text":23697},"06df1f5c6bbf",[],"\nNow ten years later, sitting in his plant filled room in Club Vagabond, we were able to pick up the threads of conversation as if it had been only a few weeks since we last talked together. There was, however, a difference, he now seemed much freer than he had ever been in Wellington. He no longer needed to hide his homosexuality and obviously felt at home in this multilingual environment. Here he would chat to his colleagues and owners of the club (Canadians) in English, to the locals (including the gendarmerie with whom he got on very well) in French, and to his latest boy friend, Horst, in German. He arranged for a small room for me for the month of March, showed me where I could eat and fitted me out with skis and boots —something which filled me with great apprehension, but he assured me he would have me skiing in next to no time.",[],{"_key":23700,"_type":9,"children":23701,"image":4,"markDefs":23706,"style":18},"2bc0a133bb0f",[23702],{"_key":23703,"_type":13,"marks":23704,"text":23705},"11ffeeb46fd9",[],"\nThe following morning he took me out with this uncomfortable equipment and we went by cable car up to the Berneuse. I was taught to brake and to stem-turn and that was all. We started our descent to Leysin. The weather and view were superb but compensated in no way for the agony I went through. My muscles were not ready for this new exercise and certainly not for this degree of exertion. Later that day in the bar of the Vagabond when people heard what I had done they said: “What, Luke made you ski down from the Berneuse on your very first day on skis? The bastard!” But Luke remained sure that his methods were best and so day after day I went out (usually alone) and subjected myself to this torture. After a week or so a new friend of Luke’s arrived, Bragi (g = gutteral ch), a young Dutchman who had emigrated to the USA only to have been grabbed by the military and did service in Vietnam. Bragi had also never skied before, so we were sent out together to teach each other. I suppose this teaching did work, although I suspect that normal lessons would probably have had the same result much more quickly.",[],{"_key":23708,"_type":9,"children":23709,"image":4,"markDefs":23714,"style":18},"75acdb119355",[23710],{"_key":23711,"_type":13,"marks":23712,"text":23713},"35fb30739dcb",[],"\nBragi left after two weeks and in my last week Luke took me on a couple of ski tours in other regions, one to Verbier and an unforgettable visit to Les Diablerets. The plan was to go to the top of the mountain plateau by cable car and then to spend the whole day skiing down again in easy stages. The first stage was, however, quite steep. We stood at the top of the slope where more experienced skiers were zigzagging down and vanishing as tiny points in the distance. Up till this time my technique for negotiating such a slope was to ski along a “zig”, stop, turn round by swinging one ski after the other around my head, and then to ski along the “zag”. Luke decided it was the right moment for me to learn to do a moving turn. He demonstrated it a few times, repeated the rule: “Keep the weight on the lower ski”, (which is not so easy since this very operation requires that one changes which ski is the lower one). But, if he thought I could do it (I reasoned), then I would try. It didn’t work. My weight finished up on neither the left nor the right ski but on my tummy and I was flying down the slope head first. The movement reminded me of Newton’s First Law of Motion: “Every body continues in its state of rest or of uniform motion in a straight line unless acted on by some external force” — but there was no external force except gravity and the reaction of the slope and so I continued on my tummy and along my straight line. I had time to wonder where I was going and why I couldn’t stop and also to think that it was not at all unpleasant, it didn’t hurt, the only problem was the uncertainty of it. After a very long time my uniform motion in a straight line did stop and as I looked up I saw Luke ski up alongside me. He had been collecting my belongings which I had unknowingly left lying in the snow: glasses, camera, cap — my skis were no longer on my boots but the straps had prevented them from leaving my legs. Luke didn’t say much but we continued somewhat more cautiously — he had obviously been forced to accept that my innate lack of coordination had to be taken much more seriously. Shortly before lunch he stopped to talk in French to a colleague and later I heard the following: This colleague had been teaching a rather nervous young woman to ski. Both had seen my fall and both had been aware of something of which I was completely unaware, namely that I had stopped only a few metres away from a precipice. The woman he had been teaching was so shocked she had given up and gone home.",[],{"_key":23716,"_type":9,"children":23717,"image":4,"markDefs":23722,"style":18},"be17336494b1",[23718],{"_key":23719,"_type":13,"marks":23720,"text":23721},"7bd305c39c20",[],"\nMy clumsiness on skis caused another minor accident. While I was out alone one day, I fell forward so that one ski actually drove over my left wrist, cutting it dangerously near to the artery. As soon as I got home Luke sent me off to his doctor who fixed it with two stitches. I had never considered having medical insurance. New Zealanders never needed such a thing in those days, it was all paid for by the “wellfare state”. I never received a bill and didn’t even think to ask Luke what it had cost. Only years later after learning how the Swiss health system works did I realise he must have paid for it himself without ever telling me.",[],{"_key":23724,"_type":9,"children":23725,"image":4,"markDefs":23730,"style":18},"8d5ba9ab62a8",[23726],{"_key":23727,"_type":13,"marks":23728,"text":23729},"a4cb358af8b5",[],"\nLuke had long been interested in drugs and had read Aldous Huxley’s “The Doors of Perception” in which Huxley describes heightened perception and awareness under the influence of the drug “mescaline”. Luke had discussed this with a member of the club who had promised to bring him some LSD (a similar drug) on his next visit. This he did and for some weeks this sugar cube with impregnated LSD lay open on a saucer in Luke’s room. Not long afterwards he had a visit from the gendarmerie who were concerned that drugs might be coming into Leysin and they asked for his help in reporting anything suspicious to them. Luke was able to tell them that he had indeed heard that LSD was sometimes smuggled in the form of cube sugar and he picked up the piece that lay nearby: “… just like this one”, he said. They thanked him and left oblivious of the fact that they had had some LSD under their very noses.",[],{"_key":23732,"_type":9,"children":23733,"image":4,"markDefs":23738,"style":18},"4267f6b884e2",[23734],{"_key":23735,"_type":13,"marks":23736,"text":23737},"dc2fd234c3e1",[],"\nLuke was anxious that I should sit with him when he tried the drug. He knew enough about LSD to know that it could be dangerous. On his free afternoon I came to his room and sat down opposite him. He swallowed the lump of sugar and set in motion a reel tape recorder, which he had borrowed for the occasion. In the half hour before the drug started to take effect, we talked about all sorts of things: His early life in Indonesia, where his father had been head of a museum and seldom at home. How his education had been largely from his mother with whom he still had a much closer relationship. When the second World War broke out and the land was taken over by the Japanese, he was put in a prisoner of war camp for men and the mother and older sister in a similar one for women. These six years as an adolescent in a society of only men must have been a major reason for his homosexuality, either in forming it or in furthering something that was already latent.\n",[],{"_key":23740,"_type":500,"caption":23741,"image":23742,"markDefs":4},"ae8bee2fecf8","Luke van der Kaay, Leysin, 1966",{"caption":4,"id":23743,"meta":23744,"parentID":4,"parentType":3456,"url":23748},"f019a047133ba9a147611d282550ddfc548ab416",{"_type":506,"aspectRatio":23745,"height":23746,"width":23747},1.3196202531645569,316,417,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Ff019a047133ba9a147611d282550ddfc548ab416-417x316.jpg",{"_key":23750,"_type":9,"children":23751,"image":4,"markDefs":23756,"style":18},"0f16c0ec45a5",[23752],{"_key":23753,"_type":13,"marks":23754,"text":23755},"1cbad97d6d36",[],"\nDuring all this conversation his ability to think straight was not apparently affected but his perception of the world was. Gradually colours became more intense and he had the feeling of being able to fly, that he could have stepped up to the window and walked out. Obviously though, his mental faculties were able to restrain him, because he never left his chair. Before he finally went to sleep he repeated: “This could be very dangerous. This could be very dangerous…” After this he was satisfied that he knew from first hand what LSD was like and as far as I know he had no desire to try it again or indeed any other drugs. Although I had made a small start as a skier, the most memorable times of my visit were the hours of talking with Luke about music, his colourful life and our general philosophising. These conversations didn’t always move very quickly, the problem not being with him who was using a foreign language but with me who often got bogged down searching for the right word only to be helped out by him who seemed to have my language as well as several others at his finger tips. I had told him that after studying music in Italy I wanted to go to Darmstadt, which was the centre for the very latest in New Music — and that meant learning German too. He said jokingly: “I don’t know how you’re going to learn all these languages, you’re not even fluent in English.” He was right — I wasn’t even fluent enough to be able to respond to that challenge, but I think fluency and having something to say are two different things.",[],{"_key":23758,"_type":9,"children":23759,"image":4,"markDefs":23764,"style":18},"e3e78a745576",[23760],{"_key":23761,"_type":13,"marks":23762,"text":23763},"296ca6d5ff43",[],"\n             *****************************************************",[],{"_key":23766,"_type":9,"children":23767,"image":4,"markDefs":23772,"style":18},"6854bfe48ef8",[23768],{"_key":23769,"_type":13,"marks":23770,"text":23771},"bd75b48e7fbc",[],"\nI left for Italy some days before the first of April (the starting date of the new trimestre in Perugia) because I had an appointment with Signorina Monti in Florence. Helena Monti had visited us in New Zealand. She was the closest family member of Betty’s Italian teacher, Dr Sorani at the university in Wellington. She had arrived on Sorani’s doorstep and he had no idea what to do with her. This “piccolo uomo” as Betty used to call him had buried himself in his ivory tower in Wellington and, apart from his few students and the people he met at the Società Dante Alighieri, he knew nobody. His aunt Helena Monti was however quite different. She loved people, she loved travelling and talking and experiencing all things and so when he introduced her to Betty all problems were solved: his and hers and ours, since we now had a contact in our favourite European city. Betty showed her around in New Zealand and then stayed with her in 1963 when she was at Perugia and had now arranged that I could visit her. She lived in the very centre of Florence, just a stone’s throw from the Palazzo Vecchio whose tower you could see from one of her windows. A shaky little lift, like a cage for two people, brought one to her third floor apartment. The floors were marble and were decorated with sculptures, especially of sleeping angels, lying like exhausted babies on it. I assume many of these “artworks” were inherited, because her taste in art and music was excellent — and she seemed to know all the important “art people” in Florence. She knew I was in Italy to learn the language so that I could study composition and so the first thing she told me was how she had attended a recent concert at which Stockhausen had spoken (in Italian!) about his own works. She went on to say that she knew Luigi Dallapiccola and if I wished she would accompany me to visit him and I could show him an example of my work. I was in awe: the thought of visiting the great pupil of Arnold Schönberg and one of Italy’s most prestigious composers was rather frightening! What would I show him? And what would I ask him? I wasn’t prepared for such a meeting so soon.\n",[],{"_key":23774,"_type":9,"children":23775,"image":4,"markDefs":23780,"style":18},"28ac89f630c3",[23776],{"_key":23777,"_type":13,"marks":23778,"text":23779},"6577d8e02c8c",[],"The next morning we set out on foot, Signorina Monti with her tiny hand holding on to my arm. The impression I had had that she knew everybody was confirmed as we walked along, time and time again she was greeted by people on the street or in shops near her home. She said: Mi vogliano bene (They like me). As we walked past a flower shop she explained to me that it would be appropriate if I were to buy her a flower for her button hole, which of course I was delighted to do but dreadfully ashamed that the thought of doing so had not occurred to me.\n",[],{"_key":23782,"_type":9,"children":23783,"image":4,"markDefs":23788,"style":18},"1c7a732c4289",[23784],{"_key":23785,"_type":13,"marks":23786,"text":23787},"f2ef1cc48f37",[],"Finally we arrived at our destination — where it was I don’t remember, I assume it was the local conservatory. Dallapiccola was a little man with short grey hair and a friendly look. Throughout the whole time I had been with Signorina Monti I had spoken Italian — she knew that it was more important for me to practise my Italian than for her to improve her English. But I had barely managed to stutter to Dallapiccola “piacere …”, when he burst into English and so we stayed in that language. He looked at the score I had brought with me, my “Concerto for Violin and Orchestra” which had been played at the Cambridge Music School in New Zealand a year before. He said nothing for a couple of minutes and then he closed the score and turned to me and said: “In Ibsen’s famous play, Peer Gynt makes a journey to Egypt to ask advice from the Sphynx. Its advice to him was: Know yourself!” and the same advice he was now offering me. I was speechless. Like any young artist I had been doing the only thing possible, studying the most recent models I had. In my case it had been Alban Berg’s Violin Concerto, although I doubt whether that was possible to read from my score. I can only assume that Dallapiccola had seen that the score didn’t show him anything he hadn’t seen before, and he responded with a piece of advice which he had given many times before. Whatever the reason, the advice was by no means bad, and whether or not I have achieved this self knowledge I will probably never know, but I have never forgotten the man who gave it. We parted cordially and he and Helena Monti talked briefly together in Italian, but I was in such a numb state that I couldn’t follow what they said.\n",[],{"_key":23790,"_type":9,"children":23791,"image":4,"markDefs":23796,"style":18},"fe40141f858f",[23792],{"_key":23793,"_type":13,"marks":23794,"text":23795},"945234a5e2df",[],"The following day I left for Perugia.",[],{"_key":23798,"_type":9,"children":23799,"image":4,"markDefs":23803,"style":18},"37e1abd6eb12",[23800],{"_key":23801,"_type":13,"marks":23802,"text":25},"d1c690edf687",[],[],{"_key":22429,"_type":9,"children":23805,"image":4,"markDefs":23809,"style":6894},[23806],{"_key":23807,"_type":13,"marks":23808,"text":22430},"9256d7c45f770",[15],[],{"_key":23811,"_type":9,"children":23812,"image":4,"markDefs":23817,"style":18},"742247b00812",[23813],{"_key":23814,"_type":13,"marks":23815,"text":23816},"b2a715514b59",[],"\nWhat a new look Perugia had! The sleepy cold city of a few months ago was warm, alive and bustling, even welcoming. I went straight to the foyer of the University for Foreigners where there was a group of people arranging accommodation for new students. I had already decided I wanted to live with an Italian family and I wanted full board. I accepted the very first offer: Signora Tosti in Corso Garibaldi. How grand it sounded, one could just picture the triumphant leader of the resurgimento with his band of followers parading into the city along this “Corso”. But the wide avenue I had imagined was so narrow you could almost put out both hands and touch the tall buildings on either side. I was soon to learn that there were Corsi and Vie Garibaldi, Manzoni, Cavour, etc in every city of Italy, roads the heroes of the 19th century probably never saw.",[],{"_key":23819,"_type":500,"caption":23820,"image":23821,"markDefs":4},"6804baf7edd3","Footpath from the Università to the centre of Perugia as seen from the aquadotto",{"caption":4,"id":23822,"meta":23823,"parentID":4,"parentType":3456,"url":23827},"cc83639082437b6b83ee9e7cf4646a27df02cae8",{"_type":506,"aspectRatio":23824,"height":23825,"width":23826},1.4183168316831682,808,1146,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fcc83639082437b6b83ee9e7cf4646a27df02cae8-1146x808.jpg",{"_key":23829,"_type":9,"children":23830,"image":4,"markDefs":23855,"style":18},"ea7a53bdef0b",[23831,23835,23839,23843,23847,23851],{"_key":23832,"_type":13,"marks":23833,"text":23834},"f9531fecfb2c",[73],"\nCorso Garibaldi",{"_key":23836,"_type":13,"marks":23837,"text":23838},"4ebc635a8cae",[]," was just round the corner from the university and led up a steep hill to a lovely little ancient roman temple, built in the round for some pagan god or gods until it was taken over by the Christians. Half way up this alley (as it would certainly have been called in an English speaking country) was the ",{"_key":23840,"_type":13,"marks":23841,"text":23842},"6f1ff8030397",[73],"Casa Tosti",{"_key":23844,"_type":13,"marks":23845,"text":23846},"d58757c552a4",[],". The Signora was very friendly, offered me a tiny room upstairs (almost on the roof) with a fabulous view out over the roofs of Perugia to Assisi in the far distance. Here I was to spend the next three months of my life and I was free to decorate it as I wished: details of Caravaggio’s ",{"_key":23848,"_type":13,"marks":23849,"text":23850},"333fba0089ee",[73],"Calling of Matthew",{"_key":23852,"_type":13,"marks":23853,"text":23854},"7c03d796adc0",[]," which I pinned to the ceiling so that I could enjoy them lying in bed, and a small goldfish which I bought complete with bowl on a trip to Orvieto some time later. The Signora spoke a good clear Italian and so I was confident I could learn a lot from her. I didn’t realise, however, that I was only one of five foreign students who would all be wanting the same: there was Cambis from Iran, Renato from Brazil and Annemarie and Bernard from Switzerland.",[],{"_key":23857,"_type":9,"children":23858,"image":4,"markDefs":23903,"style":18},"6b9e1b908dc4",[23859,23863,23867,23871,23875,23879,23883,23887,23891,23895,23899],{"_key":23860,"_type":13,"marks":23861,"text":23862},"f95f7698de00",[],"\nAfter unpacking my things I went back to the university for my first classes. I was in the ",{"_key":23864,"_type":13,"marks":23865,"text":23866},"03b270ce0585",[73],"Corso Medio",{"_key":23868,"_type":13,"marks":23869,"text":23870},"5dba84a9f778",[]," (second year because I already knew some Italian) and this in turn was divided into language groups — S",{"_key":23872,"_type":13,"marks":23873,"text":23874},"7255dbde9398",[73],"ezione Francese, Tedesca, Mista",{"_key":23876,"_type":13,"marks":23877,"text":23878},"a3caf52ce482",[]," and mine, the ",{"_key":23880,"_type":13,"marks":23881,"text":23882},"4d038669a182",[73],"Sezione Inglese.",{"_key":23884,"_type":13,"marks":23885,"text":23886},"0d0a5d4706f1",[]," We had the same ",{"_key":23888,"_type":13,"marks":23889,"text":23890},"613cf851cabc",[73],"Professoressa",{"_key":23892,"_type":13,"marks":23893,"text":23894},"7a30e737ae39",[]," which Betty had had some years earlier: Amalia Viscardi. In general we spent the first part of the mornings with her learning grammar and vocabulary and then went to Professore Proscuti for Italian Literature (a huge class for the whole ",{"_key":23896,"_type":13,"marks":23897,"text":23898},"45e811f63823",[73],"corso medio)",{"_key":23900,"_type":13,"marks":23901,"text":23902},"b5c8509e0de9",[]," and in the afternoons (after the siesta) two other big classes: Italian History and Italian Art. This last also organised guided tours to historical centres within reach of Perugia, such as: Assisi, Spoleto, Orvieto and Rome in the south and to Siena, Florence and Arezzo in the north, and many more.",[],{"_key":23905,"_type":9,"children":23906,"image":4,"markDefs":23934,"style":18},"07be64e72848",[23907,23911,23914,23918,23922,23926,23930],{"_key":23908,"_type":13,"marks":23909,"text":23910},"7d1a1750f77b",[],"\nA normal day for me started with prima colazione; caffe latte and fresh bread rolls which the Signora had already bought before we had stirred. There was also a Signor Tosti whom we saw only occasionally. He was reputed to be a bath-maker by trade, an instrument which the ",{"_key":23912,"_type":13,"marks":23913,"text":23842},"36214aacc24d",[73],{"_key":23915,"_type":13,"marks":23916,"text":23917},"13a533d05006",[]," also possessed but which was always filled with flowers as if a signal warning us away from this tub. There was no shower nor even warm water but I was to learn that one can clean oneself very well with soap and cold water from the hand basin. After breakfast I performed these cool ablutions, gathered up my books (including a huge dictionary which I carried everywhere) and wandered down the ",{"_key":23919,"_type":13,"marks":23920,"text":23921},"e6f34f4e141f",[73],"Corso Garibaldi ",{"_key":23923,"_type":13,"marks":23924,"text":23925},"c22b60933bfd",[],"to the ",{"_key":23927,"_type":13,"marks":23928,"text":23929},"ed5d9859303b",[73],"Università",{"_key":23931,"_type":13,"marks":23932,"text":23933},"91ae67735dc0",[],". The English class was a group of about 20 students and we sat in a tiered baroque class room with the Professoressa behind a large box-like desk on a raised platform in front of us. I sat as close to her as possible, not only to hear everything with optimal clarity but also to be able to see every movement of her face and her body language.",[],{"_key":23936,"_type":9,"children":23937,"image":4,"markDefs":23942,"style":18},"b9f35248905f",[23938],{"_key":23939,"_type":13,"marks":23940,"text":23941},"d506b239218b",[],"\nThis last had fascinated me from the very beginning of my time in Italy. I had been under the mistaken impression that body language was universal but quite early I realised that the Italian body gestures were just as foreign to me as the spoken language. While eating, for example, someone would smile and put his index finger to his cheek and rotate the hand back and forth, which meant, I decided: It tastes good.",[],{"_key":23944,"_type":9,"children":23945,"image":4,"markDefs":23950,"style":18},"47f3c09ebddc",[23946],{"_key":23947,"_type":13,"marks":23948,"text":23949},"b54fbbd0b000",[],"\nSoon after I started my course I met an elderly English woman by chance in the bar of the University. She asked me how old I was. I was 28. “Good”, she said, “still young enough to be able to make the necessary mouth changes.” Up till then I had never realised that every language had its characteristic mouth shape, that in fact all sounds which seemed to be the same as those in one’s own language were slightly different and to be able to pronounce these new sounds as they were in the new language, it was only possible by forcing one’s mouth into the shape used by the speakers of that language. Months later, in Siena, this was made even more clear to me when I was in a class containing Italians, a Frenchman and two Englishmen. When an Italian was looking for a word he would say: “eh”, the Frenchman, “öh” and the Englishman, “ah”. I decided that these sounds probably corresponded the mouth shape of these languages in its “rest position”. Now, here in Perugia, in my Italian class I could see, for instance, how the lips of Amalia Viscardi were thrust forward for the Italian “u” and then stretched almost to a smile for the “e”, both sounds which don’t exist in English.",[],{"_key":23952,"_type":9,"children":23953,"image":4,"markDefs":23958,"style":18},"f490e199b89f",[23954],{"_key":23955,"_type":13,"marks":23956,"text":23957},"8e768521e906",[],"Professor Prosciuti’s literature class was always interesting and always full. The course started with Dante and Marco Polo and over the months I was there, continued through the centuries touching on Machiavelli, Lorenzo il Magnifico, Michelangelo, and so on up to the present day. He managed to make the subject very moving often through the connections he could draw with other languages and other cultures and also by sometimes inviting good Italian speakers to read; I still hear the lady who read from Jacopone da Todi’s Donna de Paradiso:",[],{"_key":23960,"_type":9,"children":23961,"image":4,"markDefs":23965,"style":18},"de9abc4e973b",[23962],{"_key":23963,"_type":13,"marks":23964,"text":25},"803d946ddbd8",[],[],{"_key":23967,"_type":754,"author":23968,"caption":23969,"image":4,"markDefs":4,"poem":23970,"title":23994},"4ca7a77014a6","Jacopone da Todi (c. 1230 – 1306)","As if spoken by Mary to her son Jesus hanging on the cross. I attach the English for understanding but unfortunately it contains absolutely nothing of the emotional music of the original",[23971,23979,23987],{"_key":23972,"_type":9,"children":23973,"markDefs":23978,"style":18},"34a85e6e0a1f",[23974],{"_key":23975,"_type":13,"marks":23976,"text":23977},"1443540069610",[],"O figlio, figlio, figlio!\nfiglio, amoroso giglio,\nfiglio, chi dà consiglio\nal cor mio angustiato?",[],{"_key":23980,"_type":9,"children":23981,"markDefs":23986,"style":18},"4148f8e66554",[23982],{"_key":23983,"_type":13,"marks":23984,"text":23985},"3d2edfe7bd7b0",[],"\nO son, son, son,\nson, loving lily!\nson who gives advice (comfort)\nto my anguished heart",[],{"_key":23988,"_type":9,"children":23989,"markDefs":23993,"style":18},"c8b67de9f3cb",[23990],{"_key":23991,"_type":13,"marks":23992,"text":25},"661d922183d20",[],[],[23995],{"_key":23996,"_type":9,"children":23997,"markDefs":24002,"style":18},"c3ef43207326",[23998],{"_key":23999,"_type":13,"marks":24000,"text":24001},"875ac1d5e585",[15,73],"Il pianto della Madonna",[],{"_key":24004,"_type":9,"children":24005,"image":4,"markDefs":24018,"style":18},"d88978eac624",[24006,24010,24014],{"_key":24007,"_type":13,"marks":24008,"text":24009},"7b4210819618",[],"\nBefore leaving for ",{"_key":24011,"_type":13,"marks":24012,"text":24013},"388793dcdba2",[73],"pranzo",{"_key":24015,"_type":13,"marks":24016,"text":24017},"04b6002f73e1",[]," there was time to go and check the mail and often there was a letter from home hanging on the wall. Why I never kept these, nor why Betty apparently never kept mine to her, I don’t know. It would have made these lines much easier to write!",[],{"_key":24020,"_type":9,"children":24021,"image":4,"markDefs":24073,"style":18},"7974fda7de48",[24022,24026,24031,24035,24039,24043,24046,24050,24053,24057,24061,24065,24069],{"_key":24023,"_type":13,"marks":24024,"text":24025},"f3d82e7f2410",[],"The midday meal was always preceded by the call: “gli spaghetti sono pronti!” (The spaghetti ",{"_key":24027,"_type":13,"marks":24028,"text":24030},"b4d6e89b0caa",[24029],"underline","are",{"_key":24032,"_type":13,"marks":24033,"text":24034},"cd794cf2aae3",[]," ready!). ",{"_key":24036,"_type":13,"marks":24037,"text":24038},"7ebcb2d7a874",[73],"Spaghetti con sugo",{"_key":24040,"_type":13,"marks":24041,"text":24042},"7427b3e70e44",[]," was followed by a main course of meat and vegetables, the latter usually lukewarm and swimming in oil — one ate well and copiously at the ",{"_key":24044,"_type":13,"marks":24045,"text":23842},"ef0ae7cd2279",[73],{"_key":24047,"_type":13,"marks":24048,"text":24049},"e823177bcbf1",[],". All the other students would be present and talk animatedly about their morning at the ",{"_key":24051,"_type":13,"marks":24052,"text":23929},"6c6400b49985",[73],{"_key":24054,"_type":13,"marks":24055,"text":24056},"31913a7fba06",[],": Cambis, the Iranian, who should have been at both the ",{"_key":24058,"_type":13,"marks":24059,"text":24060},"b54a02c08058",[73],"Sezione Mista",{"_key":24062,"_type":13,"marks":24063,"text":24064},"cdfc7b6a5620",[]," and at the Italian Literature had gone to neither. He spent most of his days playing billiards in the bar. At the end of his stay in Perugia he spoke Italian fluently but ungrammatically. By contrast, I knew what was grammatically correct because I used to spend the siesta time every day doing my home work, but I was not fluent. After some time I realised that I was not making as much progress as I should have been and so I decided to help the ",{"_key":24066,"_type":13,"marks":24067,"text":24068},"7b371bbcb17e",[73],"signora",{"_key":24070,"_type":13,"marks":24071,"text":24072},"92a659eca27e",[]," with the washing up so that I could chat with her. This helped considerably, but I was still not as fluent as Cambis!",[],{"_key":24075,"_type":9,"children":24076,"image":4,"markDefs":24081,"style":18},"8502580e6542",[24077],{"_key":24078,"_type":13,"marks":24079,"text":24080},"4bfa09e7e77c",[],"\nAfter the siesta (until 4pm) there were generally two classes, political history and art history. Both of these had very good lecturers and were therefore well attended. In the first I learnt about the Ostrigoths and Visigoths, the dark ages and then the beginnings of the renaissance through the power of money — people like Cosimo de Medici, who, by collecting papal money and lending it before delivering it, was able to become so rich that he could start a dynasty that was to rule Florence. The lecturer took great delight in explaining how these first bankers were so named because they laid their money out on banks or benches and if one of them was unlucky or stupid enough to lose his money, a state employee would come along with a big axe (and this he mimed with exaggerated movements) and cut the bank in half: hence the word bancorotto (bankrupt).",[],{"_key":24083,"_type":9,"children":24084,"image":4,"markDefs":24097,"style":18},"e123b3bafa2d",[24085,24089,24093],{"_key":24086,"_type":13,"marks":24087,"text":24088},"90e0854a60bc",[],"\nThe art class was taken by Professore Scarpellini, whose special interest was the painter Signorelli and was, in general, an authority on renaissance painting and sculpture. His course also organised the weekly trips to see the original works which he talked about and illustrated with slides in class. Smaller trips were also made on foot on Wednesday afternoons (which were normally free of classes). These trips would be, for example, to see what was in Perugia itself, like the",{"_key":24090,"_type":13,"marks":24091,"text":24092},"e6a3b7dc9360",[73]," Fontana Maggiore",{"_key":24094,"_type":13,"marks":24095,"text":24096},"551e29f3b262",[],", whose relief sculpture would occupy Scarpellini for an hour or more.",[],{"_key":24099,"_type":500,"caption":24100,"image":24101,"markDefs":4},"c95e4dc74e39","Brigitte in front of the Fontana Maggiore, Perugia, 2006",{"caption":4,"id":24102,"meta":24103,"parentID":4,"parentType":3456,"url":24107},"0798fd5a349ef55d57f6e00a5a3907a7caa5fb71",{"_type":506,"aspectRatio":24104,"height":24105,"width":24106},1.4678899082568808,1090,1600,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F0798fd5a349ef55d57f6e00a5a3907a7caa5fb71-1600x1090.jpg",{"_key":24109,"_type":9,"children":24110,"image":4,"markDefs":24131,"style":18},"5243e250e4e3",[24111,24115,24119,24123,24127],{"_key":24112,"_type":13,"marks":24113,"text":24114},"103c0e62146c",[],"\n\nBetween the end of the last class (6pm) and the evening meal with the Tostis (7:30) there was time to go shopping or to visit an early concert. Perugia had the support of a benefactor who enabled a series of very attractive concerts with world class artists. In the few months I was there, I heard more interesting music than I did at any other time in that year: Bartók string quartets by the Vegh Quartet, Bartók’s ",{"_key":24116,"_type":13,"marks":24117,"text":24118},"160e8feba821",[73],"Sonata for Two Pianos and Percussion,",{"_key":24120,"_type":13,"marks":24121,"text":24122},"cbaf9910ea83",[]," the Berg ",{"_key":24124,"_type":13,"marks":24125,"text":24126},"59bb344cde6d",[73],"Violin Concerto",{"_key":24128,"_type":13,"marks":24129,"text":24130},"dd49e5360feb",[],", to name but a few works.\n",[],{"_key":24133,"_type":9,"children":24134,"image":4,"markDefs":24149,"style":18},"cd4ace04e607",[24135,24139,24142,24145],{"_key":24136,"_type":13,"marks":24137,"text":24138},"2d39682c6bac",[73],"Cena",{"_key":24140,"_type":13,"marks":24141,"text":2410},"598b02c665c8",[],{"_key":24143,"_type":13,"marks":24144,"text":23842},"bdc003d987c8",[73],{"_key":24146,"_type":13,"marks":24147,"text":24148},"3a3277fc9113",[]," was also a cooked meal but without spaghetti. It was always punctually served which was good, because there was often another concert at 8:30 or 9 pm. How much I paid for my board and keep I don’t remember, although I do remember thinking it was rather more than other students were paying. But I was happy with the Tostis and later I was to realise that there were other good reasons for staying here. During that first month I had a visit from Luke’s friend Bragi. I introduced him to the Signora and she immediately offered him a bed for the night. The following day we wanted to travel to Sardinia. Although we set out very early there were already two lunches ready to take with us.\n",[],{"_key":24151,"_type":9,"children":24152,"image":4,"markDefs":24157,"style":18},"0d21845010a3",[24153],{"_key":24154,"_type":13,"marks":24155,"text":24156},"89217fcfdf98",[],"The same thing happened one other time and I was never expected to pay more than my normal rate. I started to see and love the Italians for their generosity — they would happily steal from you with one hand and pay it back with the other.",[],{"_key":24159,"_type":9,"children":24160,"image":4,"markDefs":24173,"style":18},"efa9c49579fc",[24161,24165,24169],{"_key":24162,"_type":13,"marks":24163,"text":24164},"51c9f9b8032b",[],"\nThe five students at the Casa Tosti got on well together, although we met only at meal times since we were in different groups at the university. One evening we decided to have a party in my room where we all sat on the floor eating snacks and drinking ",{"_key":24166,"_type":13,"marks":24167,"text":24168},"d4a891299c2f",[73],"chianti",{"_key":24170,"_type":13,"marks":24171,"text":24172},"197121b0bef6",[],". The evening went very well, even quietly, until Annemarie, who wanted to leave and go to bed, stood up suddenly. Unfortunately someone had been sitting on her rather full skirt and when she stood up, the skirt stayed on the floor. The poor girl was mortified and snatched up her lost skirt and what remained of her self esteem and left as quickly as possible.\n",[],{"_key":24175,"_type":500,"caption":24176,"image":24177,"markDefs":4},"e00cf3a35768","Party in my room at the Casa Tosti: Self, Renato (both wearing ties to be formal!), Annemarie the Swiss girl, and Cambis –– photo by Bernard",{"caption":4,"id":24178,"meta":24179,"parentID":4,"parentType":3456,"url":24183},"cba19353c4391453e09d0c279a218ca58855738a",{"_type":506,"aspectRatio":24180,"height":24181,"width":24182},0.8689057421451788,923,802,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fcba19353c4391453e09d0c279a218ca58855738a-802x923.jpg",{"_key":24185,"_type":9,"children":24186,"image":4,"markDefs":24191,"style":18},"8ca5e19a2c64",[24187],{"_key":24188,"_type":13,"marks":24189,"text":24190},"0098dd111a14",[],"\nThe other Swiss, Bernard (from the Suisse romande), told me one day about a film he had seen which impressed him greatly: A young man had trained himself to be a pickpocket. It involved a heightened awareness of every part of his body, knowing at every moment what all his muscles were doing, being conscious of all sounds and smells and above all of everything that he touched or that touched him. Bernard told me how for days after seeing the film he went round trying to feel like the pickpocket and was convinced that he was living more intensively. His description was so graphic that I began to feel like the pickpocket myself and with a concentrated effort I could heighten my own sensitivity.",[],{"_key":24193,"_type":9,"children":24194,"image":4,"markDefs":24207,"style":18},"48211e817667",[24195,24199,24203],{"_key":24196,"_type":13,"marks":24197,"text":24198},"e9c1f3487a4b",[],"\nProfessore Prosciuti asked me to a party. Why he should have invited me I don’t know. I was just one of about 100 students who attended his class and I had never even spoken a word to him. I can only think it was because I sat near the front (watching his face as he spoke!) that he asked me. It took place in his garden where he had arranged to have a pig roasted on a spit — ",{"_key":24200,"_type":13,"marks":24201,"text":24202},"9b24c8b02c0c",[73],"porchetta",{"_key":24204,"_type":13,"marks":24205,"text":24206},"048f1af91075",[],", a speciality of Perugia. The sight of the poor animal being cooked is not beautiful but the taste of the meat, flavoured with rosemary and other herbs is absolutely superb.",[],{"_key":24209,"_type":9,"children":24210,"image":4,"markDefs":24214,"style":18},"88e3d8090ba6",[24211],{"_key":24212,"_type":13,"marks":24213,"text":25},"441d5b3a135e",[],[],{"_key":22432,"_type":9,"children":24216,"image":4,"markDefs":24220,"style":6894},[24217],{"_key":24218,"_type":13,"marks":24219,"text":22433},"53e428b978c50",[15],[],{"_key":24222,"_type":9,"children":24223,"image":4,"markDefs":24228,"style":18},"02c4340209b9",[24224],{"_key":24225,"_type":13,"marks":24226,"text":24227},"815a53d1cff5",[],"\nThe Bamfords arrived. They came in their Dormobile, a vehicle which had not only taken them round much of Europe giving them beds for the night, it also had cooking facilities and a lavatory. It was a home on wheels, a part of their family and it was called “Dormouse”. They planned to spend one month in Perugia (attending the Corso Preparatorio) and so for that time they would put the Dormouse out to graze during the week, live in a normal house except at weekends when it could take them visiting the surrounding cities and countryside. And of course I was allowed to travel with them.",[],{"_key":24230,"_type":9,"children":24231,"image":4,"markDefs":24244,"style":18},"7458724a494c",[24232,24236,24240],{"_key":24233,"_type":13,"marks":24234,"text":24235},"f2af692fea48",[],"\nIt was in the Dormouse that we visited Orvieto, where I bought my gold fish. Art professor Scarpellini had organised a tour of the Cathedral where he showed us Signorelli’s “",{"_key":24237,"_type":13,"marks":24238,"text":24239},"4be756c495c6",[73],"Resurrection of the Flesh",{"_key":24241,"_type":13,"marks":24242,"text":24243},"c1ce1b2b58b7",[],"”: ",[],{"_key":24246,"_type":9,"children":24247,"image":4,"markDefs":24251,"style":18},"eb12a6c52cbc",[24248],{"_key":24249,"_type":13,"marks":24250,"text":25},"7e160c16a5e8",[],[],{"_key":24253,"_type":500,"caption":24254,"image":24255,"markDefs":4},"1c992759efbb"," Luca Signorelli: Resurrezione della carne. Orvieto Cathedral 1499-1504",{"caption":4,"id":24256,"meta":24257,"parentID":4,"parentType":3456,"url":24258},"e3847598bf93430edf6df346e848c3cf754b22e8",{"_type":506,"aspectRatio":382,"height":17701,"width":17701},"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fe3847598bf93430edf6df346e848c3cf754b22e8-600x600.jpg",{"_key":24260,"_type":9,"children":24261,"image":4,"markDefs":24266,"style":18},"0b5635ea0bb2",[24262],{"_key":24263,"_type":13,"marks":24264,"text":24265},"0567b4a6a041",[],"\nThe idea of the perfect naked bodies of the blessed souls being called into heaven from trumpeters on the Last Judgement Day struck me as rather curious to say the least: The Judgement seemed already to have taken place, so there would be no parading of souls before God, no standing before Him and hearing His accusations and His decision to keep them in heaven or send them to hell, because here in this picture (as also in Michelangelo’s) only the blessed are moving up and the trumpeters, which I had thought were announcing the beginning of the Judgement were in fact signalling its end! And yet the remarkable thing was that I was criticising something in this picture (which owes everything to Michelangelo — the subject and the glorification of the human body), which I had never dreamt of questioning in Michelangelo’s case. Is it possible that the quality of the latter’s work is so overwhelming, that one accepts its message unconditionally, whereas in a second rate painter like Signorelli (being second rate to Michelangelo is surely no disgrace!) one looks at the content much more critically? Perhaps if I had listened more carefully to Scarpellini I would know. As it was he had already started his discourse when we arrived and I was at the back of the crowd of students with no chance of moving forw— a work of art worthy of Michelangelo himself. It was the story of the creation: God had made Adam from a lump of clay and with an incision in his side, had extracted a rib which had miraculously turned into Eve. Here the story is even more far fetched — why should God go to all the trouble of removing a rib and transforming it into a woman when he’s capable of making a person out of a lump of clay? But such questions are totally irrelevant when the work is good — and this one is, outstandingly so!",[],{"_key":24268,"_type":500,"caption":24269,"image":24270,"markDefs":4},"b374911a4095","Lorenzo Maitani (ca. 1275-1330): Creation of Eve. Façade, Orvieto Cathedral. ",{"caption":4,"id":24271,"meta":24272,"parentID":4,"parentType":3456,"url":24275},"c6659ad9c57e6f97be4e406de215c095f1828f8d",{"_type":506,"aspectRatio":24273,"height":11006,"width":24274},1.3266666666666667,1592,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fc6659ad9c57e6f97be4e406de215c095f1828f8d-1592x1200.jpg",{"_key":24277,"_type":9,"children":24278,"image":4,"markDefs":24283,"style":18},"2403947cf4a2",[24279],{"_key":24280,"_type":13,"marks":24281,"text":24282},"2da585f1fc51",[],"\nTravelling in the Dormouse I saw a new side of Italy. There were, for instance, numerous level crossings where the road crossed the railway and was controlled by a barrier. We soon learned that to be on the safe side, the barrier was let down at least ten minutes before the train was expected. This meant that we had ample time to make and drink a cup of tea (brewed in the kitchen of the Dormouse) before the train came. Coming home from Orvieto and just after a nice cup of tea at a level crossing, we noticed dramatic storm clouds gathering. Quite soon we saw lightning but were surprised to notice only brilliant flashes among the clouds on the horizon but no sounds of thunder. This “sheet lightning” is of course a common phenomenon in Europe, but for us New Zealanders it was something quite new and we lay down on the beds of the Dormouse and peered out its windows watching this beautiful spectacle.",[],{"_key":24285,"_type":9,"children":24286,"image":4,"markDefs":24291,"style":18},"262463436b1a",[24287],{"_key":24288,"_type":13,"marks":24289,"text":24290},"5269e8ec7bee",[],"\nOne day a student asked if I would take part in a scene from Shakespeare’s “Midsummer Night’s Dream” to be presented outside at a school festival. I was to be the chink in the wall for Pyramus and Thisbe to talk through. This involved my making a circle with the finger and thumb of one hand while the two actors brought their mouths and ears as near to it as possible and acted out this wonderful Shakespearian burlesque. All this was part of a gala to celebrate the birthday of a school, which had invited representatives of the many different cultures who were studying Italian at the University for Foreigners. While we three (Pyramus, Thisbe and I, wall) enjoyed our performance fully, it is doubtful if anyone else did. English was not widely spoken in Italy in those days and Shakespearian English would have been totally foreign. We were followed by a group of black people, colourfully dressed and doing an African dance, which was much more enthusiastically accepted and applauded.",[],{"_key":24293,"_type":9,"children":24294,"image":4,"markDefs":24299,"style":18},"90e139ccabac",[24295],{"_key":24296,"_type":13,"marks":24297,"text":24298},"23b83686dd63",[],"\nMy progress in the Italian language was not brilliant but satisfactory. I could make myself understood and in general I felt I understood most of what people spoke to me. What I have already said about seeing and hearing only that which one is trained to see or hear, also applies to languages. One searches for parallels within one’s own language, which are however often not there or, if there, not idiomatically used. Instead of saying that he likes something, the Italian says that it pleases him (mi piace). Also the simple past tense, which is used constantly in spoken and written English and which would correspond to the Italian passato remoto, would be completely out of place since this is used only in the written language. These things are not difficult to learn, they are made clear in most language courses. What is more difficult to deal with are missing words or what I call “holes” in the language: the verb “to wear”, for example, is missing from many European languages, instead they say “to carry” (portare) and so if someone is “carrying a hat” you need to work out from the context if it’s on his head or in his hand. English has many “holes”, some well known and some not. The verb “to dwell”, for example, has all but disappeared leaving a hole which has been replaced with “to live”. When we learn a foreign language therefore, we have to be careful, is it abitare or vivere? Not quite a “hole” but equally problematic is the positive answer to a negative question: “Didn’t you see that?” “Yes I did!” “Non l’hai visto?” “Ma sì!”. (But yes). English has this (for foreigners enormously complicated) process, whereby the person replying must notice which auxilliary verb was used in the question and incorporate it into his answer: “Have you never seen it?” “Yes I have.” Fortunately Italian does not require this: “Non l’hai mai visto?” “Ma sì!”",[],{"_key":24301,"_type":9,"children":24302,"image":4,"markDefs":24307,"style":18},"d2930cb679a7",[24303],{"_key":24304,"_type":13,"marks":24305,"text":24306},"f6f951450c5f",[],"\nOne of the problems of “hearing only what you already know”, is that from the huge palette of human voice sounds each language chooses just a small selection to work with. We hear these sounds as soon as we are born (or even before!) and we learn to know which sounds are important for communicating. When we hear a foreign language, it seems at first unclear, lacking in the sharp differences of sounds which characterise our mother language. This is because we have not yet learnt to know which sounds are important in the new language and have not yet trained our ears to separate these important sounds from one another. After a while studying a new language it gains contours for our ears, but it never reaches the “sharpness” of the mother tongue. As an example, consider the English words “bad” and “bed”. For an English speaker there is no problem hearing the difference, we can even tell if it’s a British or an American speaker who is using them, so acute is our hearing in this narrow frequency range. Another example came from the Signorina Monti: She wrote down the words “ship” and “sheep” and asked me to pronounce them. I did so and she said: “é lo stesso” (it’s the same). As English speakers, we learn to distinguish between long and short vowels so successfully, that confusion practically never happens. Imagine the “short vowel” versions of “sheet” or “can’t” and consider the terrible misunderstandings it could lead to.",[],{"_key":24309,"_type":9,"children":24310,"image":4,"markDefs":24315,"style":18},"4d2333c69af2",[24311],{"_key":24312,"_type":13,"marks":24313,"text":24314},"c880eba4053c",[],"\nNot only do we separate long and short and closely related frequencies of the formants of our own language, we also have an intonation that is language specific and idiosyncratic. If someone has learnt all the right sounds in the correct order but pronounces them with the “wrong song” — perhaps with the intonation of his mother language — he is automatically difficult to understand. This “song” is what children learn first, in the so-called babbling stage. Children with two or more first languages, babble differently depending on which language they are imitating. Curiously, however, the intonation of the language is something which is seldom taught, and if at all, only if the student is prepared to immerse himself completely in the sounds of native speakers. The tragedy is, that the capacity to learn all these things well, diminishes sharply after adolescence and is only to be approached with long and strong discipline. I had therefore to resign myself to the fact that I could never speak this new language perfectly but I was anxious to do it as well as possible.",[],{"_key":24317,"_type":9,"children":24318,"image":4,"markDefs":24386,"style":18},"d31753ae330d",[24319,24323,24327,24331,24335,24339,24343,24347,24351,24355,24359,24363,24367,24371,24374,24378,24382],{"_key":24320,"_type":13,"marks":24321,"text":24322},"952ff2b3bc62",[],"\nThe Università was always concerned that we learn the best Italian, Tuscan dialect, the language of the great Dante Alighieri who made the first step away from Latin with such brilliance, with such an affinity for human feelings, that he established his dialect as the Italian language. But Italy still has hundreds of dialects, even Perugia (in Umbria) has a dialect although we were well protected from it. The further one travels away from Tuscany (where the “dialect” is the high language) the more difficult these languages are to understand. But even the high language has its “bad” words, although they were not on the curriculum we were studying. One such word, which one heard regularly on the street, was ",{"_key":24324,"_type":13,"marks":24325,"text":24326},"e0e25bf0102d",[73],"accidenti",{"_key":24328,"_type":13,"marks":24329,"text":24330},"c2c53b466a7a",[],". According to my dictionary this means “damn” or “good heavens” but according to our ",{"_key":24332,"_type":13,"marks":24333,"text":24334},"731f65b44ba4",[73],"professoressa",{"_key":24336,"_type":13,"marks":24337,"text":24338},"dd2efed75424",[]," it was ",{"_key":24340,"_type":13,"marks":24341,"text":24342},"019437bf588e",[73],"molto brutto",{"_key":24344,"_type":13,"marks":24345,"text":24346},"20376d6d865b",[]," (very ugly) and not to be used. I was reminded of my own shock when I arrived in Leysin a few months before, where in Club Vagabond the lingua franca was English. The young Europeans who where working or staying there had learnt American slang perfectly and knew that “fuck”, for example, was quite a normal word to be included in any conversation as often as possible. It even sounded cultivated, although quaint, out of these mouths, not like it had sounded on the Wellington wharves where I had spent my summer holidays. It became clear to me that as a foreigner, it is much easier to copy words than to develop a feeling for their “weight”. Even for native speakers this is difficult since “weight” is not a fixed quantity, what was “",{"_key":24348,"_type":13,"marks":24349,"text":24350},"19a716c45c9e",[73],"brutto",{"_key":24352,"_type":13,"marks":24353,"text":24354},"3dc36eb84916",[],"” yesterday can be acceptable today. But the bad words have a special attraction, and so when Cambis learnt them, he would pass them on to us: ",{"_key":24356,"_type":13,"marks":24357,"text":24358},"cf0133917ba6",[73],"chiavare",{"_key":24360,"_type":13,"marks":24361,"text":24362},"fbed711670d8",[]," (to fuck) for example. Here my dictionary admits that this word is ",{"_key":24364,"_type":13,"marks":24365,"text":24366},"703fa9cbed35",[73],"vulgare",{"_key":24368,"_type":13,"marks":24369,"text":24370},"2b56a6b6452c",[]," — how the ",{"_key":24372,"_type":13,"marks":24373,"text":24334},"14f1a6faa4ca",[73],{"_key":24375,"_type":13,"marks":24376,"text":24377},"f09261890c09",[]," would have reacted to it one dares not even guess. Its metaphoric origin is obvious: to insert a key (",{"_key":24379,"_type":13,"marks":24380,"text":24381},"09be15cee988",[73],"chiave",{"_key":24383,"_type":13,"marks":24384,"text":24385},"4bcadbd0d8af",[],") into a lock. In the English of electricity we have a similar expression which we use quite unembarrassedly when we talk about male and female plugs, but the metaphor has, to my knowledge, never been used for the sexual act.\n",[],{"_key":24388,"_type":9,"children":24389,"image":4,"markDefs":24418,"style":18},"e8bd44a433dc",[24390,24394,24398,24402,24406,24410,24414],{"_key":24391,"_type":13,"marks":24392,"text":24393},"a0dc033dd8f2",[],"One last example of a “weighty” phrase before I finish this month: Years later, now as a language teacher myself, a young woman came to my English class and made it clear that she already knew a lot of English and was keen to practise it. She talked about her time in London and of an occasion when it had been raining heavily: “It was pissing down” she said. I tried to explain that this expression was not used in normal polite society, that there were more appropriate expressions like “raining cats and dogs” for example. She contradicted me, she had often heard it, everybody used it. What could I say, except beg to disagree? It’s difficult as a teacher not to appear to be moralising, when in fact one only wants to try and make clear what sort of social background the phrase belongs to. The young woman never returned to my class, no doubt convinced that I was totally out of touch with modern English. In her defence, however, I realised much later that a similar expression in Swiss German had made that journey from the vulgar to normal usage. In the nineteenth century, when the chamber pot was commonly used, it became known in student slang as a ",{"_key":24395,"_type":13,"marks":24396,"text":24397},"4c06c436569f",[73],"Schiff",{"_key":24399,"_type":13,"marks":24400,"text":24401},"ad98c02a6c4c",[]," by analogy with a ship as a vessel, and the act of using it was to ",{"_key":24403,"_type":13,"marks":24404,"text":24405},"e12f1ca581b3",[73],"schiffe",{"_key":24407,"_type":13,"marks":24408,"text":24409},"1848013170ad",[],". This remains as a moderate vulgarism in the modern language. Curiously, the same word, when used for a downpour, is widely used in normal conversation: ",{"_key":24411,"_type":13,"marks":24412,"text":24413},"262834d5f966",[73],"es schiffet wie verruckt",{"_key":24415,"_type":13,"marks":24416,"text":24417},"1222a3ee1b02",[]," (literally: it’s pissing [down] like mad). Although most Swiss probably do not know the origin of this phrase, it is possible that the young woman did and was not surprised to find the same expression in English.\n",[],{"_key":24420,"_type":9,"children":24421,"image":4,"markDefs":24441,"style":18},"08116e4e585b",[24422,24426,24429,24433,24437],{"_key":24423,"_type":13,"marks":24424,"text":24425},"bb8b382d8692",[],"About this time I was asked if I would like to sing in the church choir at the small church opposite the ",{"_key":24427,"_type":13,"marks":24428,"text":23929},"3abc0228457d",[73],{"_key":24430,"_type":13,"marks":24431,"text":24432},"1f290adf96d2",[],". The music was not specially interesting but it was nearly six months since I had had any contact with music making at all, so I agreed. The group consisted almost entirely of students (including the conductor) and it met once a week to prepare music for the visit of the archbishop, which would take place the following month. There was just a single work on the program, a rather conservative setting of the famous text by St. Francis of Assisi: ",{"_key":24434,"_type":13,"marks":24435,"text":24436},"966329750f4a",[73],"Il Cantico delle Creature",{"_key":24438,"_type":13,"marks":24439,"text":24440},"abadbc899339",[],". Progress was very slow, most people were not experienced singers, but the contact with the wonderful Franciscan text made it all worthwhile.\n",[],{"_key":24443,"_type":9,"children":24444,"image":4,"markDefs":24457,"style":18},"f9ba5d88a30b",[24445,24449,24453],{"_key":24446,"_type":13,"marks":24447,"text":24448},"388f670a3d0a",[],"At the Casa Tosti Bernard announced that he was about to have a birthday and that he had met a Swiss girl who had a birthday on exactly the same day. They had therefore decided to celebrate together — his friends and her friends — at the ",{"_key":24450,"_type":13,"marks":24451,"text":24452},"43c370479f31",[73],"Mandorla",{"_key":24454,"_type":13,"marks":24455,"text":24456},"55934804296c",[]," on June the first.",[],{"_key":24459,"_type":9,"children":24460,"image":4,"markDefs":24464,"style":18},"c2e5dfa76570",[24461],{"_key":24462,"_type":13,"marks":24463,"text":25},"16ffa58f9774",[],[],{"_key":22435,"_type":9,"children":24466,"image":4,"markDefs":24470,"style":6894},[24467],{"_key":24468,"_type":13,"marks":24469,"text":22436},"d2e6a1d2937f",[15],[],{"_key":24472,"_type":9,"children":24473,"image":4,"markDefs":24478,"style":18},"504b68a5fd4a",[24474],{"_key":24475,"_type":13,"marks":24476,"text":24477},"e9b005324f440",[],"\nWhen I look back it’s remarkable how little I remember of the birthday party. All I can recall with any certainty is sitting at a table in the Mandorla and dancing on the tiny space in front of the tables. The one thing that has blotted out all the other memories is the picture of the Swiss girl who was sitting at the same table. Her name was Brigitte and she was from the Sezione Tedesca and she shared a room with Margrit, the other person whose birthday we were celebrating. We talked for a while (in Italian) and then we danced. And that’s all. I remember the feel of her body against mine — a feeling I wanted to continue for a long time. What we ate or drank I have no idea, it didn’t seem important. All I know is that it was suddenly midnight and the Mandorla was going to shut. There was a quick conference about where the party should go and without knowing the decision we were out on the street and following Bernard. What we didn’t know was where the others went who were following Margrit. We searched and called but to no avail. Finally we stopped at a children’s playground, Bernard, Brigitte and I. Bernard had with him a loaf of bread, a bottle of chianti and a big salami. So we had a midnight feast. We swang on the swings and ran after the lucciole (fireflies) and ate more salami until we had gobbled it all up. We were in a state of suspended animation.",[],{"_key":24480,"_type":9,"children":24481,"image":4,"markDefs":24489,"style":634},"118bd46f3eb4",[24482,24485],{"_key":24483,"_type":13,"marks":24484,"text":4878},"46457c7ea79b",[],{"_key":24486,"_type":13,"marks":24487,"text":24488},"0e02464716c6",[73],"Vorgestern wahnsinnig schönes Geburtstagsfest (Geburtstag von Margrit und noch einem lustigen Schweizer) in einem gemütlichen Lokal. Mein ganz stiller Schwarm der Uni (ganz riesengrosser Student aus New Zealand, Neu Seeland (come si scrive?) hat den ganzen Abend mit mir getanzt, geplaudert … etc., es war ein unvergesslicher Abend, und ich bin wieder einmal so ganz unwirklich froh gewesen.… Und morgen? Und übermorgen? Ich weiss es nicht. Es liegen so viele Überraschungen in diesem Land. Doch das gefällt mir. ",[],{"_key":24491,"_type":9,"children":24492,"image":4,"markDefs":24500,"style":634},"182f2bc09279",[24493,24497],{"_key":24494,"_type":13,"marks":24495,"text":24496},"c42ce5c3558a",[73],"Und jetzt, mezzanotte, meine Liebsten, gehe ich schlafen, da sonst trübe Gedanken kommen wollen, trübe, weil die ganz schönen Augenblicke so kurz sind, so kurz, dass ich nicht mehr daran glauben kann. Und trotzdem möchte ich sie nicht missen. Trotzdem sind sie schön. Vielleicht um so schöner.",{"_key":24498,"_type":13,"marks":24499,"text":4878},"65af351ea243",[],[],{"_key":24502,"_type":9,"children":24503,"image":4,"markDefs":24508,"style":634},"831dfc49e1dd",[24504],{"_key":24505,"_type":13,"marks":24506,"text":24507},"7dccbe237ee7",[],"Yesterday a really super birthday party (Margrit’s and an amusing Swiss boy’s birthday) in a cozy restaurant. My very silent crush from the university (a huge student from New Zealand, Neu Seeland — how does one write it?) danced and talked the whole evening with me, an unforgettable evening … And tomorrow? And the day after? I don’t know. There are so many surprises lying in this country. But I like that. ",[],{"_key":24510,"_type":9,"children":24511,"image":4,"markDefs":24516,"style":634},"94a0bc61ef89",[24512],{"_key":24513,"_type":13,"marks":24514,"text":24515},"80ce2da3bf40",[],"And now, midnight, my dears, it’s off to bed otherwise dark thoughts will want to take over, dark because the beautiful moments are so short, so short, that I can’t believe them any more. But in spite of that I wouldn’t miss them. In spite of that they are beautiful. Perhaps even more beautiful.\n",[],{"_key":24518,"_type":9,"children":24519,"image":4,"markDefs":24524,"style":18},"53fa22cb8e20",[24520],{"_key":24521,"_type":13,"marks":24522,"text":24523},"b35185b06f25",[],"Now suddenly the arrangement with the Tostis which had suited me perfectly so far had become somewhat of an encumbrance. I would love to have been free to eat together with Brigitte but I had paid the Signora for full board until the end of the month. I would have to be a bit patient and make the most of the time in between.\n",[],{"_key":24526,"_type":9,"children":24527,"image":4,"markDefs":24539,"style":18},"b1cf10cb60cb",[24528,24532,24536],{"_key":24529,"_type":13,"marks":24530,"text":24531},"778886da0d19",[],"We met again for two concerts during the week and then spent a happy afternoon sitting on a wall trying to understand and learn by heart Leopardi’s famous poem ",{"_key":24533,"_type":13,"marks":24534,"text":24535},"f6236ab5519c",[73],"Infinito",{"_key":24537,"_type":13,"marks":24538,"text":104},"87ed1ec35c07",[],[],{"_key":24541,"_type":754,"author":24542,"image":4,"markDefs":4,"poem":24543,"title":24552},"5afb25edb94c","Giacomo Leopardi (1798–1837)",[24544],{"_key":24545,"_type":9,"children":24546,"markDefs":24551,"style":18},"5244f5b7b1c8",[24547],{"_key":24548,"_type":13,"marks":24549,"text":24550},"b3e2a3287140",[],"Sempre caro mi fu quest’ermo colle,\ne questa siepe, che da tanta parte\ndell’ultimo orizzonte il guardo esclude.\nMa sedendo e mirando, interminati\nspazi di là da quella, e sovrumani\nsilenzi, e profondissima quïete\nio nel pensier mi fingo; ove per poco\nil cor non si spaura. E come il vento\nodo stormir tra queste piante, io quello\ninfinito silenzio a questa voce\nvo comparando: e mi sovvien l’eterno,\ne le morte stagioni, e la presente,\ne viva, e il suon di lei. Così tra questa\nimmensità s’annega il pensier mio:\ne il naufragar m’è dolce in questo mare.",[],[24553],{"_key":24554,"_type":9,"children":24555,"markDefs":24560,"style":18},"f765dbcd8df6",[24556],{"_key":24557,"_type":13,"marks":24558,"text":24559},"0ae24d4db0cd",[15,73],"Infinito — Giacomo Leopardi",[],{"_key":24562,"_type":754,"author":24542,"image":4,"markDefs":4,"poem":24563,"title":24677},"cdd4cc33ba13",[24564],{"_key":24565,"_type":9,"children":24566,"markDefs":24676,"style":18},"8ced0e82391d",[24567,24571,24574,24578,24581,24585,24588,24592,24595,24599,24602,24606,24609,24613,24616,24620,24623,24627,24630,24634,24637,24641,24644,24648,24651,24655,24658,24662,24665,24669,24672],{"_key":24568,"_type":13,"marks":24569,"text":24570},"cd14e019f89e",[73],"Always dear to me was this solitary hill,",{"_key":24572,"_type":13,"marks":24573,"text":4878},"5adfa092f41c",[],{"_key":24575,"_type":13,"marks":24576,"text":24577},"9c14af35c336",[73],"and this hedgerow, which from so great a part",{"_key":24579,"_type":13,"marks":24580,"text":4878},"7cea04c1809b",[],{"_key":24582,"_type":13,"marks":24583,"text":24584},"2431b68f0a50",[73],"of the farthest horizon excludes the sight.",{"_key":24586,"_type":13,"marks":24587,"text":4878},"7e7fe2254cf4",[],{"_key":24589,"_type":13,"marks":24590,"text":24591},"7b0d7ea772e6",[73],"But sitting and gazing,",{"_key":24593,"_type":13,"marks":24594,"text":4878},"8326f58a95e1",[],{"_key":24596,"_type":13,"marks":24597,"text":24598},"50971afc8b39",[73],"I frame within my thought limitless",{"_key":24600,"_type":13,"marks":24601,"text":4878},"4153c301f062",[],{"_key":24603,"_type":13,"marks":24604,"text":24605},"857ef4df0907",[73],"spaces beyond that [hedge], and superhuman",{"_key":24607,"_type":13,"marks":24608,"text":4878},"accd39a3b4ca",[],{"_key":24610,"_type":13,"marks":24611,"text":24612},"f0533c732f96",[73],"silences, and deepest quiet,",{"_key":24614,"_type":13,"marks":24615,"text":4878},"eae5df6b9af3",[],{"_key":24617,"_type":13,"marks":24618,"text":24619},"dc46a1a97681",[73],"so that my heart almost takes fright.",{"_key":24621,"_type":13,"marks":24622,"text":4878},"aca27b0e544a",[],{"_key":24624,"_type":13,"marks":24625,"text":24626},"bf2414479b2e",[73],"And as I hear the wind",{"_key":24628,"_type":13,"marks":24629,"text":4878},"eb2da3d6b33e",[],{"_key":24631,"_type":13,"marks":24632,"text":24633},"3caf2f1fbd1a",[73],"rustling through these plants, I compare that",{"_key":24635,"_type":13,"marks":24636,"text":4878},"29c65bc070be",[],{"_key":24638,"_type":13,"marks":24639,"text":24640},"1b6359519ee1",[73],"infinite silence to this voice:",{"_key":24642,"_type":13,"marks":24643,"text":4878},"50bc49ac81d9",[],{"_key":24645,"_type":13,"marks":24646,"text":24647},"0bb0de7a95a1",[73],"and eternity comes over me,",{"_key":24649,"_type":13,"marks":24650,"text":4878},"9cf076583a64",[],{"_key":24652,"_type":13,"marks":24653,"text":24654},"6e733b3f3c59",[73],"and the dead seasons, and the present",{"_key":24656,"_type":13,"marks":24657,"text":4878},"c433d4555f57",[],{"_key":24659,"_type":13,"marks":24660,"text":24661},"dad447dcc8e1",[73],"and living one, and its sound. Thus amid this",{"_key":24663,"_type":13,"marks":24664,"text":4878},"683cf772c0b8",[],{"_key":24666,"_type":13,"marks":24667,"text":24668},"c4e43d6982eb",[73],"vastness my thought drowns:",{"_key":24670,"_type":13,"marks":24671,"text":4878},"cdd9134c1c84",[],{"_key":24673,"_type":13,"marks":24674,"text":24675},"ea77dd6794b1",[73],"and to be shipwrecked is sweet to me in this sea.",[],[24678],{"_key":24679,"_type":9,"children":24680,"markDefs":24689,"style":18},"7ae868ec2fde",[24681,24685],{"_key":24682,"_type":13,"marks":24683,"text":24684},"5608fe058a0c",[15,73],"Infinity",{"_key":24686,"_type":13,"marks":24687,"text":24688},"27cf86727665",[]," (literal translation)",[],{"_key":24691,"_type":9,"children":24692,"image":4,"markDefs":24705,"style":18},"f2424ecfe87e",[24693,24697,24701],{"_key":24694,"_type":13,"marks":24695,"text":24696},"429a98fe7a3d",[],"I had already decided to take the examination at the end of the ",{"_key":24698,"_type":13,"marks":24699,"text":24700},"6b384ad59939",[73],"trimestre",{"_key":24702,"_type":13,"marks":24703,"text":24704},"d5cc3b40f749",[],", something Brigitte had no intention of doing, but she was not at all opposed to helping me learn the material, especially the poetry which she loved:",[],{"_key":24707,"_type":9,"children":24708,"image":4,"markDefs":24716,"style":634},"38835361f001",[24709,24712],{"_key":24710,"_type":13,"marks":24711,"text":4878},"a362385fe675",[],{"_key":24713,"_type":13,"marks":24714,"text":24715},"be57ceaf1860",[73],"Vorhin sind wir noch rasch auf einem Mäuerchen gesessen und haben Leopardis „Infinito“ auswendig zu lernen versucht, gegenüber etruskische Mauern und über uns die ewig kreisenden plaudernden Schwalben. Dann hat er mir ein violettes Gräslein geschenkt. Vorgestern eine weisse Rose und vor-vorgestern pflückte er Ginster an einem ganz gefährlichen steilen Hang. Ich hätte weinen können. Er heisst Christopher, man nennt ihn auch Kit. ",[],{"_key":24718,"_type":9,"children":24719,"image":4,"markDefs":24727,"style":634},"bc1762691b2e",[24720,24724],{"_key":24721,"_type":13,"marks":24722,"text":24723},"1e2c6365de90",[73],"Verzeiht, wenn ich Euch all dies schreibe, lächelt über mich, wenn ihr mich in den Teenager-Stand zurückversetzt glaubt — doch, Ihr müsst einfach wissen, wie froh ich bin, manchmal …",{"_key":24725,"_type":13,"marks":24726,"text":4878},"12a11a781515",[],[],{"_key":24729,"_type":9,"children":24730,"image":4,"markDefs":24735,"style":634},"f5456c074285",[24731],{"_key":24732,"_type":13,"marks":24733,"text":24734},"546679cb616d",[],"A while ago we were sitting on a little wall trying to learn Leopardi’s Infinito by heart, opposite the Etruscan wall and and around us the ever circling and chattering swallows. Then he presented me a tiny violet grass. The day before yesterday a white rose and the day before that he picked me some broom from a dangerously steep slope. I could have wept. His name is Christopher, but one also calls him Kit.\n",[],{"_key":24737,"_type":9,"children":24738,"image":4,"markDefs":24743,"style":634},"33fb8d210c6e",[24739],{"_key":24740,"_type":13,"marks":24741,"text":24742},"92734ee2bf92",[],"Forgive me when I write all this, smile about me if you think I’ve slipped back into the teenage stage — but you must know how happy I am, sometimes …\n",[],{"_key":24745,"_type":9,"children":24746,"image":4,"markDefs":24751,"style":18},"24ebd0635b4d",[24747],{"_key":24748,"_type":13,"marks":24749,"text":24750},"488f7a3961b0",[],"Brigitte also joined the church choir. The rehearsals were in the church itself, behind the altar. I have often been surprised by how “unsacred” the practice of religion in Italy is. It was quite possible for us to practise singing while others were praying. Perhaps this is a good thing. Perhaps this underlines that religion is just a normal part of everyday living. And yet, one has the feeling that if a person is busy communicating with God, one may not interrupt. Not so in Italy. Years later we visited Perugia and the surroundings again with Margrit and Antonio (who also had sung in that choir). We were in Assisi visiting the famous Franciscan church and I asked Antonio a question which he couldn’t answer. Automatically he turned to the nearest person who would know, a man on his knees, deep in prayer, and asked him. Without any apology to poor God whom he had evidently left hanging, he (still on his knees) listened to Antonio, gave the answer and then returned to his conversation with God. Brigitte described something similar in a letter home:\n",[],{"_key":24753,"_type":9,"children":24754,"image":4,"markDefs":24762,"style":634},"6733a701e651",[24755,24759],{"_key":24756,"_type":13,"marks":24757,"text":24758},"e821fd6f9e14",[73],"Wisst Ihr, dass ich heute in Weihrauch und Kitsch einer hässlichen Kirche eine Messe sang, mit sang? Einige Uni-Studenten, meist Nicht-Katholiken, singen dort. Ich will jetzt auch mitmachen. Hinter der Orgel sind wir gestanden und haben geübt, 4-stimmig. Plötzlich ging ein Geklingel und Gemurmel los, vor uns, im Kirchenschiff, die Messe. Wir übten weiter, bis es dem Priester doch zu viel wurde, vielleicht, weil er seinen Wein nicht in Ruhe geniessen konnte? So zottelten wir weg; Kit und ich verliessen Weihrauch, Geklingel und Gemurmel aus Versehen nicht aus der Seitentür, sondern marschierten mitten in das Messvolk hinein, rasselnde Rosenkränze, hässliche Frauen und hässliche Kopftücher, alt . . . sie starrten mit müden Augen, hinter uns goldener Priester und roter Wein! Nie werde ich dieses Bild der „betenden“ Frauen vergessen können.",{"_key":24760,"_type":13,"marks":24761,"text":4878},"feb3f93b6263",[],[],{"_key":24764,"_type":9,"children":24765,"image":4,"markDefs":24770,"style":634},"337e9fd37d2f",[24766],{"_key":24767,"_type":13,"marks":24768,"text":24769},"f9236e64d1b3",[],"Do you know that today amidst incense and kitsch in an ugly little church I took part in a mass, as a singer? A few university students, mostly non-catholics, sing there. I’ve decided to join them. We stood behind the organ and practiced in 4-parts. Suddenly there was a tinkling and a murmuring in front of us in the body of the church, the mass. We continued practising until it was apparently too much for the priest, perhaps because he couldn’t enjoy his wine in peace. So we ambled off. Kit and I left the incense, tinkling and murmuring by mistake not by the side door but marched right into the middle of the congregation, rattling rosaries, ugly women and ugly head scarves, old … they stared with tired eyes, behind us the golden priest and red wine! Never will I be able to forget this picture of “praying” women.\n",[],{"_key":24772,"_type":9,"children":24773,"image":4,"markDefs":24786,"style":18},"8d361c05af11",[24774,24778,24782],{"_key":24775,"_type":13,"marks":24776,"text":24777},"d6b13029d545",[],"At the weekend there was a Scarpellini tour to Ravenna. Although we were both enrolled for the trip we entered the bus separately and I was near the front and Brigitte towards the rear. Just before we reached our destination there was a call from behind me asking the bus driver to stop: ",{"_key":24779,"_type":13,"marks":24780,"text":24781},"a6ac09fd3789",[73],"É una signorina ammallata",{"_key":24783,"_type":13,"marks":24784,"text":24785},"c17392aa98ad",[]," (There’s a sick girl). Brigitte was hushed out of the bus into the fresh air where she could recover from the tortuous road over the Apennines. So it was that the inner workings of her body brought us together again.\nIn Ravenna we were quite overcome by the freshness and brilliance of the mosaics — as if we were looking at art works only just completed. Up till now we had studied paintings on which the scourges of time had often left indelible scares but here were works hundreds of years older than anything we had seen so far which were as lively and vibrant as on the day they were finished.",[],{"_key":24788,"_type":500,"caption":24789,"image":24790,"markDefs":4},"cbd9193a29f6","6th century Mosaic. The Calling of St. Peter and St Andrew. Church of Sant’Apollinare Nuovo, Ravenna",{"caption":4,"id":24791,"meta":24792,"parentID":4,"parentType":3456,"url":24796},"b2e60ee8b35ca8ab3216c08cc3af8ef52bef3b64",{"_type":506,"aspectRatio":24793,"height":24794,"width":24795},1.9808795411089866,523,1036,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fb2e60ee8b35ca8ab3216c08cc3af8ef52bef3b64-1036x523.jpg",{"_key":24798,"_type":9,"children":24799,"image":4,"markDefs":24804,"style":18},"43f1d2fbf69e",[24800],{"_key":24801,"_type":13,"marks":24802,"text":24803},"ce956b67f7f4",[],"Although religious images dominated we were constantly delighted by tiny details like the curious fish — the one that got away! — in the picture above.\n",[],{"_key":24806,"_type":9,"children":24807,"image":4,"markDefs":24812,"style":634},"ff4df4ba36cc",[24808],{"_key":24809,"_type":13,"marks":24810,"text":24811},"20694b41a214",[73],"Ravenna. Mosaik, Basiliken, hässliche Häuser, grässlicher Autocar, schreckliche Reisegesichter, Kameras und Reiseführer . . . doch ein wundervoller Begleiter: New Zealand, 1.95 m gross, schön, blond, Mathematiklehrer und Komponist . . . etc. etc. etc. Wieder einmal Stunden, die ich nie vergessen kann. Um Mitternacht sind wir auf einer Mondstrasse durchs Meer spaziert, Motive von Beethoven hat er gesummt, ich musste ihm ein Schweizerlied lernen: „Es Buurebüebli . . . “, im Sand auf einem weissen Schifflein sind wir dann gesessen und haben den Stimmen des Meeres gelauscht…\n",[],{"_key":24814,"_type":9,"children":24815,"image":4,"markDefs":24823,"style":634},"2df498d14c81",[24816,24820],{"_key":24817,"_type":13,"marks":24818,"text":24819},"4c3a8fd4f16d",[73],"…Meinen Fehlern an seht ihr, dass ich müde bin, vielleicht noch von Ravenna, denn die Tour war recht anstrengend, doch so vielseitig und interessant! Prof. Scarpellini gibt sich wirklich grosse Mühe, der etwas eigenartigen Studentenschaft etwas zu bieten. Von Dantes Grab bin ich etwas enttäuscht gewesen, dafür haben mich die unheimlich strahlenden Mosaike umso mehr fasziniert und bezaubert, grosse Augen und ganz einfache Linien. Neben dem kühlen runden Mausoleo des Teodorico lag ein feuerrotes Mohnblumenfeld, vor Staunen habe ich mich am Geländer festhalten müssen: Monets Bild ist nichts mehr dagegen!",{"_key":24821,"_type":13,"marks":24822,"text":4878},"a15be6009ee6",[],[],{"_key":24825,"_type":9,"children":24826,"image":4,"markDefs":24831,"style":634},"d61d1a47f9ef",[24827],{"_key":24828,"_type":13,"marks":24829,"text":24830},"eda0b814d3f4",[],"Ravenna. Mosaics, Basilicas, ugly buildings, ugly busses, terrible tourist faces, cameras and tour-leaders . . . but a wonderful companion: New Zealander, 1.95 m tall, handsome, blond, mathematics teacher and composer . . . etc. etc. etc. Again moments I can never forget. At midnight we were strolling on a moon road through the sea, he singing Beethoven motives and I teaching him “Es Buurebüebli . . .” (Swiss folk song), then we sat on a little white boat in the sand and listened to the voices of the sea…\n",[],{"_key":24833,"_type":9,"children":24834,"image":4,"markDefs":24839,"style":634},"8a230cb11664",[24835],{"_key":24836,"_type":13,"marks":24837,"text":24838},"3bbcd9183b19",[],"…You can see from my mistakes that I am tired, perhaps still from Ravenna, because the trip was really strenuous, so much to take in and so interesting! Prof. Scarpellini really goes to a lot of trouble to offer something good to this rather curious group of students. Dante’s grave was disappointing but on the other hand the unbelievable brilliant mosaics fascinated and bewitched me with their huge eyes and very simple lines. Alongside the cool round Mausoleum di Theoderico was a fiery red poppy field, I was so astonished I had to hold the railing very tightly: Monet’s picture is nothing by comparison!\n",[],{"_key":24841,"_type":9,"children":24842,"image":4,"markDefs":24855,"style":18},"a17808f43a51",[24843,24847,24851],{"_key":24844,"_type":13,"marks":24845,"text":24846},"8b01829cc46f",[],"The high day at the church arrived:",{"_key":24848,"_type":13,"marks":24849,"text":24850},"74008177c1e3",[73]," la visita del archivescovo",{"_key":24852,"_type":13,"marks":24853,"text":24854},"397fc4e0a796",[]," (the visit of the archbishop). We were told that we should arrive an hour before the service was scheduled to start: per riscaldare delle voci (for warming up the voices). Although this was not something that was done in my earlier choral experience, in the German singing tradition das Einsingen (which we assumed this to mean) was something very important. But we had completely overlooked the alcoholic traditions of the Italian clergy. When we arrived, the three floors of the church hall adjacent to the church were clearly marked: first floor for clerics, second for choir and adult congregation, top floor for children. The two lower floors were already well supplied with bottles of the finest wines from the region. We were quick to adjust to this new custom and warmed our voices with gusto. Then with hot glowing throats we moved across to the church. The two buildings were connected by an underground passage which emerged at a tiny low door at the back of the church (This was the exit we should have taken after the interrupted practice described in Brigitte’s letter). We bent down to pass through the doorway and found ourselves in the familiar place behind the altar. Here we could be heard but not seen and therefore, in spite of the seriousness of the occasion, we had no special robes or fine clothes.\n",[],{"_key":24857,"_type":9,"children":24858,"image":4,"markDefs":24863,"style":18},"f74d9db71a26",[24859],{"_key":24860,"_type":13,"marks":24861,"text":24862},"d07e38129273",[],"As an erstwhile choir and altar boy in the Anglican church, I was interested in the preparations which were taking place as we waited for the archbishop. I had often had to light candles but never such high ones as these. To solve this problem, the acolyte had threaded a wick through the end of a long bamboo pole. Now as he moved from high candle to high candle, the burning wick got shorter and shorter until suddenly I realised that the stick itself was alight. Although this alarmed me , he seemed unperturbed and the job was completed without serious conflagration and the service began.\n",[],{"_key":24865,"_type":9,"children":24866,"image":4,"markDefs":24871,"style":18},"1238a44b7917",[24867],{"_key":24868,"_type":13,"marks":24869,"text":24870},"4bfb7b339fef",[],"How well we sang or the archbishop spoke I no longer remember, but one event remains indelibly in my memory: Part way through the service the tiny door from the underground passage opened and out came a huge man. From his stature and clothing he looked as if he might have been delivering coal and had gone through the wrong door. But he moved his colossal body straight towards the organ which at that very moment started the accompaniment of the Bach\u002FGounod Ave Maria. Then this “coalman” opened his mouth and what came out left us all speechless. It was a voice that could have filled the Scala in Milan but here it made the whole small church resonate. And it was not just a big sound, it was a beautifully rounded operatic tenor. The intense concentration and the summer heat brought drops of sweat to his dark low brow, but only we saw this, he like us, was invisible from the front. Then the work came to an end and without a moment’s hesitation, he returned to the tiny door, bent into its small space and disappeared. Looking back, it is clear that this performance was minutely rehearsed. He must have known very precisely when he was to appear and what was expected of him. Nevertheless, to have fulfilled this expectation with such bravura and for no applause is remarkable.\n",[],{"_key":24873,"_type":9,"children":24874,"image":4,"markDefs":24879,"style":18},"98c29473b80a",[24875],{"_key":24876,"_type":13,"marks":24877,"text":24878},"cc933f583b5f",[],"Brigitte had a car, an Austin mini called Pü (short for Pylades, the faithful friend of Orestes). We met in front of the Università, from where she had promised to take me to Assisi. She offered me the keys. For the first time since leaving New Zealand I sat in the driver’s seat of a car. In spite of the fact that the steering wheel was on the “wrong” side, I drove instinctively to the left of the road. She (and no doubt the surrounding traffic) was shocked. I had to stop, take stock of the new situation, and then for the next few days, whenever I was allowed to direct Pü, tell myself “drive right”. Perugia is a very old city, a typical Etruscan city on the top of a hill, and its roads and buildings were built for pedestrians and horse traffic. I always maintained that whereas other countries widened streets, Italy made narrower cars, like the Fiat 500 for example, which was so common at this time. This is not entirely true, there were also large coach-type buses on these roads, which in Perugia often had to take two bites at a bend to negotiate a narrow corner. But Pü was ideal for this city and after I had drummed into my head the side of the road I was to drive on, we reached Assisi without further problems.\n",[],{"_key":24881,"_type":9,"children":24882,"image":4,"markDefs":24887,"style":18},"1ada0ada4cd5",[24883],{"_key":24884,"_type":13,"marks":24885,"text":24886},"caf29829064a",[],"The first stop was at the church of Santa Chiara, the “girlfriend” of St. Francis, a building whose massive buttresses reach right out onto the main road through Assisi. Since both Francis and Chiara had been dead for about seven centuries, I was not expecting to see them, but Santa Chiara is still there, in a glass case, looking like a figure from a horror film. She is looked after by the sisters of the order she founded, women who swear an oath of silence and who are veiled and float around like ghosts of the past. We left this rather sinister place quickly and moved on to the famous Basilica di San Francesco, a church with two floors and dozens of large frescoes by (among others) Giotto and Simone Martini, and, best of all, no glass box with the body of the saint! The Giotto frescoes, although very satisfying, are not easy to see, they are so high up on the badly-lit walls. The other famous Giottos in Florence (Santa Croce) and in Padua (Scrovegni Chapel) are much nearer to the viewer and leave a more lasting impression. From here we took the mountain path up the hill towards the Rocca Maggiore and stopped at the tree where Francis preached to the birds. How moving to see this tree, which must be at least 700 years old and is held up by numerous iron bars. It made one realise what can be done to preserve a tree when it’s really important. At the same time one wonders why other trees can’t be treated with the same devotion.\n",[],{"_key":24889,"_type":500,"caption":24890,"image":24891,"markDefs":4},"0c91c51fcb84","Giotto, Basilica San Francesco, Upper Church, Assisi, 1299",{"caption":4,"id":24892,"meta":24893,"parentID":4,"parentType":3456,"url":24896},"76edccb87bfe9dbf98f96db72d3604d5f4571f5f",{"_type":506,"aspectRatio":24894,"height":24895,"width":5890},0.74487895716946,1074,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F76edccb87bfe9dbf98f96db72d3604d5f4571f5f-800x1074.jpg",{"_key":24898,"_type":9,"children":24899,"image":4,"markDefs":24907,"style":634},"ab1578b9968f",[24900,24903],{"_key":24901,"_type":13,"marks":24902,"text":4878},"8131a5fae1e6",[],{"_key":24904,"_type":13,"marks":24905,"text":24906},"ca89cdfacde9",[73],"Hitze. Blauer Himmel. Durst. Heute wieder einmal Assisi mit meinem grossen Freund. Und als ich da hoch oben von der Rocca aus auf das liebliche Städtlein hinunter sah, weit über das ganz flache umbrische Land, wurde ich ganz traurig. Diese Gegend ist mir zu lieb geworden. Werde ich sie wieder finden dort im bleichen hetzenden Zürich, dort in Häusern, Autos und leeren Herzen?\n",[],{"_key":24909,"_type":9,"children":24910,"image":4,"markDefs":24918,"style":634},"b99e41d85972",[24911,24915],{"_key":24912,"_type":13,"marks":24913,"text":24914},"561164864a66",[73],"Inzwischen ist Kit mit langen Beinen Käfern, Schmetterlingen und Eidechsen nachgesprungen — natürlich auch dem roten Mohn. Doch diese Blumen lassen auch in Italien zu bald die roten Köpflein hangen.",{"_key":24916,"_type":13,"marks":24917,"text":4878},"caea61a3bb1a",[],[],{"_key":24920,"_type":9,"children":24921,"image":4,"markDefs":24926,"style":634},"bcfd1f855ef7",[24922],{"_key":24923,"_type":13,"marks":24924,"text":24925},"100aac96c5ee",[],"Heat. Blue sky. Thirst. In Assisi again with my tall friend. And as I looked down from high up near the Rocca (Fortress) to the lovely little town below, I became quite sad. This region has become so dear to me. Will I find it again there in the pale nervous Zurich, there in houses, cars and empty hearts?\n",[],{"_key":24928,"_type":9,"children":24929,"image":4,"markDefs":24934,"style":634},"9cca7104cc09",[24930],{"_key":24931,"_type":13,"marks":24932,"text":24933},"648febf85f31",[],"In the meantime Kit with his long legs has run after beetles, butterflies and lizards — and of course also the red poppies. But in Italy too these flowers let their red heads hang down too soon.\n",[],{"_key":24936,"_type":500,"caption":24937,"image":24938,"markDefs":4},"760add006492","Pü being washed — in Lago Trasimeno?",{"caption":4,"id":24939,"meta":24940,"parentID":4,"parentType":3456,"url":24943},"e1d088ac43655ffb6c37e6c463a7f99252bc7994",{"_type":506,"aspectRatio":24941,"height":11005,"width":24942},1.5255102040816326,1196,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fe1d088ac43655ffb6c37e6c463a7f99252bc7994-1196x784.jpg",{"_key":24945,"_type":9,"children":24946,"image":4,"markDefs":24951,"style":18},"18fc2157cbb2",[24947],{"_key":24948,"_type":13,"marks":24949,"text":24950},"1806d7040499",[],"From time to time Brigitte complained about the unwished-for attention of young Italian males. She had even been stopped in the car by carabinieri whose only motive was to arrange a date. On this occasion, however, she had the active support of her idiosyncratic landlady:\n",[],{"_key":24953,"_type":9,"children":24954,"image":4,"markDefs":24959,"style":634},"6f004a8ba867",[24955],{"_key":24956,"_type":13,"marks":24957,"text":24958},"4f425f84b0da",[73],"Die Signora Margheritelli ist leider, wie ja all meine Schlummermütter passate, auch etwas verrückt. Immer saust sie auf Blochlumpen durch Gang und Zimmer, über kalte Steinböden, immer auf Lumpen. Man hat sich so nach zwei Monaten an diesen Bloch-Zustand gewöhnt. Und sollte sie einmal ohne Lumpen erscheinen, dann fehlt etwas Wesentliches.\n",[],{"_key":24961,"_type":9,"children":24962,"image":4,"markDefs":24970,"style":634},"9e4bbfadf5e5",[24963,24967],{"_key":24964,"_type":13,"marks":24965,"text":24966},"5dd3e11923a3",[73],"Heute Morgen flüsterte die Signora zur Türe herein: „Es ist einer da. Un giovane. Si chiama Celestino. Was soll ich ihm sagen?“ Besagter Kerl also, den ich nicht mehr ausstehen kann. 60 km von Spoleto kam er angerollt. Und die Signora schwebte zur Türe: „La signorina è andata alla chiesa“. So ratterte der hellblaue Fiat wieder davon, und hinter den Fensterläden haben wir ihm frohlockend nachgeblickt, die Signora und ich.",{"_key":24968,"_type":13,"marks":24969,"text":4878},"1a3a7f1274cf",[],[],{"_key":24972,"_type":9,"children":24973,"image":4,"markDefs":24978,"style":634},"010ac2b1737a",[24974],{"_key":24975,"_type":13,"marks":24976,"text":24977},"c4d7f2460966",[],"Signora Margheritelli is, like all my previous landladies, somewhat crazy. She tears over the stone floors with her feet on cleaning rags, through the corridor and rooms, always on rags. And if she ever appears without rags, then something essential is missing.\n",[],{"_key":24980,"_type":9,"children":24981,"image":4,"markDefs":24986,"style":634},"4a34121713ce",[24982],{"_key":24983,"_type":13,"marks":24984,"text":24985},"32511e37a4c9",[],"This morning the Signora whispered at the door: There’s someone here. A young man. Called Celestino. What shall I tell him?” It was that chap I can’t stand any more. He’d driven 60 km from Spoleto. The Signora floated back to the door: “The signorina has gone to church”. So the pale blue Fiat clattered away again, and we watched it joyfully from behind the shutters, the Signora and I.\n",[],{"_key":24988,"_type":9,"children":24989,"image":4,"markDefs":24994,"style":18},"9a207574ee93",[24990],{"_key":24991,"_type":13,"marks":24992,"text":24993},"9779b20a1853",[],"Brigitte often ran out of money and had to write to her father who had power of attorney over her bank account. Sending money from Switzerland to Italy was done either by cheque or by arrangement with an Italian bank. Both systems were slow which often meant anxious waiting for a week or more. Although I had lost half my money in Rome I seldom worried about money. I had paid for my board and lodgings in advance and needed very little for other expenses. Brigitte on the other hand had only prepaid lodgings and had correspondingly many more daily expenses including petrol for the car. But toward the end of my time in Perugia I too had to be careful:\n",[],{"_key":24996,"_type":9,"children":24997,"image":4,"markDefs":25005,"style":634},"738dd6ebdc2b",[24998,25002],{"_key":24999,"_type":13,"marks":25000,"text":25001},"9d69eb79ffc8",[73],"Margrit ist heute abend nicht da: „Traviata“. Kit und ich haben Geldsorgen. Wir mussten verzichten. Schlechteste Plätze mit Legi 700 Lire! Viel für arme „Studentchen“.",{"_key":25003,"_type":13,"marks":25004,"text":4878},"f701c8ab129e",[],[],{"_key":25007,"_type":9,"children":25008,"image":4,"markDefs":25013,"style":634},"93f4f224a110",[25009],{"_key":25010,"_type":13,"marks":25011,"text":25012},"9c8eb2c44399",[],"Margrit is not here this evening: “Traviata”. Kit and I have money worries. We had to pass. The worst student-concession seats are 700 Lire! A lot for poor “students”.\n",[],{"_key":25015,"_type":9,"children":25016,"image":4,"markDefs":25021,"style":18},"d60213726ad5",[25017],{"_key":25018,"_type":13,"marks":25019,"text":25020},"89345a2b03a3",[],"Don Giuseppe (at the mere mention of his name Signora Tosti would roll her eyes to heaven and throw up her arms in an act of despair, so many were the stories of his escapades and liaisons), the priest from “our” church, had promised the choir members a bus trip in recognition for our musical contribution to the visit of the archbishop.\n",[],{"_key":25023,"_type":9,"children":25024,"image":4,"markDefs":25032,"style":634},"2d8006fca57c",[25025,25029],{"_key":25026,"_type":13,"marks":25027,"text":25028},"99ce9dfe924e",[73],"Morgen Fahrt nach Fabriano mit dem Studentenchor (Abschied), eingeladen von Don Giuseppe, dem lustigen Padre im flatternden Gewand, der irgendwo zwei Söhne haben soll, vor Lebensfreude fast platzt und ständig Abendmahl-Wein trinkt. Es ist einfach amüsant und komisch, ihm in dem Kirchen-Gemurmel, Mess-Geklingel, Rosenkranz-Klappern und Knie-Knacken von der Orgel aus zuzuhören, zuzusehen, manchmal mit dem Chor zu singen, zwischendurch in die riesigen geschnitzten Chor-Stühle zu sinken, zu träumen oder zu schlafen! Also, morgen werden wir mit Don Giuseppe eine Geldfabrik besichtigen, einige Kirchen werden sinngemäss dazu gehören, er wird uns zum Essen einladen! Ich freue mich. Auch Kit wird dabei sein. Ich hoffe, in der Geldfabrik etwas papierernes Glück zu finden.",{"_key":25030,"_type":13,"marks":25031,"text":4878},"3f9f3998331e",[],[],{"_key":25034,"_type":9,"children":25035,"image":4,"markDefs":25040,"style":634},"664b3bad8ef8",[25036],{"_key":25037,"_type":13,"marks":25038,"text":25039},"0e427f6ec3c9",[],"Tomorrow is the bus trip to Fabriano with the student choir (farewell), the invitation of Don Giuseppe, the lively Padre with the flowing robes, who has two sons somewhere and who is bursting with vitality and always drinking the communion wine. It is really amusing and strange to watch him from beside the organ amidst the church murmurings, the mass tinklings, the rosary rattlings and knee clickings, sometimes singing with the choir and in between sinking into the huge carved choir pews, dreaming or even sleeping! So, tomorrow we will visit a money factory with Don Giuseppe, a few churches will logically also be included and he will invite us to dinner. I’m looking forward to it! Kit is coming too. I hope we can find some papery happiness in the money factory.\n",[],{"_key":25042,"_type":9,"children":25043,"image":4,"markDefs":25048,"style":18},"a9dbce7a3fd7",[25044],{"_key":25045,"_type":13,"marks":25046,"text":25047},"a4b10573b0a3",[],"The first thing was to bless the bus: Don Giuseppe sailed down with fluttering cassock and said the magic words, so that God would protect us on our trip, and climbed into the bus where we were all waiting. No sooner was the bus in motion, he regaled us with jokes: “A monkey was given a peach, which it swallowed whole and had terrible trouble passing the stone. But it was a very clever monkey. The next time it had a peach, it broke it in half, took out the stone” — and here Don Giuseppe mimed the monkey poking the stone into his rear — “tested it for size, decided it would fit, put the peach back together and swallowed it whole.” Never were the sublime and the ridiculous so close together.\n",[],{"_key":25050,"_type":9,"children":25051,"image":4,"markDefs":25056,"style":18},"d4ce8d8ebb6e",[25052],{"_key":25053,"_type":13,"marks":25054,"text":25055},"590c0b940c89",[],"Travelling by bus with an international group of students was always entertaining. Especially the Swiss students (and they were probably in the majority here) knew so many folk songs. Not just their own ones, also English, French, German and Italian ones. It made the time fly past very quickly. We arrived in Fabriano, which up till then I had only heard of in the name of the early Renaissance artist Gentile di Fabriano. Already in Gentile’s time (14th century) this tiny town was famous for its paper factory and now in the 20th century for its mint, which printed the bank notes of many different European countries. With so much money around the security was ever present. We were checked going in and coming out and allowed only to look, not to touch! That we were allowed in at all now seems rather remarkable.\n",[],{"_key":25058,"_type":9,"children":25059,"image":4,"markDefs":25064,"style":18},"2fd429490d1d",[25060],{"_key":25061,"_type":13,"marks":25062,"text":25063},"9e5ca239ff2e",[],"We drove to a monastery where we were greeted with excellent cool white wine made by the monks and then sat down at an outside table for the promised meal. In the heat of the mid-afternoon that followed, Don Giuseppe tucked in his cassock, put on a cap made from a handkerchief with knotted corners and played football with some of the choir members while others dosed. During this siesta Brigitte and I climbed up a hillside to a field that was buzzing with life. The wild flowers were blooming and had attracted a multitude of insects, in particular beautiful butterflies. But the grasses were also ripe with pollen and suddenly I was struck by a sneezing fit. Although annoying, I had had this all my life and was not surprised by it, but Brigitte had never seen (or heard) such a reaction. Not until we had left this “idyllic” field and returned to the monastery did the sneezing stop.\n",[],{"_key":25066,"_type":9,"children":25067,"image":4,"markDefs":25072,"style":18},"fd2a5948e7b6",[25068],{"_key":25069,"_type":13,"marks":25070,"text":25071},"c33429ba3470",[],"The Perugia time was drawing to a close. Brigitte and I had met daily over the last few weeks and neither of us wanted this life to finish. She would have to return to Zurich and the Kinderspital (Children’s Hospital) and I had enrolled for a composition course in Siena. But both of these commitments were not until the middle of July. One day she said: “We could spend two weeks together touring Italy in Pü and at the end I could drop you off in Siena.” It seemed an excellent idea, it would put off the terrible moment we were both dreading. But before that there were the exams.\n",[],{"_key":25074,"_type":9,"children":25075,"image":4,"markDefs":25080,"style":18},"d74419f7e5b2",[25076],{"_key":25077,"_type":13,"marks":25078,"text":25079},"d9acba454eda",[],"Although Brigitte was not going to take the exams it was still an excuse for us to meet and for her to hear me my Dante, Leopardi, Ungaretti or the wonderful short poem by Salvatore Quasimodo (1901–1968):\n",[],{"_key":25082,"_type":754,"author":25083,"image":4,"markDefs":4,"poem":25084,"title":25108},"c5533f931ef0","Salvatore Quasimodo",[25085,25093,25100],{"_key":25086,"_type":9,"children":25087,"markDefs":25092,"style":18},"d7bf8f500b5b",[25088],{"_key":25089,"_type":13,"marks":25090,"text":25091},"8893f2f3fc200",[],"Ognuno sta solo sul cuor della terra\ntrafitto da un raggio di sole:\ned è subito sera.",[],{"_key":25094,"_type":9,"children":25095,"markDefs":25099,"style":18},"0d4d5c0d920c",[25096],{"_key":25097,"_type":13,"marks":25098,"text":25},"f91106adb028",[],[],{"_key":25101,"_type":9,"children":25102,"markDefs":25107,"style":18},"349681a5f94b",[25103],{"_key":25104,"_type":13,"marks":25105,"text":25106},"64967971a114",[],"Everyone stands alone at the heart of the earth\ntransfixed by a ray of sun:\nand it is suddenly evening.",[],[25109],{"_key":25110,"_type":9,"children":25111,"markDefs":25116,"style":18},"73108a039ea2",[25112],{"_key":25113,"_type":13,"marks":25114,"text":25115},"57be3fc86eb6",[15,73],"Ed è subito sera",[],{"_key":25118,"_type":9,"children":25119,"image":4,"markDefs":25124,"style":18},"2031b2f1a1f7",[25120],{"_key":25121,"_type":13,"marks":25122,"text":25123},"b1aacc3394d0",[],"It didn’t quite fit our situation — we were enjoying the “rays of sun” and were determined to put off “evening” for as long as possible — nevertheless the poem impressed us by its extreme compactness and tragically accurate description of human life.\n",[],{"_key":25126,"_type":9,"children":25127,"image":4,"markDefs":25132,"style":634},"f97bb3f18881",[25128],{"_key":25129,"_type":13,"marks":25130,"text":25131},"a80ed8852624",[73],"22. Juni 1966 ",[],{"_key":25134,"_type":9,"children":25135,"image":4,"markDefs":25140,"style":634},"b0ab658973e3",[25136],{"_key":25137,"_type":13,"marks":25138,"text":25139},"87154239d6e6",[73],"Letzter, allerletzter Uni-Tag. Überall wehmütige traurige Gesichter, Koffer kommen zum Vorschein, Abschiedsszenen nahen . . . Es ist wirklich ganz grässlich, das liebe lustige leichte Perugia verlassen zu müssen!! Wenn ich nicht, haltet euch fest, nächste Woche mit Kit Richtung NAPOLI rollen würde, dann müsste ich bald notfallmässig den höchsten Turm suchen, um nachher … doch so verschiebe ich diese Szene auf Neapel: „Vedere Napoli e poi morire.“ Vedremo si è vero!! Ich freue mich ganz wahnsinnig und beneide mich momentan selber, so froh sein zu können! Voraussichtlich ziehen wir am nächsten Donnerstag los. Noch gar keine weiteren Pläne. Vor allem billig. Jugendherbergen, etc. Ihr werdet dann mittels Postkarten — Regen mitreisen können. — Mitte Juli dann werde ich Kit in Siena zurücklassen müssen, wo er einen 2-monatigen Musik-Kurs besucht. Ich werde mich dann Richtung Kispi durchkämpfen, um am 18. Juli die kalte, harte Schreibmaschine — unvorstellbar — zu begrüssen. Vorher, Vati, werde ich bestimmt in San Gimignano ein Grüsschen von Dir liegen lassen.\n",[],{"_key":25142,"_type":9,"children":25143,"image":4,"markDefs":25148,"style":634},"bb8cfed50456",[25144],{"_key":25145,"_type":13,"marks":25146,"text":25147},"b546eddefbf0",[73],"Wie geht es euch heute, meine Lieben? Heiss, heisser am heissesten? Meine Zimmerkollegin, die kleine Margrit, läuft seit gestern mit ganz traurigen blauen Augen herum. Liebeskummer. Ich kann nicht helfen. Man kann nicht. Es ist schlimm.\n",[],{"_key":25150,"_type":9,"children":25151,"image":4,"markDefs":25156,"style":634},"32355424bef8",[25152],{"_key":25153,"_type":13,"marks":25154,"text":25155},"bd29f4319b01",[73],"In einer Stunde vor der Uni. Noch einmal werden wir die Scrittori Italiani gemeinsam durchbüffeln, Kit und ich. Glücklicherweise macht er die Prüfung, was mich auch noch ein bisschen „studiare“ macht, ein bisschen das „dolce far niente“ vergessen lässt.\n",[],{"_key":25158,"_type":9,"children":25159,"image":4,"markDefs":25167,"style":634},"17e1587089bd",[25160,25164],{"_key":25161,"_type":13,"marks":25162,"text":25163},"194abce319ff",[73],"Jetzt gehe ich noch ins Centro, um Reproduktionen von Caravaggio, den ich liebe, zu erstehen. Darum, meine Liebsten, arrivederci. Brigitte.",{"_key":25165,"_type":13,"marks":25166,"text":4878},"f86904a713ae",[],[],{"_key":25169,"_type":9,"children":25170,"image":4,"markDefs":25175,"style":634},"821fdfb4671b",[25171],{"_key":25172,"_type":13,"marks":25173,"text":25174},"9f1f03759bdd",[],"22. June 1966 ",[],{"_key":25177,"_type":9,"children":25178,"image":4,"markDefs":25183,"style":634},"6bc7893a899b",[25179],{"_key":25180,"_type":13,"marks":25181,"text":25182},"8eddf43155ae",[],"The last, the very last Uni-day. Everywhere lugubrious sad faces, suit cases appear, farewell scenes approach . . . it’s really terrible to have to leave this lovely happy light-hearted Perugia!! If it were not for the fact (hold on to yourselves tightly) that next week Kit and I are going to roll down towards NAPOLI, I would have been an emergency case looking for the highest tower to … but now I can move this scene to Naples: “See Naples and die”. We’ll see if this is true. I’m so looking forward to it that I even envy myself at being able to be so happy. We’re expecting to leave next Thursday. No further plans. The main thing is cheap. Youth hostels, etc. In the middle of July I’ll have to leave Kit in Siena where he’s attending a 2-month music course. I’ll battle on direction Children’s Hospital to greet the cold hard typewriter on 18th July — unimaginable. Vati, I’ll definitely leave a greeting from you in San Gimignano. (Father Bänninger had spent some time as a young man in this little town in the province of Siena, famous for its many towers.)\n",[],{"_key":25185,"_type":9,"children":25186,"image":4,"markDefs":25191,"style":634},"919df673eb2e",[25187],{"_key":25188,"_type":13,"marks":25189,"text":25190},"c49450175945",[],"How are you all my dears today? Hot, hotter, hottest? My roommate, wee Margrit, is walking round since yesterday with very sad blue eyes. Lovesickness. I can’t help her. Nobody can. It’s bad.\n",[],{"_key":25193,"_type":9,"children":25194,"image":4,"markDefs":25199,"style":634},"2524b9738f7b",[25195],{"_key":25196,"_type":13,"marks":25197,"text":25198},"889105fcf2d2",[],"In an hour in front of the Uni. Once more swotting Italian writers together with Kit. Luckily he’s doing the exam which makes me do it a bit too and makes me forget a bit the “dolce far niente”.\n",[],{"_key":25201,"_type":9,"children":25202,"image":4,"markDefs":25207,"style":634},"a7ac49915555",[25203],{"_key":25204,"_type":13,"marks":25205,"text":25206},"7e23f4a439ab",[],"Now I’m off to the centro to buy reproductions of Caravaggio whom I love. Therefore my dears, arrivederci. Brigitte\n",[],{"_key":25209,"_type":9,"children":25210,"image":4,"markDefs":25223,"style":18},"ec2c3b3875da",[25211,25215,25219],{"_key":25212,"_type":13,"marks":25213,"text":25214},"62deecd47145",[],"The exams were quite harmless. Nothing to write, just a conversation with my Professoressa Viscardi and Professore Prosciuti. The Professoressa had brought ",{"_key":25216,"_type":13,"marks":25217,"text":25218},"b3f12115e631",[73],"baci",{"_key":25220,"_type":13,"marks":25221,"text":25222},"7e88382eebf4",[]," (kisses! — a chocolate speciality of Perugia) to sooth any nervous feelings. It was, curiously (since I had already spent ten years studying at universities in New Zealand), the first time I had sat an oral exam, but with such friendly examiners it was more of a chat than a test. It was this Amalia Viscardi who had made me aware of the Accademia Musicale Chigiana which was to be my next “school” in Siena, and she continued to take an interest in my life in Italy.\nNow the painful time of packing and saying goodbye to all the friendly Perugians and fellow students was starting. Fortunately I wouldn’t have to farewell Brigitte and Bernard promised to visit me in Siena. Also I would leave a part of my luggage at the Casa Tosti, so saying addio to the Signora could wait till we returned from the south.\n",[],{"_key":25225,"_type":9,"children":25226,"image":4,"markDefs":25231,"style":634},"380080c9586d",[25227],{"_key":25228,"_type":13,"marks":25229,"text":25230},"5996c0bf5f59",[73],"28. Juni 1966.\n",[],{"_key":25233,"_type":9,"children":25234,"image":4,"markDefs":25239,"style":634},"cd3ee75eba59",[25235],{"_key":25236,"_type":13,"marks":25237,"text":25238},"6b2fd4fdba06",[73],"Meine Liebsten\nUnd wieder sitze ich ganz tief in Koffern und Taschen drin: letzter Tag in Perugia, letzte Nacht an der Via S. Siepi, zum letzten Mal habe ich mir an der Pizza die Zunge verbrannt, letztes Lächeln vom Pizza-Mann, zum letzten Mal Kaffee und Gelati mit Margrit in unserer kleinen Bar. Sono molto triste! – Und jetzt sollte ich packen. Ich mag nicht! Ich werde auf unsere Napoli-Meeres-Spritztour nur ganz wenig mitnehmen. Der Koffer bleibt in Perugia. Wir werden noch einmal ganz schnell hier vorbei kommen, auf der Rückreise.\n",[],{"_key":25241,"_type":9,"children":25242,"image":4,"markDefs":25247,"style":634},"db32afaacfd5",[25243],{"_key":25244,"_type":13,"marks":25245,"text":25246},"fd09d44aeabd",[73],"Ich freue mich! Doch ich habe auch Angst, weil alles zu schön ist. Kit ist ein besonderer lieber junger Mann. Stundenlang kann er sich mit Käfern oder Schmetterlingen abgeben, stundenlang aber auch über Lichtwellen und Sternenentfernungen rätseln, dass mir nachher der Kopf vor Anstrengung nur so dröhnt, stundenlang auch philosophieren über Gott und andere Themen. Und all dies auf englisch oder italienisch. Und all dies soll in kleinen 14 Tagen vorbei sein? Darf ich dann stöhnen zu Hause, sag, Mütterchen? Weißt Du, so durchs Telefon!\n",[],{"_key":25249,"_type":9,"children":25250,"image":4,"markDefs":25255,"style":634},"1ffbe779223c",[25251],{"_key":25252,"_type":13,"marks":25253,"text":25254},"b290d9277b1f",[73],"Doch jetzt muss ich wirklich packen. In einer Stunde treffen wir uns noch einmal vor der Uni: Einkaufen. Notvorrat. Mit Orangen- und Zitronensaft soll der kleine Pü gefüllt werden. Hitze. Kit hat immer Durst.\n",[],{"_key":25257,"_type":9,"children":25258,"image":4,"markDefs":25263,"style":634},"f12218ac5088",[25259],{"_key":25260,"_type":13,"marks":25261,"text":25262},"d5b6b9e2b7a2",[73],"Wenn ich bloss wüsste, was ich einpacken soll. Da sitze ich verzweifelt in einem billigen, roten, neu erstandenen Leibchen mitten in Hosen, Pullovern, Schlafsäcken und Taschen, und niemand hilft. Aiuto! Niemand kommt. Ich werde weiter rufen und weiter auf Lösungen der ewigen Mitnehm-Probleme hoffen.\n",[],{"_key":25265,"_type":9,"children":25266,"image":4,"markDefs":25271,"style":634},"c53bd63a3562",[25267],{"_key":25268,"_type":13,"marks":25269,"text":25270},"6c100f77c6e4",[73],"Viele fremde Gesichter sind aufgetaucht und tauchen weiter auf. Viele bekannte Gesichter sind bereits verschwunden. Perugia ist mit all den Fremdkörpern plötzlich anders und wehmütig geworden. So viele sind gegangen, so viele gehen.\n",[],{"_key":25273,"_type":9,"children":25274,"image":4,"markDefs":25279,"style":634},"8cddb41c9fbd",[25275],{"_key":25276,"_type":13,"marks":25277,"text":25278},"9628282c295d",[73],"Jetzt bin ich schon beim Nägelkauen angelangt. Ganz schlimm. Doch packen ohne Nägelkauen geht gar nicht.\n",[],{"_key":25281,"_type":9,"children":25282,"image":4,"markDefs":25290,"style":634},"f6c399b8ef17",[25283,25287],{"_key":25284,"_type":13,"marks":25285,"text":25286},"e5b79937d709",[73],"Nägelkauend also endet der letzte Brief aus Perugia. Noch nie hat mir das Abschiednehmen aus einer Stadt so weh getan!",{"_key":25288,"_type":13,"marks":25289,"text":4878},"679ff41c5ab3",[],[],{"_key":25292,"_type":9,"children":25293,"image":4,"markDefs":25298,"style":634},"4849e2973e75",[25294],{"_key":25295,"_type":13,"marks":25296,"text":25297},"0e76f7b5a558",[],"My Dears\nAnd again I’m sitting deep in suitcases and bags: last day in Perugia, last night at Via Serafina Siepi, for the last time I burnt my tongue on a pizza, last smile from the pizza man, last coffee and ice cream with Margrit in our little bar. I’m very sad! — And now I should pack. I don’t want to. I’ll take very little for our Naples-Sea-Whirlwind-Tour. The suitcase will stay in Perugia. We’ll come back here briefly on the return journey.\n",[],{"_key":25300,"_type":9,"children":25301,"image":4,"markDefs":25306,"style":634},"9ceec1880af7",[25302],{"_key":25303,"_type":13,"marks":25304,"text":25305},"7c99865db895",[],"I’m looking forward to it! But I’m also afraid because it’s all so wonderful. Kit is a specially kind young man. He can spend hours observing beetles or butterflies, and hours too puzzling over light waves and star distances so that afterwards my head just buzzes from the effort, hours too philosophising about God and other things. And all this in English or Italian. And all this might be over in 14 little days. Can I complain then at home Mütterchen? You know, like I do on the phone?\n",[],{"_key":25308,"_type":9,"children":25309,"image":4,"markDefs":25314,"style":634},"e7025ef7ad6d",[25310],{"_key":25311,"_type":13,"marks":25312,"text":25313},"035c80057356",[],"But now I really must pack. In one hour we meet at the Uni to go shopping: Provisions. We’ll fill little Pü with orange and lemon juice. Heat. Kit is always thirsty.\n",[],{"_key":25316,"_type":9,"children":25317,"image":4,"markDefs":25322,"style":634},"9c0c5c7d5443",[25318],{"_key":25319,"_type":13,"marks":25320,"text":25321},"846423ccd34d",[],"If only I knew what I should pack. Here I am sitting desperately in a cheap new red T-shirt among trousers, pullovers, sleeping bags and other bags and nobody helps. Help! Nobody comes. I’ll call again and hope again for solutions to the eternal what-to-take problems.\n",[],{"_key":25324,"_type":9,"children":25325,"image":4,"markDefs":25330,"style":634},"042bfad1314f",[25326],{"_key":25327,"_type":13,"marks":25328,"text":25329},"78e7cb2a5c92",[],"Lots of foreign faces have turned up and continue to turn up. Many familiar faces have already disappeared. With all these foreign bodies Perugia looks suddenly different and melancholy. So many have gone, so many are going.\n",[],{"_key":25332,"_type":9,"children":25333,"image":4,"markDefs":25338,"style":634},"1a717074574f",[25334],{"_key":25335,"_type":13,"marks":25336,"text":25337},"e1ea77afc03b",[],"Now I’m already at the fingernail-biting stage. Really bad. But packing without nail-biting is impossible.\n",[],{"_key":25340,"_type":9,"children":25341,"image":4,"markDefs":25346,"style":634},"b079f9562077",[25342],{"_key":25343,"_type":13,"marks":25344,"text":25345},"060d0ceb2b60",[],"Nail-biting therefore ends this letter from Perugia. Never has saying goodbye to a city hurt me so much.\n",[],{"_key":25348,"_type":9,"children":25349,"image":4,"markDefs":25354,"style":18},"53a10f33709d",[25350],{"_key":25351,"_type":13,"marks":25352,"text":25353},"79425b61441d",[],"On the morning of Thursday, 28th June, Brigitte said farewell to Signora Margheritelli and drove over to the Casa Tosti. Signora Tosti let her in and explained that “Cristofero” was in bed with a high temperature. She came up to my little room with its wonderful view over the Perugian rooftops to Assisi in the distance, its Caravaggio pictures of the “Calling of Matthew”* pinned to the ceiling and the clothes still there on the floor where I had walked out of them, saw me sweating in my bed and agreed that we would have to postpone our departure. She then drove back to Signora Margheritelli, explained the situation to her and was allowed to stay another night in the bed which had already been prepared for the next guest. Never a word from either Signora about paying for an extra night — that was all part of their generocity and their humanity.\n",[],{"_key":25356,"_type":9,"children":25357,"image":4,"markDefs":25362,"style":18},"80f3e567e815",[25358],{"_key":25359,"_type":13,"marks":25360,"text":25361},"830b31a60ef8",[],"The following day, as if by magic, the fever had vanished as fast as it had come. We set off in Pü southwards on the Autostrada del Sole, transfixed, as ever, by a ray of sun.",[],{"_key":25364,"_type":500,"caption":25365,"image":25366,"markDefs":4},"6af278d14915","* Caravaggio: \"Vocazione di san Matteo\" (1600) San Luigi dei Francesi, Rome",{"caption":4,"id":25367,"meta":25368,"parentID":4,"parentType":3456,"url":25371},"49e433dadcbd706a5f0ca733c999197396ea2265",{"_type":506,"aspectRatio":25369,"height":25370,"width":23476},1.068893528183716,958,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F49e433dadcbd706a5f0ca733c999197396ea2265-1024x958.jpg",{"_key":25373,"_type":9,"children":25374,"image":4,"markDefs":25378,"style":18},"91938d9ec204",[25375],{"_key":25376,"_type":13,"marks":25377,"text":25},"ef6e5d4293f9",[],[],{"_key":22438,"_type":9,"children":25380,"image":4,"markDefs":25384,"style":6894},[25381],{"_key":25382,"_type":13,"marks":25383,"text":22439},"a11c648ea1400",[15],[],{"_key":25386,"_type":9,"children":25387,"image":4,"markDefs":25392,"style":18},"e5013d3bf9b2",[25388],{"_key":25389,"_type":13,"marks":25390,"text":25391},"939eb92919c8",[],"\nWe went first to Sorrento. It was near the sea and it had a Youth Hostel. This latter had a strict segregation, separate dormitories for men and women, something we found tedious but not altogether unexpected in those days. We left Pü on the street overlooking the Bay of Naples and said goodbye till the morning. The next day was brilliantly sunny and we decided to take a boat trip to Capri. We sat on the edge of the deck right at the front of the tiny vessel and the waves splashed over our legs. Not just our legs, our bottoms were wet but we were gloriously happy. In Capri we swam in the deep blue clear water. The world was a perfect place.\n",[],{"_key":25394,"_type":9,"children":25395,"image":4,"markDefs":25400,"style":18},"890de2752e45",[25396],{"_key":25397,"_type":13,"marks":25398,"text":25399},"4dcf520a255f",[],"In Perugia Brigitte had bought a book which had been discussed in the literature class: Cristo si è fermato a Eboli. The title suggests that Eboli was far enough from “civilisation” that Christ’s influence never reached it. Since Eboli was not far from Naples, we decided to go there. We arrived at the siesta time and everything was shut, everything except a small bar. We walked in and ordered a small glass of the local wine. There was a friendly lady behind the bar and two or three equally friendly men drinking on our side of the counter. We understood that they were friendly because they smiled broadly but they didn’t speak, instead they made gestures. We knew they could speak because they had been doing so as we came in. We assumed they had recognised that we were foreigners, and were sure that they would not understand our language. So we smiled back and said that they should speak to us in Italian because we understood that language. They continued with their sign language. In between they said something to the signora which we did not understand. Gradually it dawned on us, that they did not speak Tuscan Italian, they knew only their dialect. They had been entirely right with their initial assumption that we had no common language. When we left and wanted to pay for our drinks they made a clear sign that they would pay for them. We were so moved. They seemed so poor and they wanted to share the little they had with us.\n",[],{"_key":25402,"_type":9,"children":25403,"image":4,"markDefs":25416,"style":18},"04b065677dec",[25404,25408,25412],{"_key":25405,"_type":13,"marks":25406,"text":25407},"583c297e05c9",[],"Not far from Eboli is Paestum. This rather Latin sounding name is in fact an ancient Greek colony and has some of the best preserved temples of those times. It was another perfect day, a ballerina girl was posing among the ruins and the wardens were walking around the surrounding fields gathering what looked like posies of tiny wild flowers. We asked what they were picking. Oregano! ",{"_key":25409,"_type":13,"marks":25410,"text":25411},"18c994e4c468",[73],"Per la vera pizza napolitana",{"_key":25413,"_type":13,"marks":25414,"text":25415},"8a0cf750362e",[],". So we learnt that there are true and (presumably) untrue Neapolitan pizzas.\n",[],{"_key":25418,"_type":500,"caption":25419,"image":25420,"markDefs":4},"6947342db4b6","Paestum",{"caption":4,"id":25421,"meta":25422,"parentID":4,"parentType":3456,"url":25426},"6fb546de159c5b8ae3464f39b4e33f13427547b9",{"_type":506,"aspectRatio":25423,"height":25424,"width":25425},1.629733520336606,713,1162,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F6fb546de159c5b8ae3464f39b4e33f13427547b9-1162x713.jpg",{"_key":25428,"_type":9,"children":25429,"image":4,"markDefs":25434,"style":18},"d44e776b9de6",[25430],{"_key":25431,"_type":13,"marks":25432,"text":25433},"a255899fee05",[],"\nWe returned to Naples, that is for me it was a return, for Brigitte it was the first time. It was lively and bustling but nevertheless a poor city. The ruins from the Second World War which I had seen six months earlier had not changed, but now in this hottest of months the whole population was out on the streets. And among these, many many children. Normally one would be so pleased to see children, but these children were different. We had already heard in Perugia, that many Neapolitan children are sent out onto the streets in the morning and told to come back with full tummies in the evening. Even if this is not true, it is certain that many children are used by criminal bands. When one walked along the street, children would come begging, not in an abject way but very aggressively. They never let go. The more one shooed them away the more obstinately they stayed. This feeling of being dogged was very unpleasant. They could see at a glance that we were foreigners and foreigners had money and they would stay as long as it took till they got some. They had all day if necessary. What happened then was described by Brigitte in a letter home:\n",[],{"_key":25436,"_type":9,"children":25437,"image":4,"markDefs":25442,"style":634},"100fbdf415d6",[25438],{"_key":25439,"_type":13,"marks":25440,"text":25441},"da3009f8bca4",[73],"4. Juli 1966 „Vedi Napoli e poi muori“! Sie haben uns wirklich den Wagen vollkommen ausgeräumt, die berühmten „Ladri“ aus Napoli: Und nun? Trotzdem sind wir ans Meer gefahren, so ohne Gepäck . . . so ganz arm:\n",[],{"_key":25444,"_type":9,"children":25445,"image":4,"markDefs":25450,"style":634},"a5c4ddc34e74",[25446],{"_key":25447,"_type":13,"marks":25448,"text":25449},"f7d2fbfe9cd7",[73],"Vorgestern kamen wir in Neapel an. Parkierten den lieben Pü in der Nähe vom Bahnhof, spazierten von dort aus zu Fuss, um uns ein bisschen umzusehen. Wir wurden sofort von hartnäckigen, bettelnden Buben verfolgt, die wir nicht loswerden konnten. Ein mühsamer Zustand, bis sich ein verständnisvoller älterer Herr unser erbarmte und von den Bettlern erlöste. Einige Worte, die wir nicht verstanden, genügten, und die Kerlchen verschwanden so plötzlich wie sie aufgetaucht waren. Freundlich lächelnd verschwand der Retter in der Not ebenfalls, nachdem wir ihm ein dankbares „grazie molto“ zugeworfen hatten.\n",[],{"_key":25452,"_type":9,"children":25453,"image":4,"markDefs":25458,"style":634},"2823592afd13",[25454],{"_key":25455,"_type":13,"marks":25456,"text":25457},"d80d0124f693",[73],"Wir schlenderten noch ein bisschen weiter, fühlten uns aber irgendwie nicht ganz wohl, sodass wir früher als geplant den geduldig wartenden Pü wieder aufsuchten. Aber wir kamen zu spät. Die berühmten Diebe hatten unseren Wagen bereits elegant aufgebrochen und beide Reisetaschen, Kamera, Kits Traveller Cheques, grössere Kleidungsstücke vom Hintersitz, etc., entwendet. Glücklicherweise fehlte ihnen die Zeit für den Kofferraum: die zwei Schlafsäcke lagen noch unberührt da, was unser grosses Glück war. Und auch an den zahlreich im Auto verstreuten Büchern zeigten sie kein Interesse.\n",[],{"_key":25460,"_type":9,"children":25461,"image":4,"markDefs":25466,"style":634},"c67b19b11dcd",[25462],{"_key":25463,"_type":13,"marks":25464,"text":25465},"d7269a796128",[73],"So verbrachten wir anstatt „sightseeing“ recht aufgebracht und aufgeregt den Rest des Nachmittags in einem Polizei-Büro, wo mühsam eine grosse Liste der gestohlenen Habseligkeiten aufgestellt wurde. Mehrere Beamte kümmerten sich um uns, machten klar, dass es schwierig sein werde, die Täter zu finden. Dies sagten sie mit einem süffisanten Lächeln, als ob sie selber Teil solcher Banden wären. Sie notierten unsere Perugia- sowie Schweizer-Adresse und versprachen, uns gegebenenfalls zu kontaktieren. Erschöpft, schweissgebadet und hilflos verliessen wir nach mehreren verlorenen Stunden das Polizeirevier.\n",[],{"_key":25468,"_type":9,"children":25469,"image":4,"markDefs":25477,"style":634},"7b73c383e1b6",[25470,25474],{"_key":25471,"_type":13,"marks":25472,"text":25473},"467341dcb3a1",[73],"Und es gelang uns knapp vor Ladenschluss, noch einige notwendige Kleidungsstücke wie Unterhosen, T-Shirts, Badehosen, sowie einige Esswaren, zu kaufen und dann sofort aus Neapel zu flüchten. Einfach weg Richtung Meer.",{"_key":25475,"_type":13,"marks":25476,"text":4878},"3ce139f4fe14",[],[],{"_key":25479,"_type":9,"children":25480,"image":4,"markDefs":25485,"style":634},"2ed01dddc432",[25481],{"_key":25482,"_type":13,"marks":25483,"text":25484},"c378a66d82d1",[],"4th July 1966 „See Naples and die“! They really emptied our whole car, the famous „Ladri“ (thieves) of Naples: And now? We went on, in spite of everything, to the sea, without luggage . . . and quite impoverished:\n",[],{"_key":25487,"_type":9,"children":25488,"image":4,"markDefs":25493,"style":634},"feb8dde7e97a",[25489],{"_key":25490,"_type":13,"marks":25491,"text":25492},"e3021466be81",[],"The day before yesterday we arrived in Naples. Parked dear Pü close to the railway station and went on foot from there to have a look around. We were immediately followed by obstinate, begging boys whom we couldn’t get rid of. We were finally relieved from this exhausting situation by an understanding elderly man who had pity on us. A few words, which we didn’t understand, were enough and the little rascals disappeared as quickly as they had appeared. Smiling kindly our saviour also disappeared after we had thrown a thankful “grazie molto” to him.\n",[],{"_key":25495,"_type":9,"children":25496,"image":4,"markDefs":25501,"style":634},"1563e4175520",[25497],{"_key":25498,"_type":13,"marks":25499,"text":25500},"a2d8c335b793",[],"We strolled a bit further but didn’t feel quite comfortable so returned earlier than we planned to patiently waiting Pü. But we came too late. The famous thieves had already elegantly broken in to our car and stolen both our travelling bags, camera, Kit’s travellers cheques, larger clothes from the back seat, etc. Fortunately they had no time for the boot: the two sleeping bags lay there untouched, which was very lucky. And they also had no interest in the numerous books left lying around in the car.\n",[],{"_key":25503,"_type":9,"children":25504,"image":4,"markDefs":25509,"style":634},"655ffbda4fb2",[25505],{"_key":25506,"_type":13,"marks":25507,"text":25508},"24d6479cbac4",[],"So instead of “sightseeing” we spent the rest of the afternoon enraged and agitated at the police station, where they tediously wrote a long list of all the stolen objects. Several officers dealt with us, making it clear that it would be difficult to find the culprits. They said this with a smug smile as if they themselves were members of such a band. They noted our Perugia and also our Swiss addresses and promised to contact us if they were successful. Exhausted, drenched in sweat and helpless after several lost hours we left the police station.\n",[],{"_key":25511,"_type":9,"children":25512,"image":4,"markDefs":25517,"style":634},"4f110bd4ba18",[25513],{"_key":25514,"_type":13,"marks":25515,"text":25516},"d0ac980536ad",[],"And shortly before the shops closed we managed to buy a few necessary clothes like underpants, t-shirts, togs and also something to eat and then fled Naples immediately. Just cleared off towards the sea.\n",[],{"_key":25519,"_type":9,"children":25520,"image":4,"markDefs":25525,"style":18},"a54e2be9a1f2",[25521],{"_key":25522,"_type":13,"marks":25523,"text":25524},"3eb7e3605227",[],"We drove north along the coast searching for a quiet place where we could camp and swim and relax, but in July the whole long Italian coast is completely covered with bodies and umbrellas, row upon row of sun hungry people, sometimes dozens of rows of them. We reached Rome and drove further, we searched the whole day for a quiet spot and found nothing. In the evening we changed our search for a sheltered place to sleep. It was already dark when we climbed into our sleeping bags and went to sleep under some trees, not at all sure where exactly we were and whether any man or animal might object. The darkness of the night made the starlight even brighter — an unforgettable spectacle. Next morning we were awakened by cows grazing nearby — fortunately friendly cows, who were not disturbed by our presence!\n",[],{"_key":25527,"_type":9,"children":25528,"image":4,"markDefs":25533,"style":18},"fa8382d2e44e",[25529],{"_key":25530,"_type":13,"marks":25531,"text":25532},"7dd341a031cf",[],"We continued our quest. But the coast north of Rome was exactly the same. I told Brigitte that what would interest me more than a beach was a rocky coast. If we bought flippers, masks and snorkels we could look underwater and see fish which of course preferred rocks and seaweed, they avoided beaches which people frequented, not only because of the people but because these were underwater deserts.\n",[],{"_key":25535,"_type":9,"children":25536,"image":4,"markDefs":25541,"style":18},"3d0c13247411",[25537],{"_key":25538,"_type":13,"marks":25539,"text":25540},"e156baa0d956",[],"We kept on driving and searching but such rocky coasts were either very few or not within sight of the route we were driving on. We crossed the provincial border and entered Tuscany. We were now further north than when we had left Perugia. At Orbetello there is an island connected at three places to the mainland making it into a small peninsular with a lagoon between the three arms. Orbetello is on the middle arm and from here we drove south to Port Ercole and further around the peninsula. We were delighted with what we found, the landmass was like an extinct volcano (Monte Argentario) whose edges, where it entered the sea, were definitely rocky. What was less good, was that the road was 40 to 50 meters above sea level and there was no obvious path between road and water. We found a small flat area beside the narrow road and parked Pü. The view was indeed beautiful. Because of the height there was a huge panorama with sea on both sides and a lovely little island in the middle. Since there was no path down to the sea we had to make one, picking our way through the low scrub on the slope and often stepping from one large stone to the next. It took about 20 minutes before we reached the shore. We were delighted to find that it was exactly the sort of rocky coast we had been looking for and that there was also a meter or two of sand or small stones at the water’s edge. We walked (or waded) along this shore to a small point where larger rocks blocked the view of the next bay, climbed over these and found to our surprise that this point was in fact one wall of a tiny cave. Up till this moment we had never given any thought to where we could pass the night, but as soon as we saw this cave we knew that this was where we wanted to spend the next week. It was about two meters from the water — at the moment (we had no idea of what tidal changes could take place) — and the cave itself was about two meters deep with a mixture of sand and stones on its floor. Best of all it was difficult reach, we could be fairly sure that we would be alone here.\n",[],{"_key":25543,"_type":9,"children":25544,"image":4,"markDefs":25552,"style":634},"1cd3ba22a060",[25545,25549],{"_key":25546,"_type":13,"marks":25547,"text":25548},"49e66f02aff8",[73],"Nach einem ersten Übernachten in den geretteten Schlafsäcken unter freiem Himmel fanden wir dann am folgenden Tag den idyllischen Platz an der felsigen Küste am Meer nicht weit von Orbetello, von wo aus ich eben glücklich mit euch plaudere. Wir haben nämlich eine Art Unterschlupf gefunden mit Platz für die Schlafsäcke, eine Kochgelegenheit auch und ein Tischchen (Brett auf Steinen) und unsere Bücher. Im „Cave“, wie wir den Platz nennen, haben wir bereits windgeschützt einmal übernachtet, das Meeresrauschen in uns und zu unseren Füssen, die Sterne samt abnehmendem Mond zum Greifen nahe, die Sonne tagsüber feuerheiss. Ein herrlicher Ort also. Und ganz für uns allein. Ihr seht, es geht uns trotz Dieben gut! Tante belle cose. Brigitte.",{"_key":25550,"_type":13,"marks":25551,"text":4878},"b3ab5aee462c",[],[],{"_key":25554,"_type":9,"children":25555,"image":4,"markDefs":25560,"style":634},"624cb2bcf16c",[25556],{"_key":25557,"_type":13,"marks":25558,"text":25559},"f6059927f3aa",[],"The following day after a first night in the open in the rescued sleeping bags we found an idyllic place on a rocky coast by the sea not far from Orbetello, from where I can now chat with you happily. We found a shelter with room for sleeping bags, a fireplace for cooking and also a little table (board on stones) and our books. In the “Cave”, as we call this place, we have already spent one night protected from the wind, the sound of the sea in us and at our feet, the stars and waning moon within reach, the sun by day fiery hot. A magnificent spot. And all for us alone. You see, in spite of thieves we are fine! Tante belle cose (“all good things”). Brigitte.\n",[],{"_key":25562,"_type":9,"children":25563,"image":4,"markDefs":25568,"style":18},"6287717fdcc4",[25564],{"_key":25565,"_type":13,"marks":25566,"text":25567},"9cfcebb37cca",[],"Only then did we realise that this magnificent spot had one large drawback — there was no fresh water (I was reminded of Coleridge’s Ancient Mariner: “Water, water everywhere, nor any drop to drink.”). If we were to stay here we would have to buy large bottles for water and they would have to be lugged down the slope from Pü’s parking place. So our first job was to climb back up the slope, drive to Orbetello and buy water bottles, cheap plates and cutlery and matches and cooking utensils (a pot and a pan and oil) and, most important of all, flippers, masks and snorkels for the underwater world.\n",[],{"_key":25570,"_type":9,"children":25571,"image":4,"markDefs":25576,"style":18},"da78c0094608",[25572],{"_key":25573,"_type":13,"marks":25574,"text":25575},"37360a956799",[],"Thereafter we took daily tips to Orbetello for food, water and (sometimes) candles. Food consisted of bread, wine, spaghetti, tomatoes and cucumbers, the water was filled from the fountain into our two litre glass bottles and the candles stolen from the church (I’m sure God agreed that our need was greater than his). Transporting this material from Pü to the cave, especially the water bottles, was by no means easy, in fact on one occasion Brigitte fell and smashed a bottle full of precious water, but this was the price for our privacy. Throughout the whole week we lived here, this privacy was only once disturbed. It was at the weekend and a group of Italians arrived by boat to “our” beach (about 10 meters away from the cave). They went hunting for sea-eggs (one of the most common species on the sea floor here) brought them back to land where they cut them open and sucked out the insides. This surprised me even more than had the scampi salesman I had met on my very first day in Naples in January but I was careful not to show my curiosity until they were gone. Then I waded out with a knife, detached an unsuspecting creature from its anchorage and took it back to land to try out. The taste was execrable! I had to spend some minutes rinsing out my mouth with seawater to get rid of the awful taste. Perhaps it would have been much wiser to have had instruction from the Italians on how to enjoy this “delicacy” — I may never know.\n",[],{"_key":25578,"_type":9,"children":25579,"image":4,"markDefs":25592,"style":18},"07df63dab608",[25580,25584,25588],{"_key":25581,"_type":13,"marks":25582,"text":25583},"c47ef2f4419a",[],"We learnt to conserve water. Washing ourselves, brushing our teeth and the eating utensils could be done in the sea. Fresh water was only for drinking and cooking. We even tried seawater for the latter: our first pot of spaghetti was however so salty we could hardly eat it. The next time we used a mixture of half fresh and half seawater which was excellent, so good in fact that since then, whenever we are near the sea, we take home a bottle for making spaghetti “",{"_key":25585,"_type":13,"marks":25586,"text":25587},"96dc54588a3c",[73],"al mare",{"_key":25589,"_type":13,"marks":25590,"text":25591},"91c499ebc334",[],"”.\n",[],{"_key":25594,"_type":9,"children":25595,"image":4,"markDefs":25600,"style":18},"cc3b5f3d7ecf",[25596],{"_key":25597,"_type":13,"marks":25598,"text":25599},"19435d98d0ea",[],"We spent many hours in the water, swimming and diving and then sitting in the sun or shade reading before swimming again. It was really the idyll we had longed for. Deep diving was not necessary. One could spend long just floating in shallow water observing the world beneath: sea urchins, tiny fish, anemones, even an octopus which I could almost touch with my face. This was only possible with the snorkel which meant that one could lie relaxed on the surface of the water breathing normally, without the necessity of lifting the head out of the water at every breath. The thought came to me: if I had a very long snorkel I could sit in deeper water on the bottom of the sea and observe a different set of creatures. I even planned in my mind what it would look like, with the mouth at one end and a float at the other — the tube could be 2, 3 or more meters long — so I thought, until I suddenly realised that with a long pipe I would be breathing the same air in and out. How then do animals like the giraffe manage, whose long neck must mean a long wind pipe? This was a question I discussed later with Bamford, one that has never been answered and so has kept us occupied to our life’s end!\n",[],{"_key":25602,"_type":9,"children":25603,"image":4,"markDefs":25608,"style":18},"ec78ee9e2a44",[25604],{"_key":25605,"_type":13,"marks":25606,"text":25607},"68e516630beb",[],"One of the objects I had lost in the Naples robbery was my electric razor.. I therefore started to grow a beard which lasted six months till the onset of winter and, with it, a runny nose which I couldn’t reconcile with facial hair.\n",[],{"_key":25610,"_type":500,"caption":25611,"image":25612,"markDefs":4},"d58a60e4be65","Kit in the cave with the beginnings of a beard",{"caption":4,"id":25613,"meta":25614,"parentID":4,"parentType":3456,"url":25618},"0ffe4e0919545ba7ab1270d367778b2ed563607c",{"_type":506,"aspectRatio":25615,"height":25616,"width":25617},1.0033783783783783,592,594,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F0ffe4e0919545ba7ab1270d367778b2ed563607c-594x592.jpg",{"_key":25620,"_type":9,"children":25621,"image":4,"markDefs":25626,"style":18},"7d4a61c11f7f",[25622],{"_key":25623,"_type":13,"marks":25624,"text":25625},"2b26602c4599",[],"The weather was kind to us in this week. Only once was there a small storm. It happened in the night and made larger waves which threatened to enter the cave. We moved the sleeping bags as far to the rear as possible and waited anxiously for the wind to abate. Next morning all was back to normal, the lovely swishing of tiny waves moving back and forth on the stones.\n",[],{"_key":25628,"_type":9,"children":25629,"image":4,"markDefs":25634,"style":18},"7923c25077a2",[25630],{"_key":25631,"_type":13,"marks":25632,"text":25633},"a00e1a75e621",[],"The view from the cave was dominated by a small uninhabited island, an elephant-in-a-boa-island as Brigitte explained. She had to teach me the story of “Le petit Prince” by Antoine de Saint-Exupéry. Why I had never heard of the famous story is a mystery, I can only think it took much longer to reach New Zealand than Switzerland (it was first published in the original French in 1943). At the beginning the author tells how he asked grown up people if they were frightened by his picture of a boa constrictor which had swallowed an elephant. But the unimaginative adults replied asking why they should be afraid of a hat?! This “hat” or “elephant in a boa” was the shape of our island.\n",[],{"_key":25636,"_type":500,"caption":25637,"image":25638,"markDefs":4},"28296a8fc21d","Brigitte in front of the cave with the “fish-shaped” (or elephant-in-a-boa) island in the background",{"caption":4,"id":25639,"meta":25640,"parentID":4,"parentType":3456,"url":25643},"d5c0c1e6214284493f3c5ecb9c0232ba565d4560",{"_type":506,"aspectRatio":25641,"height":25617,"width":25642},1.005050505050505,597,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fd5c0c1e6214284493f3c5ecb9c0232ba565d4560-597x594.jpg",{"_key":25645,"_type":9,"children":25646,"image":4,"markDefs":25650,"style":18},"8bebd1b490d4",[25647],{"_key":25648,"_type":13,"marks":25649,"text":4878},"f8ee3a46d34f",[],[],{"_key":25652,"_type":9,"children":25653,"image":4,"markDefs":25658,"style":18},"4796d4492dac",[25654],{"_key":25655,"_type":13,"marks":25656,"text":25657},"7df8e964304f",[],"One day after we had practised sufficiently with the flippers, masks and snorkels we set out to visit this island. It would be a long swim, about an hour we reckoned, and so I bound a cucumber in a net around my waist as provisions and we set sail. Although it was a long way, the time went past very quickly since there was so much to look at: swarms of fish which swam past under us, apparently quite oblivious to our presence, or more likely, they noticed us but judged us to be harmless:\n",[],{"_key":25660,"_type":9,"children":25661,"image":4,"markDefs":25666,"style":634},"b099b0a9c804",[25662],{"_key":25663,"_type":13,"marks":25664,"text":25665},"c71e00fdffec",[73],"11. Juli 1966? ",[],{"_key":25668,"_type":9,"children":25669,"image":4,"markDefs":25674,"style":634},"09d09964a6eb",[25670],{"_key":25671,"_type":13,"marks":25672,"text":25673},"4551d5745a9f",[73],"Mit eingeschlafenem Bein sitze ich auf unserer Insel, auf einem grau-weiss- schwarzen Stein (puh, das Bein kitzelt jämmerlich), versuche, das Datum auf den Brief zu zaubern, doch, es geht nicht – ich weiss bloss, dass heute wahrscheinlich Freitag ist, dass momentan hinter der Insel gegenüber, die ganz komisch fischförmig durch die Wellen zieht, die Sonne dem Meer zu wandert, um bald die letzten Strahlen dem dünn und dünner werdenden Mond zu schenken — ich weiss bloss, dass Kit in unserer Meer-Steinhütte sitzt und eine Geschichte schreibt (vorhin ist er über unserer gemeinsamen Einstein-Lektüre mit roter verbrannter Nase eingeschlafen) — ich weiss bloss, dass ich Hunger habe und mich auf unseren tag-täglichen auf Feuer gekochten Spaghetti-Segen (Spaghetti gestern, heute, morgen und übermorgen …) freue — ich weiss bloss, dass unser so schlimm mit Dieben begonnener Ferientraum zu einem Meerestraum geworden ist, zu schön, vielleicht, um wirklich zu sein! — ich weiss bloss, dass ich Euch mit meinem verzweifelten Geld-Geschrei sicherlich in Unannehmlichkeiten versetzt habe, was mir fest leid tut. Doch, ich konnte nicht anders, Kit wurden neben einem teuren Fotoapparat sämtliche Traveller Cheques im Wert von 200 Pounds gestohlen (einfach alles!). Zum Glück liegt noch viel Gepäck in Perugia. Es waren bloss die Reisetaschen!\n",[],{"_key":25676,"_type":9,"children":25677,"image":4,"markDefs":25682,"style":634},"d3b60ffa0fc3",[25678],{"_key":25679,"_type":13,"marks":25680,"text":25681},"b9e8537e66e5",[73],"Heute sind wir beflosst (Flossen) und bebrillt (Taucherbrillen) durch eigenartige Meereswelten, Fischschwärme und fremde Pflanzen, blau-grün-weisse Wellen, zur kleinen fischförmigen Insel geschwommen, um oben auf dem kleinen mit harten Vulkansteinen bepflasterten Inselberg einen wunderschönen Schwalbenschwanz zu bewundern. Ganz viele kleine gestreifte und getupfte Schneckenhäuslein sind auch dort gewesen.\n",[],{"_key":25684,"_type":9,"children":25685,"image":4,"markDefs":25690,"style":634},"a39d8ac68f3b",[25686],{"_key":25687,"_type":13,"marks":25688,"text":25689},"121e8929f7ef",[73],"Wir starren beide vor Dreck, meine Haare sind bald mit einem Salzberg zu verwechseln, von den wenigen Kleidern nicht zu sprechen. Doch, es geht auch so. Was ich ohne Renates Schlafsack tun würde, weiss ich nicht. Die Nächte sind warm, und ich möchte harte Böden, Sterne- und Mondenschein, nicht mehr missen. So ist es billig und geht gut. Und, habt keine Sorgen. Kit ist ein Mann, doch ein guter Mann. Wir träumen beide unsere Nächte für uns allein und sind froh. Nur darum kann es so schön sein!\n",[],{"_key":25692,"_type":9,"children":25693,"image":4,"markDefs":25698,"style":634},"9737e2e28bc1",[25694],{"_key":25695,"_type":13,"marks":25696,"text":25697},"87d8bbdebb4b",[73],"Achtung, ich glaube, es regt sich hinter den Felsen: Feuer, ergo Spaghetti, ergo Tomatensauce, ergo Essen. Darum erhebe ich mich aus der schmerzvollen halben Rückenlage (Sonnenbrand), um „in the kitchen“ behilflich zu sein.\n",[],{"_key":25700,"_type":9,"children":25701,"image":4,"markDefs":25706,"style":634},"590207bf7c9f",[25702],{"_key":25703,"_type":13,"marks":25704,"text":25705},"d909ca351fe8",[73],"Ci vediamo la settimana prossima and lots of love. Brigitte.\n",[],{"_key":25708,"_type":9,"children":25709,"image":4,"markDefs":25714,"style":634},"7dffcf44554e",[25710],{"_key":25711,"_type":13,"marks":25712,"text":25713},"9ff8870add54",[],"11th July 1966? ",[],{"_key":25716,"_type":9,"children":25717,"image":4,"markDefs":25722,"style":634},"431512b29384",[25718],{"_key":25719,"_type":13,"marks":25720,"text":25721},"e9bafd0d2e4a",[],"My leg’s gone to sleep, sitting here on our island on a grey-white-black stone (puh, my leg’s tickling terribly). I’m trying to conjure up a date for this letter but it doesn’t work — I just know that today is probably Friday, that at this moment behind the curious fish-shaped island opposite me which draws through the waves, the sun is wandering into the sea and will soon give its last ray to the moon who is getting thin and thinner — I just know that Kit is sitting in our sea stone hut writing a story (before he went to sleep with a red sunburnt nose over our Einstein reading) — I just know that I’m hungry and am looking forward to our daily open-fire cooked spaghetti-blessing (spaghetti yesterday, today, tomorrow and the day after tomorrow …) — I just know that our holiday dream which started with thieves so disastrously has become a sea dream, too beautiful, perhaps, to be real! — I just know that I have certainly put you in inconvenience with my desperate money cries, which makes me really sorry. Apart from a very expensive camera Kit was robbed of all his travellers’ cheques, 200 pounds, everything! Fortunately much of our luggage is lying in Perugia, just the travelling bags were stolen.\n",[],{"_key":25724,"_type":9,"children":25725,"image":4,"markDefs":25730,"style":634},"d1a069f2a130",[25726],{"_key":25727,"_type":13,"marks":25728,"text":25729},"1c906ab88993",[],"Today we swam beflipped (flippers) and bemasked (diving masks) through an extraordinary sea-world, schools of fish and foreign plants, blue-green-white waves, to our elephant-in-a-boa island, where we admired on a small hard plastered volcanic stone island hill a swallowtail butterfly. Very many striped and spotted snail-shells were there too.\n",[],{"_key":25732,"_type":9,"children":25733,"image":4,"markDefs":25738,"style":634},"6814a76cbcc0",[25734],{"_key":25735,"_type":13,"marks":25736,"text":25737},"a075e33c90c3",[],"We are both stiff with dirt, my hair is starting to look like a hill of salt, not to mention our few clothes. But that doesn’t matter. What I would have done without Renate’s sleeping bag I don’t know. The nights are warm and I wouldn’t be without the hard ground, the stars and the moonshine. So it’s cheap and good. And don’t worry. Kit is a man, but a good man. We both dream our nights alone and are contented. Only like that can it be so good!\nWait! I believe there is movement behind the rocks: Fire, ergo spaghetti, ergo tomato sauce, ergo food. So I’ll get up from this painful half lying position (sunburn) to help in the “kitchen”.\n",[],{"_key":25740,"_type":9,"children":25741,"image":4,"markDefs":25746,"style":634},"98b532cec914",[25742],{"_key":25743,"_type":13,"marks":25744,"text":25745},"3c9afcad51ed",[],"Ci vediamo la settimana prossima (see you next week) and lots of love. Brigitte.\n",[],{"_key":25748,"_type":9,"children":25749,"image":4,"markDefs":25754,"style":18},"7cb76715cd87",[25750],{"_key":25751,"_type":13,"marks":25752,"text":25753},"5674dcd96388",[],"We often talked about the books or the music we liked. I told her about how reading Aldous Huxley’s “Point Counterpoint” had brought me to listen to Beethoven’s late string quartets: In chapter 37 (I knew the number by heart!) Spandrall says: The Heiliger Dankgesang must be heard, it proves all kinds of things, God, the soul, goodness… I had read this novel on the Wellington waterfront, where I had met Luke. He was delighted when I showed him this passage and came the next day with the LP for me to listen to. This movement from Beethoven’s a minor string quartet (op. 132) became one of the most beautiful things I had ever heard and Huxley’s literary interpretation of it one of the best bits of writing about music I had ever read.\n",[],{"_key":25756,"_type":9,"children":25757,"image":4,"markDefs":25762,"style":18},"410b5d708029",[25758],{"_key":25759,"_type":13,"marks":25760,"text":25761},"771b28dc51a8",[],"Our time together was drawing to an end. We would say goodbye to the cave, pick up our belongings in Perugia, drive to Siena where my course at the Accademia Chigiana was to start on the 15th — the “Ides of July”. And then? Brigitte and Pü would return to Switzerland and to her job at the Kinderspital (Children’s Hospital). And then? This was the big question that was occupying us both — more or less consciously. Instead of talking about it I suppressed it. The question was too big, too difficult and besides, talking about it could spoil our paradise, this Utopia we were living in. Even if I had not suppressed it, what were the possible answers? Separate ways? — that was definitely not what I wanted. Marriage? — we had known each other for only six weeks, it was much too soon to make such a proposal. The easiest way seemed to be to say nothing and hope that the question would go away, or somehow answer itself.\n",[],{"_key":25764,"_type":9,"children":25765,"image":4,"markDefs":25770,"style":18},"94ffab304fbb",[25766],{"_key":25767,"_type":13,"marks":25768,"text":25769},"ea2914be9b6c",[],"Whereas my suppression was successful for me, it did not help Brigitte who was also agonising over the same question. Not only could she not calm herself by similarly ignoring the question, she had noticed a change in me, one that I was completely unaware of myself: I seemed more aloof, less communicative. Added to this, during the cave time we had gradually changed from conversing in Italian to English. I learnt that she had spent a year in England first as an “au pair” then worked as a secretary for a cargo firm in London. In many ways this brought us much closer together and so it was not obvious to me as we were trying to read my Einstein book that this would be so difficult for her. Her English was almost perfect and so it seemed entirely natural that we could study this together. She, on the other hand, had the feeling she was much too dumm and that I would be disappointed in her. I was having problems understanding it myself, it would have surprised me if she were not too, that she should have thought herself “dumm” never entered my head. But I learnt these things much later and so her silent fears that our (up till now) perfect adventure could be about to come to an end — for ever — passed me by completely. We arrived in Perugia, went to the Università to collect mail — the urgently needed money from her father was there and also several letters from Betty. We picked up our suitcases from our signore and booked into a cheap hotel for the night. About this time she wrote in a diary:\n",[],{"_key":25772,"_type":9,"children":25773,"image":4,"markDefs":25781,"style":634},"74e1e350cf9c",[25774,25778],{"_key":25775,"_type":13,"marks":25776,"text":25777},"03967834393d",[73],"Letzte, allerletzte Nacht in Perugia. Pensione Augusta. Traurig. Kit? Wir sind uns fremd und fremder geworden. Doch Kit ist trotz allem wundervoll. Morgen fahren wir nach Siena. Dann bin ich ganz allein. I’ll leave Kit alone. He does not like me any more!",{"_key":25779,"_type":13,"marks":25780,"text":4878},"486f3ac8f4de",[],[],{"_key":25783,"_type":9,"children":25784,"image":4,"markDefs":25789,"style":634},"d86610496b53",[25785],{"_key":25786,"_type":13,"marks":25787,"text":25788},"e3405b340481",[],"Last, very last night in Perugia. Pensione Augusta. Sad. Kit? We have become more and more foreign for each other. But in spite of this Kit is wunderfull. Tomorrow we drive to Siena. Then I’ll be alone. I’ll leave Kit alone. He does not like me any more!\n",[],{"_key":25791,"_type":9,"children":25792,"image":4,"markDefs":25797,"style":18},"9df3121c6468",[25793],{"_key":25794,"_type":13,"marks":25795,"text":25796},"d6e4f0f9d903",[],"By the time we reached San Gimignano (the Etruscan town with the many towers) she was feeling more confident again: ",[],{"_key":25799,"_type":9,"children":25800,"image":4,"markDefs":25808,"style":634},"42bda973bc7d",[25801,25805],{"_key":25802,"_type":13,"marks":25803,"text":25804},"3975d9d1f847",[73],"Morgen in der Pensione Perla. K. schreibt. Ich bin traurig. Habe Angst. Die grosse Reise naht. Zwei schöne Nächte mit K. Jetzt muss ich mich kämmen und anziehen. Ich glaube, K. ist auch traurig. Er schreibt. Er ist immer so lieb. Frühstück: Brot, Tomaten und Gurken, Salz, alles ans Bett. Der Traum ist zu gross. Sein Bart wächst. Er hat mir einen Korb geschenkt in San Gimignano.",{"_key":25806,"_type":13,"marks":25807,"text":4878},"811d9bdc6d15",[],[],{"_key":25810,"_type":9,"children":25811,"image":4,"markDefs":25816,"style":634},"7aeb785b33ce",[25812],{"_key":25813,"_type":13,"marks":25814,"text":25815},"f82b4f49b883",[],"Morning in the Pensione Perla. K. is writing. I’m afraid. The big trip approaches. Two lovely nights with K. Now I must comb my hair and dress. I think K. is sad too. He’s writing. He’s always so kind to me. Breakfast: Bread, tomatoes and cucumbers, salt. All on the bed. The dream is too big. His beard is growing. He gave me a basket in San Gimignano.\n",[],{"_key":25818,"_type":9,"children":25819,"image":4,"markDefs":25824,"style":18},"b91e6196f335",[25820],{"_key":25821,"_type":13,"marks":25822,"text":25823},"0068e7f112b2",[],"The two nights in the Pensione Perla were special and yet difficult. Brigitte wanted to help me find a room for my two months in Siena and for that we needed a hotel for two nights. The Perla was certainly no pearl. It had a dubious looking staff and the customers were no better. They offered us a single room with a single bed, shower and lavatory shared with others on the same floor. We enjoyed the closeness without intimacy but we didn’t find much rest in such tight conditions.\n",[],{"_key":25826,"_type":9,"children":25827,"image":4,"markDefs":25839,"style":18},"18281221bb38",[25828,25832,25835],{"_key":25829,"_type":13,"marks":25830,"text":25831},"ec0f37fcba6c",[],"I confirmed my presence at the ",{"_key":25833,"_type":13,"marks":25834,"text":1612},"301444ed788c",[73],{"_key":25836,"_type":13,"marks":25837,"text":25838},"5ef14cd3f5d0",[]," and they gave us a list of people offering beds for students. This time we chose one without meals — I could eat at the university mensa — and we found a friendly young signora in a house about fifteen minutes walk away, who offered a room and also agreed to do washing for me. Siena was gradually bringing us together again.\n",[],{"_key":25841,"_type":9,"children":25842,"image":4,"markDefs":25855,"style":18},"be642194dfdf",[25843,25847,25851],{"_key":25844,"_type":13,"marks":25845,"text":25846},"a893871595f1",[],"To celebrate our “last” day we drank coffee in an expensive restaurant on the ",{"_key":25848,"_type":13,"marks":25849,"text":25850},"36d83d3e9425",[73],"Piazza del Campo",{"_key":25852,"_type":13,"marks":25853,"text":25854},"dfa9deea9450",[]," surrounded on all sides by the incredibly unified and elegant renaissance architecture, and directly in front of the famous Palazzo Pubblico. Brigitte said rather timidly what a beautiful end this was to our magic holiday and I: “Perhaps it’s just a beginning.” Seldom have I ever found exactly the right words!",[],{"_key":25857,"_type":500,"caption":25858,"image":25859,"markDefs":4},"2b8403df16f1","Brigitte in the Piazza del Campo, Sienna",{"caption":4,"id":25860,"meta":25861,"parentID":4,"parentType":3456,"url":25865},"857eb1358939599128254db4d6d37abbab3bd0b1",{"_type":506,"aspectRatio":25862,"height":25863,"width":25864},1.0011627906976743,860,861,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F857eb1358939599128254db4d6d37abbab3bd0b1-861x860.jpg",{"_key":25867,"_type":9,"children":25868,"image":4,"markDefs":25873,"style":18},"09b7a76f3930",[25869],{"_key":25870,"_type":13,"marks":25871,"text":25872},"11d123b440ac",[],"The next morning the alarm woke us at 5 am and armed with a list of directions for the 700 km drive, a picnic lunch of bread, tomatoes and cucumbers and above all, with my optimistic words still ringing in her ears Brigitte set off for Zurich.\n",[],{"_key":25875,"_type":500,"caption":25876,"image":25877,"markDefs":4},"2d184561c157","Brigitte and Kit in Sienna, 1966",{"caption":4,"id":25878,"meta":25879,"parentID":4,"parentType":3456,"url":25883},"0d5973df227a85208ee6dbc03346328c94ceff5b",{"_type":506,"aspectRatio":25880,"height":25881,"width":25882},2.0136986301369864,730,1470,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F0d5973df227a85208ee6dbc03346328c94ceff5b-1470x730.jpg",{"_key":25885,"_type":9,"children":25886,"image":4,"markDefs":25897,"style":18},"aaffbb110607",[25887,25890,25893],{"_key":25888,"_type":13,"marks":25889,"text":10726},"27123fd7d091",[],{"_key":25891,"_type":13,"marks":25892,"text":1612},"1d7be7045eb9",[73],{"_key":25894,"_type":13,"marks":25895,"text":25896},"8a092bebe58d",[]," was founded by Count Guido Chigi Saracini in 1932 as an international centre for advanced musical studies. Count Chigi had died the year before (1965) but the foundation and the school in which he had invested his huge fortune had become world famous and attracted students from all over the world. The composition tutor for this year’s summer school was Goffredo Petrassi, an Italian composer of renown, who also taught at the Santa Cecilia in Rome. He had started writing in a neoclassical style (influenced by Bartók, Stravinsky and Hindemith) and later in a post-Webernian style.\n",[],{"_key":25899,"_type":9,"children":25900,"image":4,"markDefs":25905,"style":18},"4c318dd3b7d1",[25901],{"_key":25902,"_type":13,"marks":25903,"text":25904},"0de34c732f0d",[],"We were a class of eight young men from four countries: Britain, France, Italy and New Zealand. Petrassi’s opening words were: In Siena dovete scoprire Simone Martini. Here was a composition course starting with a sentence about a great medieval painter. Later Petrassi would disappear for weeks on end and I finished up learning more about early Sienese painting than about modern composition.\n",[],{"_key":25907,"_type":500,"caption":25908,"image":25909,"markDefs":4},"84570ab83ac4","Guidoriccio da Fogliano by Simone Martini (1284 - 1344) in the Palazzo Pubblico",{"caption":4,"id":25910,"meta":25911,"parentID":4,"parentType":3456,"url":25914},"e32a697d32d8cceaf9b72db22d950a0e01cdf8bc",{"_type":506,"aspectRatio":25912,"height":25913,"width":22245},2.962962962962963,324,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fe32a697d32d8cceaf9b72db22d950a0e01cdf8bc-960x324.jpg",{"_key":25916,"_type":9,"children":25917,"image":4,"markDefs":25922,"style":18},"269b1a90d27b",[25918],{"_key":25919,"_type":13,"marks":25920,"text":25921},"b4969d5a41fb",[],"\nI had clear expectations of the course I was starting, based on my experiences in New Zealand at the Cambridge Music School, also a summer school but only of two weeks duration. At the Cambridge course the days were spent in class and the evenings were concerts or social events (mostly both!) and the nights often spent writing instrumental parts for orchestral works or revising pieces that were being tried out. The main thing was, there was a lively interchange between instrumental or choral students and composition students. In the whole two months I spent at the Chigiana, there was, with one exception, never any contact with students in other departments. We barely even heard them practising and there was no invitation to meet them. The one exception was when Petrassi invited a colleague, the then famous flautist Severino Gazzalloni, to demonstrate some new techniques on his instrument. Otherwise we just met in our group of eight. At the beginning he taught us the basics of 12-tone composition (something I had learnt very well from Ron Tremain at my first Cambridge Music School) and suggested that we try writing a piece in this style for a chamber ensemble. I had now been away from composition for at least seven months and was finding it very difficult to start again:\n",[],{"_key":25924,"_type":9,"children":25925,"image":4,"markDefs":25930,"style":634},"0ae6370c0f74",[25926],{"_key":25927,"_type":13,"marks":25928,"text":25929},"3f95466986c1",[],"It’s all strange here. So much has happened and yet nothing has happened. I still feel the same. No musical ideas. I’m happy to write letters and even to revise my stories, but I have to push myself to write music. And the result is terrible —musically that is. I don’t seem to sense anything much — I seem to wander along in a state of “neutralness” — of limbo… ",[],{"_key":25932,"_type":9,"children":25933,"image":4,"markDefs":25938,"style":634},"43b0d064cbce",[25934],{"_key":25935,"_type":13,"marks":25936,"text":25937},"ec9f747cd957",[],"But I haven’t whistled any new tunes. The Maestro continues to play through the dodecaphonic exercises that we all write and they’re ALL AWFUL. Not that I dislike dodecaphonic music (the Berg Violin Concerto is good — needs at least six listenings before much goodness appears). And other thoughts and stories and numbers are still very jumbled and indistinct.\n",[],{"_key":25940,"_type":9,"children":25941,"image":4,"markDefs":25949,"style":634},"cb3d16d859cd",[25942,25946],{"_key":25943,"_type":13,"marks":25944,"text":25945},"c21e9972ee33",[73],"I’m sad you think you wander along in a state of neutralness. But, don’t forget, this state is necessary to get into another state, in a state of creation. Do wait and be patient with yourself and have faith in yourself. If you lose that, it is bad. But I’m very sure that you won’t!",{"_key":25947,"_type":13,"marks":25948,"text":4878},"86de30078f67",[],[],{"_key":25951,"_type":9,"children":25952,"image":4,"markDefs":25957,"style":18},"58df5027b7c2",[25953],{"_key":25954,"_type":13,"marks":25955,"text":25956},"a581f6d27dec",[],"There was one more exception to this isolation from the other music students: the best of these 12-tone pieces were to be performed by instrumentalists from other departments and prepared by students from the conductors’ course. But that happened much later — towards the end.\n",[],{"_key":25959,"_type":9,"children":25960,"image":4,"markDefs":25965,"style":18},"f6ce6b0b6290",[25961],{"_key":25962,"_type":13,"marks":25963,"text":25964},"8fbffc62f3cf",[],"Bernard from the Casa Tosti had promised to visit me in Siena but I wasn’t expecting him so soon. He was waiting for me in the foyer as I arrived at the Chigiana in the second week. I was so pleased to see him and immediately arranged to meet him for dinner in the mensa straight after class. He was full of news from a holiday in Greece, from a murderer who had lived at the Casa Tosti and we even found out that we had been in Sorrento together at the same time. After dinner I showed him my favourite places in Siena. We went to the Duomo and separately used my student card to get into the Piccolomini Library. While he was here, admiring the Pinturicchio paintings (based on designs by Raphael) I suddenly realised that here, right near the entrance to the library were three small sculptures by Michelangelo: a statue of St Paul (looking not unlike Michelangelo himself) and of St. Peter and one of Pope Pius II. While these are probably some of the least interesting of all Michelangelo’s work I was delighted to find them, since I had set out to see as many of his works as possible during my stay in Europe.\n",[],{"_key":25967,"_type":9,"children":25968,"image":4,"markDefs":25973,"style":18},"c99f9057ffcb",[25969],{"_key":25970,"_type":13,"marks":25971,"text":25972},"1da7426b4ca8",[],"Afterwards we went to the Basilica di San Domenico and to the House of Santa Caterina of Siena, that 14th century lady who wrote letters to all the most prominent leaders of her time and was instrumental in bringing the Papacy back to Rome from Avignon. There was a nun apparently “on duty” to deal with the tourists and to teach them about the saint — this was the impression we got as Bernard asked her questions. But then he asked her a special question, a secular question, about the Palio, that famous horse race which takes place each summer, where riders in medieval costume, on horses without saddles speed around the Piazza del Campo. Suddenly her tone changed and the remote religious voice became real, even passionate. She explained how the various sections of the city, the contrade, each contributed one horse, and the how the citizens of each contrada gave their complete support to its rider. It can happen (she continued) that in a family where the husband comes from one contrada and the wife from another, that the two don’t speak to one another during the Palio time. It was clear from the intensity of this woman’s voice, that the Palio was not history being relived for tourists, it was something real, deeply rooted in the hearts of all those born in this city.\n",[],{"_key":25975,"_type":9,"children":25976,"image":4,"markDefs":25981,"style":18},"23a0a8057ad7",[25977],{"_key":25978,"_type":13,"marks":25979,"text":25980},"924afef8965b",[],"I was later to learn this Sienese lesson even more forcibly. But for the moment after saying goodbye to Bernard (sadly for the last time) my main thought was how good he was with this foreign language. He had absolutely no inhibitions about using it. He used the vocabulary he had directly with the people and in so doing he enlarged it. I, on the other hand, had this stupid feeling I should only speak when I could be sure I was saying something grammatically correct. I would have to change. I should take every opportunity I had to talk to the local people — even ungrammatically!\n",[],{"_key":25983,"_type":9,"children":25984,"image":4,"markDefs":25989,"style":18},"8c04a5f50bc9",[25985],{"_key":25986,"_type":13,"marks":25987,"text":25988},"004f667f57fb",[],"The first opportunity came already on my way home. I was standing in front of a large poster advertising a concert when a male voice behind me spoke to me. He quickly changed to English but he didn’t understand my English reply so I switched back to Italian. He asked about my health and if my bowels were reacting to the change of food and water and went on to recommend an enema! He told me he was a lawyer and that he collected antiques — would I like to see them (this sounded like a variant of the old invitation to “come and look at my etchings!)? Normally I am not the slightest interested in antiques but I was curious, here was a Senese I could finally talk to and since I was bigger than him, I saw no need to be afraid. He led me to an old building on the edge of the Piazza del Campo first through a locked door to a courtyard, then through a series of doors each opened and locked with a different key which had to be turned several times as if it were sliding a bolt into place inside the door. We entered his apartment, made a very cursory tour of his antiques (he obviously didn’t care whether I found them interesting or not) and sat down to smoke, drink and talk. He was a man of about 60 with a bent body, almost a hunchback. He had what I think one would call a Roman nose, an almost Dantesque profile and he spoke what seemed to me a very cultured Italian.\n",[],{"_key":25991,"_type":9,"children":25992,"image":4,"markDefs":25997,"style":18},"7bd006379441",[25993],{"_key":25994,"_type":13,"marks":25995,"text":25996},"be87f9615d74",[],"He neither told me his name nor asked mine, but he wasted no time in coming to the main point: la omosessualità. He explained: Women were preferable as sexual partners to men, but men were preferable to masturbation, or to nothing. He had noticed that I had a natural curiosity and it was necessary to try all things before saying that you didn’t like them — exactly the words I had used myself on people who had said they didn’t like raw oysters or classical music. He was quite sure that even although I thought I didn’t want to try it, I really did, there was a little bit of both sexes in all men, especially artists, he quoted Michelangelo, Shakespeare, Oscar Wilde, Benjamin Britten … I told him that I was quite sure that I was heterosexual, that I had no problems with those men who preferred men as sexual partners, indeed I had good friends who were homosexuals and one thing I admired in these men was that they did not expect me to make love with them. We talked and talked and I enlarged my sexual vocabulary but not my desire for him. I told him, I had only spoken to him because I wanted to improve my Italian. Finally he let me go but not before I had agreed to meet him at the same place in the Piazza del Campo the following week.\n",[],{"_key":25999,"_type":9,"children":26000,"image":4,"markDefs":26005,"style":18},"ba759940370e",[26001],{"_key":26002,"_type":13,"marks":26003,"text":26004},"cf3a6908a76e",[],"When I told Brigitte about this encounter she was shocked:\n",[],{"_key":26007,"_type":9,"children":26008,"image":4,"markDefs":26016,"style":634},"22ebcc464dc2",[26009,26013],{"_key":26010,"_type":13,"marks":26011,"text":26012},"ba1d2f615f7f",[73],"Please Kit, don’t see that man again. You know, there are other people to talk Italian to. People with a healthy and normal mind. Do you really want to learn his abnormal, unhealthy ideas? Are you really so curious? Don’t call on him again, please, he wants to get you. He’d try anything, he’s old and experienced. He won’t let you go next time. They like the kind of young man you are. I’m speaking like your aunt — sorry — but you understand?",{"_key":26014,"_type":13,"marks":26015,"text":4878},"c26816b28987",[],[],{"_key":26018,"_type":9,"children":26019,"image":4,"markDefs":26024,"style":18},"e6843b281ea2",[26020],{"_key":26021,"_type":13,"marks":26022,"text":26023},"9a3891e52f99",[],"In spite of Brigitte’s pleas I went again, the same ritual with the doors, the same excellent brandy, the same talk. I even started to enjoy listening to him and arguing with him, but gradually I got tired of talking about homosexuality and I think he too got tired of making no “progress” with me and so this curious “friendship” ended.\n",[],{"_key":26026,"_type":9,"children":26027,"image":4,"markDefs":26032,"style":18},"c4e8cc844983",[26028],{"_key":26029,"_type":13,"marks":26030,"text":26031},"464b71a89851",[],"Strangely, my first major work was inspired indirectly from an interest in the way our society used to persecute homosexuals. I had seen an excellent film about the last few years of Oscar Wilde’s life (“The Man with the Green Carnation”). In the late 50s the official verbatim record of the trial in which Wilde was sentenced to four years hard labour (for committing sodomy!) was published and used for at least two films. As a result of this I had started reading Wilde’s work and in particular his “Ballad of Reading Gaol” which left a very strong impression on me. I immediately made a selection of stanzas from this very long poem and set them to music for baritone and orchestra. Although the main theme of the poem is a bid to end capital punishment, it was the intolerance against homosexuality which put Wilde in the situation that gave rise to the ballad. My work was first performed at the Cambridge Music School in 1960 and marked the beginning of my life-long friendship with Nelson Wattie who sang the solo part. Later through the help of Douglas Lilburn (also a homosexual) it was performed for a radio recording by the then New Zealand National Orchestra (conductor John Hopkins and soloist Nelson Wattie). Fortunately Brigitte was soon to meet my friend Luke and so she too could have a positive model to change her sympathy towards these people, who through no personal choice are born with different sexual desires to those of the majority.\n",[],{"_key":26034,"_type":9,"children":26035,"image":4,"markDefs":26040,"style":18},"9552fe5a7bba",[26036],{"_key":26037,"_type":13,"marks":26038,"text":26039},"01a2a1e3f6bb",[],"A parcel of books arrived from Zurich — \"The Little Prince\" and \"Il piccolo principe\", the book which had inspired the name of the island in front of our cave: the elephant- in-a-boa island.\n",[],{"_key":26042,"_type":9,"children":26043,"image":4,"markDefs":26048,"style":634},"989b9b52979d",[26044],{"_key":26045,"_type":13,"marks":26046,"text":26047},"8f10766ed1a5",[],"But oh dear Brigitte, it’s so difficult to write music because there are all sorts of other things I need to do and now I need to read “The Little Prince” — grazie, grazie, grazie. Ho già letto due piccoli capitoli e mi sono piaciuti moltissimo (I’ve already read two little chapters and they pleased me greatly) … they have that wonderful sort of Mozartian deceptive simplicity … Later: I’ve gone and read all “The Little Prince” — I should have saved it and savoured it, but instead I’ll read it again. Sometimes, or rather often, my mind wanders back to the phrase in your letter asking if I knew why you were just a little happy when you arrived. I didn’t answer, it would have been so easy to say “yes” but I didn’t know how to. You must try to tame me please — like the fox.\n",[],{"_key":26050,"_type":9,"children":26051,"image":4,"markDefs":26063,"style":18},"c5ae0761618d",[26052,26056,26059],{"_key":26053,"_type":13,"marks":26054,"text":26055},"d7795db2b9a2",[],"My disappointment with the composition course led me to other activities: I attended Italian lessons for foreigners at the university, I wrote long letters to Brigitte and to my family, and I read about the history of Siena: In the middle ages Florence and Siena were cities of comparable sizes and were often in conflict with one another. This was not just of a military nature, the cities also competed culturally for supremacy. So it was, as Giotto was making Florence famous in the art of painting, artists of a similar calibre were working in Siena: notably Duccio, but also Simone Martini and the Lorenzetti brothers. As Florence was building its famous ",{"_key":26057,"_type":13,"marks":26058,"text":23248},"5ffb758197b9",[73],{"_key":26060,"_type":13,"marks":26061,"text":26062},"58d7be46bb87",[],", Siena tried to overtrump it with a huge cathedral which was unfortunately never completed. The main reason that Siena lost this culture-race was the Great Plague, the Black Death of 1348, which reduced Siena to about a quarter of its population. By this year only the “transept” and the outline of one wall of the nave of the cathedral was finished, and so it stayed to this day.\n",[],{"_key":26065,"_type":500,"caption":26066,"image":26067,"markDefs":4},"aef814bde794","Siena Cathedral, front and back",{"caption":4,"id":26068,"meta":26069,"parentID":4,"parentType":3456,"url":26072},"300254cfb82f42d899d673c0debdf269578ad980",{"_type":506,"aspectRatio":26070,"height":1705,"width":26071},2.527586206896552,2199,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F300254cfb82f42d899d673c0debdf269578ad980-2199x870.jpg",{"_key":26074,"_type":9,"children":26075,"image":4,"markDefs":26095,"style":18},"8adeb344a1b3",[26076,26080,26083,26087,26091],{"_key":26077,"_type":13,"marks":26078,"text":26079},"44f3b22cd61f",[],"Although this “transept” was first conceived as the main nave of the cathedral the plan was revised to make it a transept of a huge building whose main nave (the first two arches of which one sees on the right of the left hand picture above) would extend to the south. This would have made the Siena ",{"_key":26081,"_type":13,"marks":26082,"text":23248},"0bf3c462a6ea",[73],{"_key":26084,"_type":13,"marks":26085,"text":26086},"9eba146c4a6f",[]," the largest cathedral in Christendom. After the plague, however, the nave was never completed and today the one row of arches that was built houses the museum ",{"_key":26088,"_type":13,"marks":26089,"text":26090},"3ab070ec17f7",[73],"Opera del Duomo",{"_key":26092,"_type":13,"marks":26093,"text":26094},"e9109447d8d5",[],", which contains master works from the cathedral.\n",[],{"_key":26097,"_type":9,"children":26098,"image":4,"markDefs":26132,"style":18},"49e396ae880a",[26099,26103,26106,26110,26114,26118,26121,26125,26128],{"_key":26100,"_type":13,"marks":26101,"text":26102},"185c2e0fd574",[],"Jenny and Peter Murray, who I had last seen on the “Fairsky” turned up unexpectedly one day. Among other things we visited the ",{"_key":26104,"_type":13,"marks":26105,"text":26090},"1bac5222975f",[73],{"_key":26107,"_type":13,"marks":26108,"text":26109},"fb7935e415ce",[],", which I had come to admire greatly. One reason for my enthusiasm was that it is small and its main focus is on just one major work: Duccio’s ",{"_key":26111,"_type":13,"marks":26112,"text":26113},"2a89026909b3",[73],"Maestà",{"_key":26115,"_type":13,"marks":26116,"text":26117},"5619afc4dfdb",[],". This large altarpiece had been painted on a wooden slab, the rear of which was divided into numerous small panels depicting scenes from the life of Christ. In the 20th century art specialists separated the main picture from those on the back and cut the smaller panels into single pictures so that they could be hung separately. Now in this main room of the ",{"_key":26119,"_type":13,"marks":26120,"text":26090},"544e4f09d25a",[73],{"_key":26122,"_type":13,"marks":26123,"text":26124},"f804e380dc43",[]," with carpeted floor and curtains on all walls and with lights directed at all pictures one can sit and take in this “Gesamtkunstwerk”: The ",{"_key":26126,"_type":13,"marks":26127,"text":26113},"d78fc81b5d4f",[73],{"_key":26129,"_type":13,"marks":26130,"text":26131},"2c5668fadf24",[]," in the centre of one wall and all the other smaller pictures hanging in front of the curtains of the three other walls. Not only is it splendid visually but the carpet and curtains create a muted acoustical ambience in which one can concentrate on the magnificent Duccio colours and be transported back into his pre-renaissance world.\n",[],{"_key":26134,"_type":500,"caption":26135,"image":26136,"markDefs":4},"2ba881f959e4","Maestà, Duccio di Buoninsegna (ca.1255– ca.1319) 213 cm × 396 cm 1308-1311 Tempera and gold on wood",{"caption":4,"id":26137,"meta":26138,"parentID":4,"parentType":3456,"url":26141},"0c1339bce2f8547d5b8634c2a69879c84e1beeed",{"_type":506,"aspectRatio":26139,"height":4775,"width":26140},2.029,2029,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F0c1339bce2f8547d5b8634c2a69879c84e1beeed-2029x1000.jpg",{"_key":26143,"_type":9,"children":26144,"image":4,"markDefs":26149,"style":18},"457186a0b72d",[26145],{"_key":26146,"_type":13,"marks":26147,"text":26148},"4998f5b38e36",[],"Although Duccio lies firmly in the Gothic era (stylised faces and attitudes, golden halos, etc.), the combined use of gold and tempera-colour and the sheer size of the work is for me quite overwhelming.\n",[],{"_key":26151,"_type":9,"children":26152,"image":4,"markDefs":26172,"style":634},"71266a11e867",[26153,26157,26161,26165,26168],{"_key":26154,"_type":13,"marks":26155,"text":26156},"872181eca3b9",[],"One day last week some friends came to see me. They’re a super couple, New Zealanders, students, working in London, here on holiday. We went and looked at all good things including the ",{"_key":26158,"_type":13,"marks":26159,"text":26160},"250f4e138056",[73],"l’Opera del Duomo",{"_key":26162,"_type":13,"marks":26163,"text":26164},"e724986d8ed1",[],", which I don’t think you went to — but I think you bought a card of the Duccio ",{"_key":26166,"_type":13,"marks":26167,"text":26113},"6616f53417c2",[73],{"_key":26169,"_type":13,"marks":26170,"text":26171},"b30541094a6e",[],"? Anyway if you didn’t go then you certainly must come straight back and see it. It’s the most beautiful room of a gallery I’ve ever seen. It has dark curtains all the way round and just a few paintings to look at and all lit from concealed lights above. The curtains not only make the room darker and therefore the pictures brighter, but they make the room more silent. It’s really quite hypnotic to go there. Anyway even if you did see it, come and see it again: I’m glad I miss you, I was scared I mightn’t. This is why you must continue to tame me. You see?\n",[],{"_key":26174,"_type":9,"children":26175,"image":4,"markDefs":26184,"style":634},"1ea1cf6665d9",[26176,26180],{"_key":26177,"_type":13,"marks":26178,"text":26179},"a4a4cfe4ea9c",[73],"Ah, I forgot, I really missed “l’Opera del Duomo”, how very sad, or, how very lucky praps, cos there will be a real reason to come over for ……… you understand",{"_key":26181,"_type":13,"marks":26182,"text":26183},"9fcb7d802f19",[],"?\n",[],{"_key":26186,"_type":9,"children":26187,"image":4,"markDefs":26207,"style":18},"3262fc04a2bf",[26188,26192,26196,26200,26203],{"_key":26189,"_type":13,"marks":26190,"text":26191},"3ba117d5e8db",[],"The lesson of the importance of how a work is exhibited was also taught us in a negative way on one of our trips to Florence. We especially wanted to see the crucifix painting by Cimabue in ",{"_key":26193,"_type":13,"marks":26194,"text":26195},"f79d8dee12a7",[73],"Santa Croce",{"_key":26197,"_type":13,"marks":26198,"text":26199},"30c8a14e731f",[],". We enquired where it was and were led into a dark and dingy little side room where the work hung. In spite of the bad light we were very impressed by the tremendous power of the face of Christ: Cimabue had, within the constraints of the Gothic rules, succeeded in showing an expression of (one might truly say) romantic proportions. Some years later we were again in Florence. In the meantime the terrible floods of 1967 had taken place when the Arno destroyed many art treasures in buildings near the river. Our Cimabue crucifix had been found floating in a mixture of water, mud, pollution and heating oil. In spite of years of restoration the damage was irreparable. Now as we entered the church of ",{"_key":26201,"_type":13,"marks":26202,"text":26195},"f2b12440c06f",[73],{"_key":26204,"_type":13,"marks":26205,"text":26206},"f3b9d70ef79f",[]," we were surprised to see the damaged picture hanging in pride of place between choir and nave and brilliantly lit from several lights. But what a sad picture! Only now that the work was almost destroyed did one evidently learn to appreciate what was lost. Here it was hanging as a warning against indifference and neglect. Had it been exhibited as it now was, it would have survived the terrible floods.\n",[],{"_key":26209,"_type":500,"image":26210,"markDefs":4},"1a9d1a5bdafe",{"caption":4,"id":26211,"meta":26212,"parentID":4,"parentType":3456,"url":26216},"5191f10c64d932c6e0af73778fadb5bfc08f20b6",{"_type":506,"aspectRatio":26213,"height":26214,"width":26215},2.300796812749004,1004,2310,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F5191f10c64d932c6e0af73778fadb5bfc08f20b6-2310x1004.jpg",{"_key":26218,"_type":9,"children":26219,"image":4,"markDefs":26231,"style":18},"aaf0ab6405d2",[26220,26224,26227],{"_key":26221,"_type":13,"marks":26222,"text":26223},"b51a4e91448b",[],"1. The damaged crucifix (detail) by Cimabue in ",{"_key":26225,"_type":13,"marks":26226,"text":26195},"e026476512dc",[73],{"_key":26228,"_type":13,"marks":26229,"text":26230},"ca1d52eb97d0",[],", Florence ",[],{"_key":26233,"_type":9,"children":26234,"image":4,"markDefs":26247,"style":18},"fa6e30f98b58",[26235,26239,26243],{"_key":26236,"_type":13,"marks":26237,"text":26238},"1d3a8ad0f5c6",[],"2. The almost identical Cimabue crucifix in ",{"_key":26240,"_type":13,"marks":26241,"text":26242},"452dfbe2e1d2",[73],"San Domenica",{"_key":26244,"_type":13,"marks":26245,"text":26246},"66b0a95d5357",[],", Arezzo ",[],{"_key":26249,"_type":9,"children":26250,"image":4,"markDefs":26263,"style":18},"35228d88f888",[26251,26255,26259],{"_key":26252,"_type":13,"marks":26253,"text":26254},"f49702ad16c3",[],"3. Giotto crucifix in ",{"_key":26256,"_type":13,"marks":26257,"text":26258},"640b26180e8d",[73],"Santa Maria Novella",{"_key":26260,"_type":13,"marks":26261,"text":26262},"5337629abbb2",[],", Florence, showing the change in style from Gothic towards Renaissance (but with loss of expressive power?)",[],{"_key":26265,"_type":9,"children":26266,"image":4,"markDefs":26270,"style":18},"7626b9cfc53b",[26267],{"_key":26268,"_type":13,"marks":26269,"text":25},"3bf166df3b57",[],[],{"_key":22441,"_type":9,"children":26272,"image":4,"markDefs":26276,"style":6894},[26273],{"_key":26274,"_type":13,"marks":26275,"text":22442},"1ff433591fdf",[15],[],{"_key":26278,"_type":9,"children":26279,"image":4,"markDefs":26283,"style":18},"8013aab03521",[26280],{"_key":26281,"_type":13,"marks":26282,"text":25},"5f76fbcd7b89",[],[],{"_key":26285,"_type":9,"children":26286,"image":4,"markDefs":26291,"style":18},"d79b29f1fdc9",[26287],{"_key":26288,"_type":13,"marks":26289,"text":26290},"13e71160070f0",[],"My money was starting to run out, something which embarrassed me more than worried me. It meant I would either have to ask someone for money or give up the course. I resisted doing this immediately and when I finally spoke to Maestro Petrassi about it, he reprimanded me that I had not told him sooner: there had been possibilities for una borsa da studia (bursary) which were now used up. Nevertheless he promised to ask the school authorities.\n",[],{"_key":26293,"_type":9,"children":26294,"image":4,"markDefs":26299,"style":634},"0378104c8908",[26295],{"_key":26296,"_type":13,"marks":26297,"text":26298},"60e8acd7b5f2",[],"5th August (K to B)",[],{"_key":26301,"_type":9,"children":26302,"image":4,"markDefs":26307,"style":634},"b44832731fc4",[26303],{"_key":26304,"_type":13,"marks":26305,"text":26306},"d287b19ceb360",[],"I got some money given to me! It’s a strange story — I was very embarrassed. You will remember that I was supposed to keep reminding the Maestro about a “borsa” and of course I didn’t — I couldn’t bear to. But because I hadn’t paid, I didn’t have a tessera which you need to get into orchestral rehearsals (for example): There’s a nasty lady who says “no” with incredible ferocity unless you wave a red card with black numbers on it at her. So I went to the secretary and they said: “no, the Maestro has said nothing to us. You have to pay.” And I said “Oh” and then I left! But I saw the Maestro on the street and we shook hands and talked and walked and drank and then we shook hands again, and the next day …… The next day I waited (you know how I like waiting!) in the secretary’s room while the Maestro went into the director’s room to talk and talk and talk. When he came out he said: “Because you didn’t keep reminding me, I can’t get you a full bursary but a half one might be possible”. I was pleased. The fees are 15’000 lire and I thought that even if they gave me 7’500 lire that would be (as my aunt says) better than a poke in the eye with a sharp stick. Anyway, when I arrived at the Chigiana the next morning there was a notice in the “P” pigeonhole telling me to go to the Artistic Director quanto presto. So I went. And he said all the same things the Maestro had said the day before — Oh, and he offered to speak français or Deutsch — this infuriates me — it’s such a bloody insult if only they realised! Fortunately he couldn’t speak English! He said: Non è possibile darle una borsa normale, è troppo tardi; però possiamo fare così: Io le faccio personalmente una borsa. Hell, I was embarrassed! But he said: Stavo per dare una borsa ad un qualsiasi studente che sia abbastanza bravo. Sono felice che è lei. I felt even worse: it was obviously nothing to do with how ‘bravo’ I was, but just the hard luck story I had told the Maestro. Anyway the Direttore went on: Io posso offrirle lire1’500 al giorno per il mese di agosto. Just imagine 1’500x35 (couple of extra days thrown in) = lire 52’500. I was speechless! He started counting out six 10’000 lire notes, handed them in my direction obviously expecting that I would give him 7’500 back. But I had nothing. And so, with a rather impatient gesture, he pushed the whole bundle of notes into my hand and me out the door.\n",[],{"_key":26309,"_type":9,"children":26310,"image":4,"markDefs":26318,"style":634},"fd4bd9ef59ff",[26311,26315],{"_key":26312,"_type":13,"marks":26313,"text":26314},"22fac5db1218",[73],"I’m glad you got all that money! Aren’t you a very lucky Kit? But you deserve it! How are you going to spend it all? Please tell me! Are you going to buy a third pair of pyjamas??",{"_key":26316,"_type":13,"marks":26317,"text":4878},"e0fd3314d644",[],[],{"_key":26320,"_type":9,"children":26321,"image":4,"markDefs":26326,"style":634},"e9507cb41d11",[26322],{"_key":26323,"_type":13,"marks":26324,"text":26325},"ba710d1dc1de",[],"I’ve spent nearly all that money! I don’t know on what? Just food and the Accademia fees of course. I don’t even need any more pyjamas. I haven’t used them the last few nights, it’s been so incredibly hot. I just have a sheet that I get under when I hear a mosquito attack.\n",[],{"_key":26328,"_type":9,"children":26329,"image":4,"markDefs":26334,"style":18},"f5c90a428e01",[26330],{"_key":26331,"_type":13,"marks":26332,"text":26333},"77025b1c5823",[],"Brigitte enquired how my five lines and the round friends (who sit on those lines) were doing:\n",[],{"_key":26336,"_type":9,"children":26337,"image":4,"markDefs":26342,"style":634},"2bd056586b4a",[26338],{"_key":26339,"_type":13,"marks":26340,"text":26341},"4bb138138a28",[],"I think I’m pleased. It’s hard to tell at this stage. I was silly cos I thought I could manage without a piano and when the Maestro tried the things out that I had done, they were not always very good. But now I know where I can use a piano and what’s more, I’ve scrapped what I was doing before and have started afresh. That’s why it’s hard to tell if I’ve really solved all my terrible problems.\n",[],{"_key":26344,"_type":9,"children":26345,"image":4,"markDefs":26366,"style":18},"ebbf64787d41",[26346,26350,26354,26358,26362],{"_key":26347,"_type":13,"marks":26348,"text":26349},"81aa0a166793",[],"A friend in the class, Michael Short, lent me the score of Webern’s “Konzert” Op. 24 which I also studied. All the instrument names and the performing instructions were in German, so I had to ask Brigitte what they all meant: Geige (violin), Bratsche (viola), Posaune (trombone), Dämpfer (mute), etc. Although the Webern was a help for my own attempts at dodecaphony, it was a rather dry and theoretical study, I had no way of knowing if my imagination of Webern’s music was really as it would sound with a real ",{"_key":26351,"_type":13,"marks":26352,"text":26353},"2b2d14fe328e",[73],"Geige, Bratsche ",{"_key":26355,"_type":13,"marks":26356,"text":26357},"f34ab5e0a05c",[],"or ",{"_key":26359,"_type":13,"marks":26360,"text":26361},"83dc99649e0f",[73],"Posaune",{"_key":26363,"_type":13,"marks":26364,"text":26365},"8712f102fc68",[],". When I left my own rented room, however, the streets were full of music from radios near open windows. It had been the same in Perugia, you could walk along the street and from each house would come the same program so that you could hear, without any breaks, the commentary on the current football match or the latest Beatles song (“I love you, I love you, I love you”). Now, as I sought a relief from my own and Webern’s 12-note music I heard a new pop song, new to me that is, one which was not only lively but strangely unusual, in a minor mode:\n",[],{"_key":26368,"_type":9,"children":26369,"image":4,"markDefs":26374,"style":18},"2365c4b34762",[26370],{"_key":26371,"_type":13,"marks":26372,"text":26373},"dc0dce3a9b45",[],"I’m just being treated to “La verità mi fa male” (The truth hurts me) from a radio down the road:",[],{"_key":26376,"_type":500,"image":26377,"markDefs":4},"5868c38503d2",{"caption":4,"id":26378,"meta":26379,"parentID":4,"parentType":3456,"url":26383},"d12d23db7890619291b890b82d1b15e79e82c4a2",{"_type":506,"aspectRatio":26380,"height":26381,"width":26382},6.105882352941176,170,1038,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fd12d23db7890619291b890b82d1b15e79e82c4a2-1038x170.jpg",{"_key":26385,"_type":9,"children":26386,"image":4,"markDefs":26391,"style":634},"e6f43b59f77a",[26387],{"_key":26388,"_type":13,"marks":26389,"text":26390},"1ed5687a087f",[],"\n(Nobody                      can judge me,                    not even                     you)\n",[],{"_key":26393,"_type":9,"children":26394,"image":4,"markDefs":26399,"style":18},"2fd813f0ef8b",[26395],{"_key":26396,"_type":13,"marks":26397,"text":26398},"d90d1e3d0130",[],"Funny, I like it just a wee bit! Specially after Dodecaphony. I’m busy studying Webern in between tunes. It looks most interesting, but I don’t really hear it properly. It has lots of German that I need explaining please:",[],{"_key":26401,"_type":9,"children":26402,"image":4,"markDefs":26428,"style":18},"bb211d414d88",[26403,26406,26410,26414,26418,26422,26425],{"_key":26404,"_type":13,"marks":26405,"text":4878},"8b25f0c8e2cb",[],{"_key":26407,"_type":13,"marks":26408,"text":26409},"dbd9732fa62f",[73],"Dämpfer",{"_key":26411,"_type":13,"marks":26412,"text":26413},"5740902b40d6",[],": I know this means ",{"_key":26415,"_type":13,"marks":26416,"text":26417},"6d02285c7410",[24029],"mute,",{"_key":26419,"_type":13,"marks":26420,"text":26421},"573ee1298bbf",[]," but could you explain these:\n1. immer mit ",{"_key":26423,"_type":13,"marks":26424,"text":26409},"b183c0ebfe84",[73],{"_key":26426,"_type":13,"marks":26427,"text":2840},"ce250665e8fe",[],[],{"_key":26430,"_type":9,"children":26431,"image":4,"markDefs":26442,"style":18},"6a6696f448bc",[26432,26435,26438],{"_key":26433,"_type":13,"marks":26434,"text":96},"f7d2f19c1967",[],{"_key":26436,"_type":13,"marks":26437,"text":26409},"2bdcb3bcb544",[73],{"_key":26439,"_type":13,"marks":26440,"text":26441},"2759975958e3",[]," aus ",[],{"_key":26444,"_type":9,"children":26445,"image":4,"markDefs":26453,"style":18},"008cb2051957",[26446,26450],{"_key":26447,"_type":13,"marks":26448,"text":26449},"b7f4388950b8",[],"3. ohne ",{"_key":26451,"_type":13,"marks":26452,"text":26409},"b9f6750d99bb",[73],[],{"_key":26455,"_type":9,"children":26456,"image":4,"markDefs":26461,"style":18},"73e84e5ba9ec",[26457],{"_key":26458,"_type":13,"marks":26459,"text":26460},"08674b6ab5cb",[],"\nThere followed a very helpful German lesson, but more interesting was her reaction to the pop-song: ",[],{"_key":26463,"_type":9,"children":26464,"image":4,"markDefs":26472,"style":634},"983643433acb",[26465,26469],{"_key":26466,"_type":13,"marks":26467,"text":26468},"3efaf524073c",[73],"Oh, and thanks for the Verità. Now I must tell you something: I have got the record. I did not tell you. I usually don’t buy records of this sort, but this one, just this one … La Verità mi fa male … I did not tell you because I was ashamed and thought you might laugh, but now I can, and when you wrote me that bit of music, I put the record on and heard the whole piece again — Funny that you just like this very record a wee bit, especially after your dodecaphony.",{"_key":26470,"_type":13,"marks":26471,"text":4878},"d553812c3355",[],[],{"_key":26474,"_type":9,"children":26475,"image":4,"markDefs":26534,"style":18},"d8815d17b75a",[26476,26480,26484,26488,26491,26495,26499,26503,26507,26511,26515,26519,26522,26526,26530],{"_key":26477,"_type":13,"marks":26478,"text":26479},"90a60521c82a",[],"Preparations for the ",{"_key":26481,"_type":13,"marks":26482,"text":26483},"d918a13c0b60",[73],"Palio",{"_key":26485,"_type":13,"marks":26486,"text":26487},"8b33afada459",[]," had started. Loads of earth were brought in and dumped onto the paving stones of the outer ring of the ",{"_key":26489,"_type":13,"marks":26490,"text":25850},"e1da5bd5eb6a",[73],{"_key":26492,"_type":13,"marks":26493,"text":26494},"a5cc7787736b",[]," and around the edge against the buildings they mounted what looked like mattresses, presumably to soften the fall of riders who might get thrown off from their horses. At the same time the activities in the ",{"_key":26496,"_type":13,"marks":26497,"text":26498},"f09fa4bc6da9",[73],"Contrade",{"_key":26500,"_type":13,"marks":26501,"text":26502},"289c87f946fc",[]," became more obvious. Big groups of people would eat at tables set up in the streets. There was often the sound of marching drums and the sight of people in medieval livery. Also the faction rows that the nun had spoken of to Bernard were no exaggeration, these were quite often carried out physically, but such black eyes and thick ears were all part of the excitement, something that even the local police understood well and treated with extreme restraint. Not so, however, the ",{"_key":26504,"_type":13,"marks":26505,"text":26506},"65d101576b9f",[73],"Questura",{"_key":26508,"_type":13,"marks":26509,"text":26510},"6cc87fa797f1",[],", the state police. These officers are normally given service in a region remote from their place of origin so that they can act impartially. Thus, during the trials in the week before the famous Palio, when a Mossiere, who should set the race in motion, lowered the starting rope too slowly and disadvantaged the jockey from the ",{"_key":26512,"_type":13,"marks":26513,"text":26514},"c834c97f7ac3",[73],"Contrada Valdimontone",{"_key":26516,"_type":13,"marks":26517,"text":26518},"e7deba509355",[],", and, in so doing, incited a brawl between two young men, the officers of the ",{"_key":26520,"_type":13,"marks":26521,"text":26506},"29bc2f741442",[73],{"_key":26523,"_type":13,"marks":26524,"text":26525},"f41bb4bc9b0e",[]," could not possibly understand that this was normal behaviour at this time of year in Siena. Instead of turning a blind eye, they clapped the aggressors in gaol, oblivious of the fact that one was the star jockey of the ",{"_key":26527,"_type":13,"marks":26528,"text":26529},"ca2fea1a284d",[73],"Valdimontone Contrada",{"_key":26531,"_type":13,"marks":26532,"text":26533},"62d1ee82df8e",[],". This mistake was to have serious consequences.\n",[],{"_key":26536,"_type":9,"children":26537,"image":4,"markDefs":26556,"style":18},"ad36aa7b8bce",[26538,26542,26545,26549,26552],{"_key":26539,"_type":13,"marks":26540,"text":26541},"c15743085536",[],"On Sunday the 16th of August about 60’000 people squeezed themselves into the ",{"_key":26543,"_type":13,"marks":26544,"text":25850},"867e669186c6",[73],{"_key":26546,"_type":13,"marks":26547,"text":26548},"05ae5c244004",[]," to watch the ",{"_key":26550,"_type":13,"marks":26551,"text":26483},"cd6637784bd3",[73],{"_key":26553,"_type":13,"marks":26554,"text":26555},"bb61b7637576",[],". I went with Michael Short and his family. There was real excitement in the air, not just an uplifting excitement but also an uneasy feeling. There were so many people in such a small place that one could hardly move, that is, one could only move with the crowd. If such a crowd were to become nervous, the result could be catastrophic.\n",[],{"_key":26558,"_type":9,"children":26559,"image":4,"markDefs":26600,"style":18},"36e159c2ab88",[26560,26564,26567,26571,26574,26578,26581,26585,26588,26592,26596],{"_key":26561,"_type":13,"marks":26562,"text":26563},"32b2d8dac264",[],"The famous race is preceded by processions of people, oxen and horses from each of the seventeen ",{"_key":26565,"_type":13,"marks":26566,"text":26498},"aabb5c797a93",[73],{"_key":26568,"_type":13,"marks":26569,"text":26570},"d2fad4ddb96e",[]," — each looking more splendid that the other in its colourful medieval costumes: the flag bearers, the commanders, the captains, the drummers, the trumpeters and more flag bearers and flag throwers, all in the liveries of their ",{"_key":26572,"_type":13,"marks":26573,"text":26498},"213629bcd32f",[73],{"_key":26575,"_type":13,"marks":26576,"text":26577},"71fcfde9a01e",[],". The procession starts at the ",{"_key":26579,"_type":13,"marks":26580,"text":23248},"445b513e3824",[73],{"_key":26582,"_type":13,"marks":26583,"text":26584},"92ba7c304bed",[]," and moves by a circuitous route and to the accompaniment of trumpets and drums to the ",{"_key":26586,"_type":13,"marks":26587,"text":25850},"c23669b31d32",[73],{"_key":26589,"_type":13,"marks":26590,"text":26591},"94dd83c9d78c",[],". After about two hours of processing the Palio-horses were assembled in the courtyard inside the ",{"_key":26593,"_type":13,"marks":26594,"text":26595},"b35b425745db",[73],"Palazzo Pubblico",{"_key":26597,"_type":13,"marks":26598,"text":26599},"8885c56e6429",[],", were blessed by a priest and prepared for the big race.",[],{"_key":26602,"_type":500,"alt":26603,"image":26604,"markDefs":4},"b45a2f5c59fe","Palio 1",{"caption":4,"id":26605,"meta":26606,"parentID":4,"parentType":3456,"url":26610},"edc355b2ffb36da58255682014e2452717551e4e",{"_type":506,"aspectRatio":26607,"height":26608,"width":26609},2.8417721518987342,948,2694,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fedc355b2ffb36da58255682014e2452717551e4e-2694x948.jpg",{"_key":26612,"_type":9,"children":26613,"image":4,"markDefs":26649,"style":634},"3a081ee47c4f",[26614,26618,26622,26626,26629,26633,26637,26641,26645],{"_key":26615,"_type":13,"marks":26616,"text":26617},"c6097b61edb5",[],"\nYesterday evening we all jammed ourselves into the ",{"_key":26619,"_type":13,"marks":26620,"text":26621},"18970db6c2e7",[73],"Piazzo del Campo",{"_key":26623,"_type":13,"marks":26624,"text":26625},"28219072f0e2",[]," for the ",{"_key":26627,"_type":13,"marks":26628,"text":26483},"67fbf5f9051c",[73],{"_key":26630,"_type":13,"marks":26631,"text":26632},"56b9b84a3145",[]," — I with the Short family. But we didn’t have it. We had a demonstration instead! Seems that two people to do with the racing were put in gaol yesterday for fighting and a large body of the crowd wanted them let out. And so, as the horses trotted out of the ",{"_key":26634,"_type":13,"marks":26635,"text":26636},"1bdd1944b653",[24029],"Town Hall",{"_key":26638,"_type":13,"marks":26639,"text":26640},"23627e0a3393",[]," (!) this group of people poured onto the ",{"_key":26642,"_type":13,"marks":26643,"text":26644},"0aa4aaae2f7f",[73],"pista",{"_key":26646,"_type":13,"marks":26647,"text":26648},"709ca3c7d5a6",[]," and the horses trotted back! Then the demonstrators paraded around the piazza singing and sat down in front of the television camera and shouted: Fuori, fuori! (out, out). I was a bit scared cos there were so many people in the square that you could hardly move and if they had all gone mad which seemed highly likely …… but no, people just went and so we got out and nothing more happened.\n",[],{"_key":26651,"_type":500,"alt":26652,"image":26653,"markDefs":4},"c2ad1430ee2a","Palio 2",{"caption":4,"id":26654,"meta":26655,"parentID":4,"parentType":3456,"url":26659},"97bbbf7518922b9cdca0cac515637001c65c5ba7",{"_type":506,"aspectRatio":26656,"height":26657,"width":26658},3.4615384615384617,299,1035,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F97bbbf7518922b9cdca0cac515637001c65c5ba7-1035x299.jpg",{"_key":26661,"_type":9,"children":26662,"image":4,"markDefs":26675,"style":634},"c6eac7bf6897",[26663,26667,26671],{"_key":26664,"_type":13,"marks":26665,"text":26666},"d5ce4a70d070",[],"\nI did see a ",{"_key":26668,"_type":13,"marks":26669,"text":26670},"50f467b5f858",[73],"prova",{"_key":26672,"_type":13,"marks":26673,"text":26674},"3144647d33a0",[]," (trial) earlier and I was very excited. They ride bare-back and fast and sometimes fall off. And the whips are not just for the horses!\n\n",[],{"_key":26677,"_type":9,"children":26678,"image":4,"markDefs":26690,"style":18},"06408b4612c6",[26679,26683,26686],{"_key":26680,"_type":13,"marks":26681,"text":26682},"43fa0dc232f5",[],"But the most remarkable thing about this story is that the ",{"_key":26684,"_type":13,"marks":26685,"text":26483},"a56c1af39085",[73],{"_key":26687,"_type":13,"marks":26688,"text":26689},"87f5a6d48373",[]," took place “again” the next day — just for the Sienese. All the thousands of tourists who had come on that Sunday in all the dozens of buses, went home again without seeing the famous horse race. The Sienese couldn’t care less. The Palio was their six hundred year tradition, which they were prepared to share with others if they wished to come, but the business from the tourism was secondary, the main thing was that it took place according to their rules and not those dictated by the Questura. And that’s how it was done: the next day, and with no tourists.\n",[],{"_key":26692,"_type":9,"children":26693,"image":4,"markDefs":26698,"style":634},"22cff0a6c9ee",[26694],{"_key":26695,"_type":13,"marks":26696,"text":26697},"90f1c3e1bc74",[],"(17. Agosto) It was nearly as bad this day too — sometimes I’m a bit frightened by this excess of excitement. But still, I was thrilled to have seen and experienced it all.\n",[],{"_key":26700,"_type":9,"children":26701,"image":4,"markDefs":26706,"style":18},"e52ee222043a",[26702],{"_key":26703,"_type":13,"marks":26704,"text":26705},"b20a5944c3b1",[],"Brigitte wrote that she had bought Huxley’s “Point Counterpoint” and also the record of the Beethoven string quartet Op. 132:\n",[],{"_key":26708,"_type":9,"children":26709,"image":4,"markDefs":26714,"style":634},"6e556215558b",[26710],{"_key":26711,"_type":13,"marks":26712,"text":26713},"a83246e5475a",[],"You should be here, dear Kit: I’m in heaven now, in that Lydian heaven …… I’ll send a bit over to you, a bit of that 132, because you need it now. It really is great and I’m hearing it for the very first time. Ah Kit, music can be so wonderful, it can take you away in an indescribable beautiful manner and here Beethoven shows you a bit of heaven, oh no, not only a bit, I think that’s heaven as you would wish it to be. Come over, Kit, and listen, and this will make you happy again …… neue Kraft fühlend (feeling new power) …… that’s what you must feel again.\n",[],{"_key":26716,"_type":9,"children":26717,"image":4,"markDefs":26722,"style":18},"92b4993d8759",[26718],{"_key":26719,"_type":13,"marks":26720,"text":26721},"52d5b2decede",[],"She had also tried bravely to get some money from the insurance company for the loss of our belongings in Naples. She had bought a coverage of one thousand francs against theft but now when the list of stolen goods added up to two thousand they argued that she was under-insured by one half and agreed to pay only five hundred francs!\n",[],{"_key":26724,"_type":9,"children":26725,"image":4,"markDefs":26733,"style":634},"405879dd5166",[26726,26730],{"_key":26727,"_type":13,"marks":26728,"text":26729},"d8a759ff0c42",[73],"… I’ll tell you about it another time, I don’t want to leave this Beethoven heaven, I want to remain here in that “miraculous paradox of life and eternal repose …” And if I close my eyes, I can feel that you are here, and that is good!",{"_key":26731,"_type":13,"marks":26732,"text":4878},"8e86fb12403e",[],[],{"_key":26735,"_type":9,"children":26736,"image":4,"markDefs":26749,"style":634},"bedf244f3325",[26737,26741,26745],{"_key":26738,"_type":13,"marks":26739,"text":26740},"5d71619f0fc8",[],"I’m so pleased you have the Op. 132 now on a record and even more pleased that you’re thrilled with it. I knew you would but it’s good to have my “know” reinforced even more than I ever expected. And isn’t it all wonderful? Not just that middle movement … Someone commented somewhere on what a stroke of genius it was to follow that tremendously serious movement with that little light march — nothing else would have done. And Spandrell’s right isn’t he? — the ",{"_key":26742,"_type":13,"marks":26743,"text":26744},"d51a819e3530",[73],"heiliger Dankgesang",{"_key":26746,"_type":13,"marks":26747,"text":26748},"740ed4486546",[]," does get better and better towards the end: Listen to that cello stepping slowly down, slowly but deliberately, inexorably to that wonderful series of grinding chords at the end — the cello being a sort of rock-like foundation for the others.\n",[],{"_key":26751,"_type":9,"children":26752,"image":4,"markDefs":26811,"style":18},"9367ba2c900d",[26753,26757,26761,26765,26768,26771,26775,26779,26783,26787,26791,26795,26799,26803,26807],{"_key":26754,"_type":13,"marks":26755,"text":26756},"218302292165",[],"Gradually my 12-note piece was taking shape. ",{"_key":26758,"_type":13,"marks":26759,"text":26760},"aa053f75eabe",[73],"Due movementi per quattro strumenti,",{"_key":26762,"_type":13,"marks":26763,"text":26764},"49fa12fa084f",[]," the “quattro strumenti” (four instruments) being piccolo, clarinet, cello and piano. I had managed to work in the famous B A C H (Bb A C B) motive into the 12-note row which gave it a more obvious contour and also an anchor-point for the ear when this fragment turns up. The Maestro came for one day in the middle of August and was much better pleased with this new piece. To my relief, he said it could be included in the program at the end of the course. He then disappeared saying he would be back at the end of the month. Although I had plenty to do: finish the score, write a fair copy on transparent paper (so that it could be copied) and write the instrumental parts, they were all activities which kept me in my room. With no class at the Chigiana I didn’t even see the other colleagues and my day became rather monotonous: breakfast of ",{"_key":26766,"_type":13,"marks":26767,"text":6717},"fade807ab214",[73],{"_key":26769,"_type":13,"marks":26770,"text":2625},"1697d1d9f667",[],{"_key":26772,"_type":13,"marks":26773,"text":26774},"9d675c44c28e",[73],"caffellatte",{"_key":26776,"_type":13,"marks":26777,"text":26778},"57c090b49d67",[]," on the way to the Chigiana to pick up mail, back to my room until midday, dinner in the mensa, and afternoon and evening in my room again. Even in the ",{"_key":26780,"_type":13,"marks":26781,"text":26782},"a9fd3cf96a4f",[73],"mensa",{"_key":26784,"_type":13,"marks":26785,"text":26786},"84401bae02d7",[]," I rarely saw anyone I knew, although the cameriere (waiter) often spoke a few friendly words to me. I usually ate ",{"_key":26788,"_type":13,"marks":26789,"text":26790},"a393d7232b74",[73],"pollo",{"_key":26792,"_type":13,"marks":26793,"text":26794},"df5beab0b17b",[]," (chicken) because it was cheap but also because for me it was something special. During my childhood in New Zealand we had always eaten mutton or beef, sausages (awful sausages!), occasionally pork or fish, sometimes even rabbit, but hardly ever chicken. Not only was the taste new and special, I had no idea how best to eat it. One day when I was attacking a half chicken with knife and fork, the friendly ",{"_key":26796,"_type":13,"marks":26797,"text":26798},"7b3a8caeab51",[73],"cameriere",{"_key":26800,"_type":13,"marks":26801,"text":26802},"841ff2fcf4ae",[]," came to me and said: ",{"_key":26804,"_type":13,"marks":26805,"text":26806},"e7ca340046e8",[73],"Il pollo si mangia con le mani ",{"_key":26808,"_type":13,"marks":26809,"text":26810},"65f0ef54a72a",[],"(one eats chicken with the hands). I am still, nearly 50 years later, grateful to him for this chicken-eating lesson.\n",[],{"_key":26813,"_type":9,"children":26814,"image":4,"markDefs":26819,"style":18},"1b13f3bb8bc2",[26815],{"_key":26816,"_type":13,"marks":26817,"text":26818},"95cc3a5bce4c",[],"I seldom saw the other inhabitants of the house where I lived. There seemed to be three generations: nonno, nonna, la signora and her husband and two young boys. My room was regularly cleaned, fresh bed linen and personal washing was done every week without my seeing when or how it was done. On one of the rare occasions when I saw the signora, she told me that her husband was an enthusiastic hunter. What exactly he hunted was not clear, I assumed it was small birds which one often saw in the open markets. She said that the activity could be dangerous because one had to lie in the grass waiting for the quarry in regions where poisonous snakes were not uncommon. Because of this the hunters always carried an “antivenom”, a serum which could save their lives. Suddenly I remembered how Brigitte and I had slept under the stars quite oblivious of this danger. For me, coming from a land completely free of such animals, it was a big surprise.\n",[],{"_key":26821,"_type":9,"children":26822,"image":4,"markDefs":26835,"style":18},"0a6790849734",[26823,26827,26831],{"_key":26824,"_type":13,"marks":26825,"text":26826},"0b335404a083",[],"As an only child, being left to my own devices was neither unusual nor bad. But here in Siena, where I had come especially to learn something new, I was doing nothing that I did not already know. The only good thing was that it was confirming that that which I knew was still valid. But was this really true? New Music must surely be more than dodecaphony! I knew that people like Cage were doing other things, which I had hoped to learn about. Once the Maestro had mentioned the word ",{"_key":26828,"_type":13,"marks":26829,"text":26830},"bef020825449",[24029],"clusters",{"_key":26832,"_type":13,"marks":26833,"text":26834},"f164282f4fd4",[],". “These were something important — something to be taken seriously” he had said. But what were they? I never found out here. I had to wait until hearing the lectures of György Ligeti (whom I had not yet heard of) the following year in Darmstadt before knowing what this English word in the musical language meant.\n",[],{"_key":26837,"_type":9,"children":26838,"image":4,"markDefs":26843,"style":18},"e27c13da8e34",[26839],{"_key":26840,"_type":13,"marks":26841,"text":26842},"2471384b34e6",[],"The question of what was to happen after Siena was now looming. One of my major aims was to learn something about that very latest development in New Music: electronic music. Originally I had thought I would like to go to Milan. In 1954 Luciano Berio (and Bruno Maderna) had created Italy’s first studio of electronic music at the RAI Milan headquarters: the Studio di Fonologia Musicale. Here he was able to experiment with the interaction of acoustic instruments and electronically produced sounds. But just before I arrived in Europe Berio had migrated to the USA. There was however another possibility in Florence. Pietro Grossi who had also worked with Berio in Milan had established a Studio di Fonologia Musicale in Florence in 1963, which gave technical support to his courses at the Florence Conservatory (1965–73). I decided this would be a good alternative.\n",[],{"_key":26845,"_type":9,"children":26846,"image":4,"markDefs":26851,"style":18},"4d321e3d5589",[26847],{"_key":26848,"_type":13,"marks":26849,"text":26850},"717f191a73d3",[],"I finished my piece and wrote a fair copy on the parchment-like, transparent paper which the school had asked for, especially so that they could make good copies. But when I saw these copies I was quite shocked:\n",[],{"_key":26853,"_type":500,"caption":26854,"image":26855,"markDefs":4},"2ba6522b8e6a","Page 1 of “Two Movements for Four Instruments” — one sees the Webern influence!",{"caption":4,"id":26856,"meta":26857,"parentID":4,"parentType":3456,"url":26861},"7b3cd73d7332858e5c6f7cafacca7acbb60d0611",{"_type":506,"aspectRatio":26858,"height":26859,"width":26860},0.7306098283007697,1689,1234,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F7b3cd73d7332858e5c6f7cafacca7acbb60d0611-1234x1689.jpg",{"_key":26863,"_type":9,"children":26864,"image":4,"markDefs":26868,"style":18},"324c26c8fea0",[26865],{"_key":26866,"_type":13,"marks":26867,"text":25},"5ea00ca0fe46",[],[],{"_key":26870,"_type":9,"children":26871,"image":4,"markDefs":26876,"style":634},"769dcf0753a1",[26872],{"_key":26873,"_type":13,"marks":26874,"text":26875},"7eee9cfab590",[],"25. 8. 66 Please dear Brigitte help me. Look at these good notes I’ve written. Can you copy them with your machine? Can you copy them clearly? I’ve just paid 1500 lire for three copies none of which is really good. Just one good copy would be good. If your machine doesn’t deal with this sort of funny paper — non importa. Just send it back to me as it is. Now I must start to make these bad copies clear for use in the mean time…\n",[],{"_key":26878,"_type":9,"children":26879,"image":4,"markDefs":26884,"style":634},"903f54c419ff",[26880],{"_key":26881,"_type":13,"marks":26882,"text":26883},"4ab6bf1cc746",[],"26. 8. 66 … You see I felt a bit lost this morning. I’ve handed my music in (bad as the printing is — but if your machine is better I’ll swap them when your copy arrives — DON’T WORRY if you haven’t been able to manage a better copy) … anyway after all the intensive work on those few pages over the last few weeks, to be left with nothing is a bit ground-cutting-from-under-the-feet — you see.\n",[],{"_key":26886,"_type":9,"children":26887,"image":4,"markDefs":26895,"style":634},"8c46d0e3b808",[26888,26892],{"_key":26889,"_type":13,"marks":26890,"text":26891},"14191afacddd",[73],"29. 8. 66 Here you are, dear Kit! Hope you can use it?! Sorry about p.5 and 13 — didn’t come out too well! I’d like to listen to that music, I’d really love to! Praps one day … ? Do you think … ? Aren’t you very clever to be able to write all these good things? Congratulations! Looking at the manuscript I get very very very very impressed indeed — and very proud to know its author!",{"_key":26893,"_type":13,"marks":26894,"text":4878},"3e7b128b318c",[],[],{"_key":26897,"_type":9,"children":26898,"image":4,"markDefs":26903,"style":18},"00afc79bbe2a",[26899],{"_key":26900,"_type":13,"marks":26901,"text":26902},"5ed8fd914157",[],"Just before the end of the month there was a crisis. The deadline for handing in my piece had been met (although the copies were so bad), and suddenly there was nothing: no classes, no pressure to finish anything and worse still, no mail from Zurich:\n",[],{"_key":26905,"_type":9,"children":26906,"image":4,"markDefs":26911,"style":634},"e6e1ff210338",[26907],{"_key":26908,"_type":13,"marks":26909,"text":26910},"df9631ba9d9d",[],"25. 8. 66 Ma mia cara Brigitte, che cosa à successo? È già quattro anni da non ti ho sentito niente! Stai ammalata? Non ci spero. Forse una lettera è stata persa — sarebbe meglio che tu fossi ammalata …\n(But my dear Brigitte, what’s happened? It’s already four years since I’ve heard anything from you! Are you sick? I hope not. Perhaps a letter has got lost — that would be better than your being sick …)\n",[],{"_key":26913,"_type":9,"children":26914,"image":4,"markDefs":26919,"style":634},"5afb812bd42b",[26915],{"_key":26916,"_type":13,"marks":26917,"text":26918},"ca006589a6d1",[],"27. 8. 66 (?) I look at your photo and that makes it worse. What it would mean now to see even one word in your writing — one word that I knew you’d just written. There are lots of words in this room that you’ve written, beautiful words, words I treasure, but I need to know that you can still write words. Just one would be enough. ",[],{"_key":26921,"_type":9,"children":26922,"image":4,"markDefs":26927,"style":634},"90f874b88fc5",[26923],{"_key":26924,"_type":13,"marks":26925,"text":26926},"e70974c7b7cc",[],"If this is some horrible test that I need you — but I know you wouldn’t want to test me — not like that. It’s just that I don’t know what to think. Sometimes I can think so clearly. But all clear thoughts don’t help now. They tell me you’re very ill or dead — that last word is so hard to even think let alone write but I can’t help it, every day I see: “6 morti, incidenti stradali” — and I think of you and wee Pü jumping out of the way of hedgehogs … And then the doorbell rings and I think you haven’t written because you’re coming — a surprise, a secret, and now you’re here, at the house, at the Accademia — but no! I don’t know where you are or how you are. I just walk and walk and think and try not to think.\n",[],{"_key":26929,"_type":9,"children":26930,"image":4,"markDefs":26935,"style":634},"32afd57fa12f",[26931],{"_key":26932,"_type":13,"marks":26933,"text":26934},"7d750ffdb6c3",[],"Sometimes I wonder if I should go to Zurich and see how you are. Or that I should ring up. If I don’t hear tomorrow, or the next day, if I don’t see a word, I’ll ring the hospital. But I don’t even know where you live in Zurich or in Bülach. But it’s hard to not-think. Even in my book on Signorelli I see so many things that take me back to us with Scarpellini, to us with Pü at Orvieto. And I look out my window and a pipistrella, a Fledermaus flutters by and there we are in Sorrento again …\nLater: I seem more optimistic: don’t know why. I’ve been out walking — meeting friends. Now I think that perhaps a letter has gone missing and tomorrow will come another. However, if it doesn’t, I’ll ring up because it seems quite easy and I even have your number here on an old letter. A domani.\n",[],{"_key":26937,"_type":9,"children":26938,"image":4,"markDefs":26943,"style":18},"efade04f437f",[26939],{"_key":26940,"_type":13,"marks":26941,"text":26942},"fe0a5eeea651",[],"The following day there was finally a letter from Zurich, a huge letter, also containing the copies of my score:\n",[],{"_key":26945,"_type":9,"children":26946,"image":4,"markDefs":26951,"style":634},"860284a91050",[26947],{"_key":26948,"_type":13,"marks":26949,"text":26950},"3315345e703d",[],"31. 8. 66 Oh I cried a bit — just to see those words written by Brigitte, dear Brigitte. But praps I brought this awful silence on myself? By letting you think it was a bother to write to you. I only wanted to tell you that sometimes when the music wasn’t going very well I was much happier writing to you — even when there was such a rush, this rush to get the music finished by last Thursday. I didn’t quite make it and nor did any of the other three, we all handed it in on Friday. That rush made me rather anxious I spose. And then when it was all over, I was free but I didn’t know what to do!! I wrote letters, went on a gita, met new friends — all good but I got no letters, that is, none from you. But I really wonder if you wrote another letter, which I didn’t get? This last is started 26. 8. 66, finished and posted on 28. 8. 66 but didn’t get here until 31. 8. 66 (today). Was there one in between — or did you think you were bothering me too much with your letters? But it doesn’t really matter! What matters is that I now know that you are all right because I really thought you were dead.\n",[],{"_key":26953,"_type":9,"children":26954,"image":4,"markDefs":26959,"style":634},"ffdb7a5ad92d",[26955],{"_key":26956,"_type":13,"marks":26957,"text":26958},"bc86bc86f698",[73],"2. 9. 66 Oh my very dear good Kit — I’m sorry you were so worried about me … I could not help it Kit, I could not write those days — no letter got lost — I just could not. I all of a sudden felt so terribly empty and so terribly lonely — and a great black fear came over me. I was afraid of you and afraid of me and afraid of everything …… Afraid of no love and afraid of love — I was not sure about your feelings — I was not sure of my feelings. Praps he just writes to you and he writes to so many others? Praps he just enjoys having for a wee while a dreaming Swiss friend still believing in love? Praps he’ll very soon stop writing cos there are so many other things to do? Praps he does not like me at all? Praps he is married? Praps somebody is waiting for him in far away New Zealand? Praps? Praps? Praps?\n",[],{"_key":26961,"_type":9,"children":26962,"image":4,"markDefs":26967,"style":634},"5b7898ba9e21",[26963],{"_key":26964,"_type":13,"marks":26965,"text":26966},"2da37d2078c2",[73],"You see, my dear good Kit, there were so many “praps”! Praps you shake your head? Praps you smile? Praps you say what a funny stupid girl, can’t she feel anything? Praps …… ?\n",[],{"_key":26969,"_type":9,"children":26970,"image":4,"markDefs":26975,"style":634},"e4a9f91f24aa",[26971],{"_key":26972,"_type":13,"marks":26973,"text":26974},"b53e97aa271e",[73],"It was me now who almost cried when I got that good letter yesterday, when I got that postcard and when I got that letter today. Oh dear good Kit. There was a whole wonderful world in those words — a world that means so very much to me! I’m holding it very tight now, that world of words so as not to lose it again — I’m holding it and feel very happy and very sad at once.\n",[],{"_key":26977,"_type":9,"children":26978,"image":4,"markDefs":26983,"style":634},"99f81a6945b9",[26979],{"_key":26980,"_type":13,"marks":26981,"text":26982},"e4915243e14e",[73],"I very often feel like taking little Pü and flying over to you, very quickly — just to say hello — just to see you for one minute, for one hour, for one day …… just to see your eyes, your face, your hands …… just to know that you are still there, that you really exist. And who knows what might happen one day?\n",[],{"_key":26985,"_type":9,"children":26986,"image":4,"markDefs":26994,"style":634},"1191b62a60c4",[26987,26991],{"_key":26988,"_type":13,"marks":26989,"text":26990},"91864208cef9",[73],"My very dear good Kit, good night again — I’ll tell you many things tomorrow and the next day, but today, I just send you all my love! Brigitte",{"_key":26992,"_type":13,"marks":26993,"text":4878},"e9a4646cb301",[],[],{"_key":26996,"_type":9,"children":26997,"image":4,"markDefs":27002,"style":634},"c5205a70709c",[26998],{"_key":26999,"_type":13,"marks":27000,"text":27001},"a5c1221375b7",[],"6. 9. 66 My Dear Brigitte, Now it is I who feels both happy and sad. Please trust me when I am vague and absent minded because these are my defects. I always believed that you loved me — that’s why I thought something serious must have happened to you.\n",[],{"_key":27004,"_type":9,"children":27005,"image":4,"markDefs":27010,"style":634},"84db35be7e46",[27006],{"_key":27007,"_type":13,"marks":27008,"text":27009},"c8222a6486c3",[],"But there are always many “praps” when you have known a person for just 3 or 4 months. I think it must take years to know all the little details of someone. And yet I’m not sure, I think you really do know me pretty well — especially now after these two black weeks. And I too know myself much better. I’ve always been a bit suspicious (cautious would be a better word) of my own feelings. You see, I’ve had many girlfriends which were as you described: just someone whose company I’ve enjoyed briefly (and vice versa) — even many whose friendship I still value although it has shifted to a different plane — the plane of a good friend. But you will know by now that your plane is very different. And this is where another of my defects creeps in: I don’t know how to tell you directly, that special position that you occupy in my mind, in my life. I’ve always been wary of the traditional language that accompanies affirmations of love but I haven’t been able to invent a replacement for it. I just want it to be clear to you from the way I share my thoughts with you and the frequency with which you receive these thoughts and of course the terrible state you can put me in by not writing to me, that I do need you very much.\n",[],{"_key":27012,"_type":9,"children":27013,"image":4,"markDefs":27034,"style":634},"5421e8da0b0a",[27014,27018,27022,27026,27030],{"_key":27015,"_type":13,"marks":27016,"text":27017},"2a35db08f29a",[],"When we went away together I thought I would fall in love with you and all would be wonderful. ",{"_key":27019,"_type":13,"marks":27020,"text":27021},"08a93624a7e5",[24029],"Fortunately",{"_key":27023,"_type":13,"marks":27024,"text":27025},"17ecd5c6a84c",[]," that did ",{"_key":27027,"_type":13,"marks":27028,"text":27029},"0bef6a520991",[24029],"not",{"_key":27031,"_type":13,"marks":27032,"text":27033},"6e5371955a33",[]," happen. True, it was wonderful — very wonderful. But when I think of the two or three times I’ve been “in love” I realise how dangerous and blind such a state is. So now I’m content to wait for that much more real state of love and understanding and sharing to build up — which it is quite rapidly and wonderfully — don’t you think?\n",[],{"_key":27036,"_type":9,"children":27037,"image":4,"markDefs":27042,"style":634},"17b6f515033e",[27038],{"_key":27039,"_type":13,"marks":27040,"text":27041},"317db571aca8",[],"Now I’ll stop and post this and look forward to the many good words you are sending me, writing me. Love from Kit",[],{"_key":27044,"_type":9,"children":27045,"image":4,"markDefs":27049,"style":634},"193fecb51b7d",[27046],{"_key":27047,"_type":13,"marks":27048,"text":25},"01e268419344",[],[],{"_key":22444,"_type":9,"children":27051,"image":4,"markDefs":27055,"style":6894},[27052],{"_key":27053,"_type":13,"marks":27054,"text":22445},"d390442c0ea20",[15],[],{"_key":27057,"_type":9,"children":27058,"image":4,"markDefs":27066,"style":634},"74f2a8205218",[27059,27062],{"_key":27060,"_type":13,"marks":27061,"text":4878},"28235abec9ef",[],{"_key":27063,"_type":13,"marks":27064,"text":27065},"99ba29ced3c9",[73],"My dear Kit, This letter today was the best letter I ever had — all the world is smiling. Yes it’s so silly, why are you there? I do miss you so terribly. But it is good to know you are on that Italian planet …… and when I look at the sky at night, I can find you among all those stars. Oh dear Kit, I feel like embracing the whole world now (but I’d better wait for you, don’t you think?) …… and sing in the meantime that part of Beethoven’s 9th you know: „Seid umschlungen, Millionen, diesen Kuss der ganzen Welt …“ ",[],{"_key":27068,"_type":9,"children":27069,"image":4,"markDefs":27077,"style":634},"28f73f3824ec",[27070,27074],{"_key":27071,"_type":13,"marks":27072,"text":27073},"27b0084bba39",[73],"Lots and lots and lots of love, B",{"_key":27075,"_type":13,"marks":27076,"text":4878},"f41a81639e13",[],[],{"_key":27079,"_type":9,"children":27080,"image":4,"markDefs":27085,"style":18},"b584fccd8774",[27081],{"_key":27082,"_type":13,"marks":27083,"text":27084},"8307f9b6cc03",[],"With a similarly euphoric feeling I entered the new month. The Short family invited me to midday dinner and Michael and I spent most of the afternoon talking. I learnt interesting things about the American poets: Ezra Pound and e e cummings and then in the evening we attended the first rehearsal of our pieces.",[],{"_key":27087,"_type":9,"children":27088,"image":4,"markDefs":27093,"style":634},"4a93e4984b71",[27089],{"_key":27090,"_type":13,"marks":27091,"text":27092},"8c60de9aa131",[],"\nIt was so wonderful just to hear the players tuning up. I’ve been away from this sound for so long!! My second movement came off much better than the first (the pianist is very good). By the second movement I was writing what I wanted to write but I don’t regret the first because you have to try new things. And the players are very enthusiastic for all four of our pieces. Michael’s is very good indeed. He has set some Italian verses for soprano, flute, harp, violin and cello, and the Japanese soprano who is learning these difficult songs is really very good. Later: I still haven’t bought that coat, I bought a record instead! That’s not really as naughty as it sounds because, did I tell you? we each get 25’000 lire if our pieces are played here!!\n",[],{"_key":27095,"_type":9,"children":27096,"image":4,"markDefs":27101,"style":18},"3f5135fbf8fb",[27097],{"_key":27098,"_type":13,"marks":27099,"text":27100},"9ea6b830c0b9",[],"In one day most of my disgruntlement with the course vanished. All the loneliness and feeling of making no progress was suddenly justified. Not only through the success of my own piece, I also learnt so much by listening to and following the works of my colleagues. Michael had, for example, written melodic lines for the soloist, which up till now I would have thought were impossible to sing accurately without direct support from the accompanying instruments. But this soprano could sing them perfectly and because her part was not doubled by an instrument her voice appeared much clearer and the instruments were freer and really independent. That I had needed to learn such an obvious lesson may now seem curious but it shows how inexperienced (and anxious to improve) I was at this time.\n",[],{"_key":27103,"_type":9,"children":27104,"image":4,"markDefs":27109,"style":18},"626b75759770",[27105],{"_key":27106,"_type":13,"marks":27107,"text":27108},"f6c0119149eb",[],"In the next days I was often a guest at the Shorts: Michael, Elaine and their two young boys. I bought a protractor and a pair of compasses to be able to show the boys how to make mathematical models out of paper, the so-called Platonic solids: tetrahedron, cube, octahedron, dodecahedron and icosahedron. This activity turned out to be much too difficult for the boys but Michael and I enjoyed it enormously, not least because we saw in it a wonderful opportunity to write “chance music”.\n",[],{"_key":27111,"_type":9,"children":27112,"image":4,"markDefs":27125,"style":18},"980af0042457",[27113,27117,27121],{"_key":27114,"_type":13,"marks":27115,"text":27116},"125b3e82d7bf",[],"We wrote the names of the 12 semitones on the faces of the dodecahedron and used it as a die. Rhythms were made with the tetrahedron: two faces with a quaver and one each with a crotchet and a minim. Dynamics were found rolling the octahedron: ",{"_key":27118,"_type":13,"marks":27119,"text":27120},"1189f871008a",[15,73],"ppp pp p mp mf f ff and fff.",{"_key":27122,"_type":13,"marks":27123,"text":27124},"19e5179c6459",[]," Michael wrote down the “piece” and I did the throwing. It was for Flauto contrabasso in E double sharp!\n",[],{"_key":27127,"_type":9,"children":27128,"image":4,"markDefs":27133,"style":18},"88d3b5b69bc2",[27129],{"_key":27130,"_type":13,"marks":27131,"text":27132},"e6b0e58df277",[],"The Shorts were already busy packing to leave Siena. They offered me some books which they couldn’t fit into their luggage. I accepted them gladly without stopping to think if they would fit into mine: one on Siena with beautiful photographs and one on twentieth century composition. Both had been library books and so were not really theirs to give. Both Michael and Elaine were librarians and didn’t seem to be at all averse to appropriating books from their employers.\n",[],{"_key":27135,"_type":9,"children":27136,"image":4,"markDefs":27141,"style":18},"8f451d86ad65",[27137],{"_key":27138,"_type":13,"marks":27139,"text":27140},"b93f6439655b",[],"The concert was on Sunday evening 4th September. Everything went well but without the excitement I had experienced at the first rehearsal. The audience was very generous with its applause, the newspaper critic less so. For my piece:",[],{"_key":27143,"_type":9,"children":27144,"image":4,"markDefs":27151,"style":634},"8d41979fe6aa",[27145,27148],{"_key":27146,"_type":13,"marks":27147,"text":4878},"2b1331d80730",[],{"_key":27149,"_type":13,"marks":27150,"text":1722},"24ca7b78e9e4",[15],[],{"_key":27153,"_type":9,"children":27154,"image":4,"markDefs":27159,"style":634},"5a59a176d157",[27155],{"_key":27156,"_type":13,"marks":27157,"text":27158},"52e4e6f1f292",[],"\nWe perceived a lucid and rarefied atmosphere, sometimes indecisive and banal. A personality more ingenuous than genial, nevertheless capable of a pleasant organisation of the sound material. (How the critic was aware of my “personality” remains a mystery!)",[],{"_key":27161,"_type":500,"caption":27162,"image":27163,"markDefs":4},"f59592ba67be","Programma Chigiana, 4. 9. 66",{"caption":4,"id":27164,"meta":27165,"parentID":4,"parentType":3456,"url":27169},"0957b4f022b0470d11476be3927a73da4f9c3ad7",{"_type":506,"aspectRatio":27166,"height":27167,"width":27168},1.471698113207547,1590,2340,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F0957b4f022b0470d11476be3927a73da4f9c3ad7-2340x1590.jpg",{"_key":27171,"_type":500,"caption":27172,"image":27173,"markDefs":4},"7501837e4d17","Pianist, cellist, clarinettist, piccolo player and self (in suit and beard) bowing after the performance.",{"caption":4,"id":27174,"meta":27175,"parentID":4,"parentType":3456,"url":27176},"73854fc06f93547a01cc1f59cb06dd08a7284748",{"_type":506,"aspectRatio":1704,"height":1705,"width":1706},"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F73854fc06f93547a01cc1f59cb06dd08a7284748-1346x870.jpg",{"_key":27178,"_type":9,"children":27179,"image":4,"markDefs":27184,"style":18},"f0cb3d12a602",[27180],{"_key":27181,"_type":13,"marks":27182,"text":27183},"ac393872033c",[],"After the concert I remained in Siena a week longer. I made some tiny corrections to the score before giving copies to the Accademia, to the conductor and also to two of the players who asked for copies. I also wrote to the Signorina Monti in Florence asking if I could spend a few nights at her apartment until I had cleared up whether I could do a course in electronic music at the Cherubini Conservatory.\n",[],{"_key":27186,"_type":9,"children":27187,"image":4,"markDefs":27192,"style":18},"53a053802ba7",[27188],{"_key":27189,"_type":13,"marks":27190,"text":27191},"8b1474b6cbb3",[],"From Brigitte came more letters: I had always put too little postage (55 instead of 90 lire) on my letters to her. This was due to false information I had had from the Italian post and to the extreme precision of the Swiss post who had always demanded a surcharge which in turn had delayed my letters and so made an important contribution to our crisis of last month.\n",[],{"_key":27194,"_type":9,"children":27195,"image":4,"markDefs":27200,"style":18},"d97e707583c9",[27196],{"_key":27197,"_type":13,"marks":27198,"text":27199},"6207a03069e3",[],"She also talked of her reading. She had bought a copy of Steinbeck’s “Cannery Row” (which I had raved about during our time in the cave):\n",[],{"_key":27202,"_type":9,"children":27203,"image":4,"markDefs":27211,"style":634},"194a2622b81c",[27204,27208],{"_key":27205,"_type":13,"marks":27206,"text":27207},"1ef3c3b726be",[73],"… Steinbeck has already taken me fully into his very deep and very true and very good and very sad human world: that wonderful street described as “a poem, a stink and a grating noise.”",{"_key":27209,"_type":13,"marks":27210,"text":4878},"46639e7a0bee",[],[],{"_key":27213,"_type":9,"children":27214,"image":4,"markDefs":27219,"style":18},"4bcd3d65ec96",[27215],{"_key":27216,"_type":13,"marks":27217,"text":27218},"5778e23d112b",[],"It was also the time of her parents’ birthdays — I sent some “panforte” that speciality of Siena, (made of flour, fruit and honey) — and just before his birthday, her father, the poet Konrad Bänninger, had had an article published in the newspaper:\n",[],{"_key":27221,"_type":9,"children":27222,"image":4,"markDefs":27227,"style":634},"b9eb1355799e",[27223],{"_key":27224,"_type":13,"marks":27225,"text":27226},"66e4b3bc9573",[],"… it was called “look in the garden”. I especially like the beginning of it, where he speaks of those very special moments (I’m sure you know those moments!), when you suddenly are aware of something, moved by something, struck by something (it’s often a very very short moment, a second, half a second — a glance —) and here it was the wind in the branches of a beautiful tree, with leaves all trembling, all dancing — it must have been a very beautiful and unique moment — and so it goes on.\n",[],{"_key":27229,"_type":9,"children":27230,"image":4,"markDefs":27235,"style":634},"f5cf9a842d38",[27231],{"_key":27232,"_type":13,"marks":27233,"text":27234},"c97f1da4aa57",[],"Later: ",[],{"_key":27237,"_type":9,"children":27238,"image":4,"markDefs":27243,"style":634},"fd9813839891",[27239],{"_key":27240,"_type":13,"marks":27241,"text":27242},"dc8657c6258d",[],"You are leaving? You don’t know where? Why don’t you just jump over here? Why not? So I think I’ll have to stop writing letters to the CHIGIANA — and that is sad! Thank you for that good Turner postcard. Of course I saw lots of Turners in London, but at that time I was much more taken by the modern art. When I saw them for the first time, I went with a very good aunt (German sister of my mother’s mother, wife of a professor of arts) and I well remember her pronouncing Turner’s name in that very respectful manner and with great admiration in her voice that you owe to a great artist …… but all the same, his paintings did not really impress me. But now, looking at your postcard, listening to your Debussy “tales”, I’d love to go there very quickly again!\n",[],{"_key":27245,"_type":9,"children":27246,"image":4,"markDefs":27251,"style":634},"42db37783a0a",[27247],{"_key":27248,"_type":13,"marks":27249,"text":27250},"bd97beb4ac62",[],"And in case you suddenly feel like coming here: ",[],{"_key":27253,"_type":9,"children":27254,"image":4,"markDefs":27259,"style":634},"e8f983e79140",[27255],{"_key":27256,"_type":13,"marks":27257,"text":27258},"f110119fe19a",[],"My address in Zürich (flat): ",[],{"_key":27261,"_type":9,"children":27262,"image":4,"markDefs":27267,"style":634},"a9b46809ee22",[27263],{"_key":27264,"_type":13,"marks":27265,"text":27266},"1c296b0c5a86",[],"Wehntalerstrasse 30, 8057 Zürich, Tel. 051. 28. 60. 41\n",[],{"_key":27269,"_type":9,"children":27270,"image":4,"markDefs":27275,"style":634},"f3ec23533be0",[27271],{"_key":27272,"_type":13,"marks":27273,"text":27274},"0a543c0386b2",[],"My parents’ home: ",[],{"_key":27277,"_type":9,"children":27278,"image":4,"markDefs":27283,"style":634},"d2ae6f345234",[27279],{"_key":27280,"_type":13,"marks":27281,"text":27282},"f26d345eecfb",[],"Vögeliacher 5, 8180 Bülach, Tel. 051. 96. 12. 30\n",[],{"_key":27285,"_type":9,"children":27286,"image":4,"markDefs":27291,"style":634},"664064c11b51",[27287],{"_key":27288,"_type":13,"marks":27289,"text":27290},"43d46c203b1f",[],"Tel. of the Kispi: 051. 32. 71. 10\n",[],{"_key":27293,"_type":9,"children":27294,"image":4,"markDefs":27299,"style":18},"7fa9214844bc",[27295],{"_key":27296,"_type":13,"marks":27297,"text":27298},"68b25bdb206c",[],"This was hard to resist. Did I really want to go to Florence? Was the study of Electronic Music really so important to me? I started making new plans. I would soon have to find a job, and with Brigitte’s help I could perhaps find some work in Zurich which would allow me to study further. Work was something important but, of course, it wasn’t the main reason I wanted to go to Zurich!\n",[],{"_key":27301,"_type":9,"children":27302,"image":4,"markDefs":27307,"style":18},"57d7db4bbb1e",[27303],{"_key":27304,"_type":13,"marks":27305,"text":27306},"74128324f725",[],"On the Sunday before I left Siena I decided to climb the huge tower of the Palazzo Pubblico.\n",[],{"_key":27309,"_type":500,"image":27310,"markDefs":4},"f6a6a273f7f8",{"caption":4,"id":27311,"meta":27312,"parentID":4,"parentType":3456,"url":27315},"fc74bcae989ecdcdc183be5b98e01a73283304fa",{"_type":506,"aspectRatio":27313,"height":6681,"width":27314},0.9932975871313673,741,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Ffc74bcae989ecdcdc183be5b98e01a73283304fa-741x746.jpg",{"_key":27317,"_type":9,"children":27318,"image":4,"markDefs":27323,"style":634},"f49f5308e47b",[27319],{"_key":27320,"_type":13,"marks":27321,"text":27322},"d41534325c75",[],"When I got down again, I remembered that I hadn’t paid for my meal at the restaurant but I was too tired to walk all the way back again and too mean too, because the food wasn’t very good today. This wasn’t the mensa. It was a cheap place at the back of the cathedral. It’s the second time I’ve done that — walked out without paying. The other time I went back again through all the rain and they hadn’t even noticed that I hadn’t paid. The trouble is, I get talking to the people (it’s a very studenty place frequented by people from the university or the Chigiana), and then I just get up, say ciao, and go off in my usual dream.\n",[],{"_key":27325,"_type":9,"children":27326,"image":4,"markDefs":27331,"style":18},"3836c742b66e",[27327],{"_key":27328,"_type":13,"marks":27329,"text":27330},"4785ba72865e",[],"My last impression of Siena was a linguistic one. The Sienese will always tell you that the “purest” Italian is spoken there. Why this purity should be in Siena and not in Florence where Dante grew up and wrote in his dialect so brilliantly that it became the written language of all Italy is a mystery to me. Nevertheless the Sienese are quite sure that their Italian is better than that of the Florentines, in spite of a very obvious “impurity”: the sound [k] is usually pronounced as a [h] in the italiana senese. On my very last day I said goodbye to the signora and her family and set out, lugging all my belongings towards the railway station. I had not gone far when I heard the sound of running coming up behind me. It was one of the signora’s little boys who said to me in his “purest” Sienese Italian: Dov’è la hiave della hasa? He had to repeat the sentence several times until I realised that I had walked off with the house key in my pocket: Dov’è la chiave della casa? (where is the key of the house)\n",[],{"_key":27333,"_type":9,"children":27334,"image":4,"markDefs":27339,"style":18},"2ff65d35c6b4",[27335],{"_key":27336,"_type":13,"marks":27337,"text":27338},"80f3a135b4ac",[],"At the railway station  I sent a telegram:",[],{"_key":27341,"_type":500,"image":27342,"markDefs":4},"96b015dd31e1",{"caption":4,"id":27343,"meta":27344,"parentID":4,"parentType":3456,"url":27348},"f90af3040a3eb2f23268983ac11a6a360f2493aa",{"_type":506,"aspectRatio":27345,"height":27346,"width":27347},1.427662037037037,1728,2467,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Ff90af3040a3eb2f23268983ac11a6a360f2493aa-2467x1728.jpg",{"_key":27350,"_type":9,"children":27351,"image":4,"markDefs":27356,"style":18},"44e8bc126128",[27352],{"_key":27353,"_type":13,"marks":27354,"text":27355},"f8890e175f03",[],"Travelling by train in Italy is always an adventure. Unlike the Swiss who look for a seat where they can be alone, the Italians want to talk and it’s not important to whom or how well you can speak their language. They’re interested in everything you can tell them and if you don’t want to tell them anything, then they’ll go and talk to the neighbour. By this time I was quite ready to talk. I could talk about my fidanzata (any girlfriend is a fidanzata — fiancée!). In my carriage there was, among many other talkative Italians, a strange looking priest who moved from group to group making curious comments. The young man sitting opposite me was, for an Italian, very reticent, and observed the behaviour of the priest with some suspicion: È quasi un finocchio (he’s almost a fennel = he seems to be gay), he said. He started speaking to me, perhaps so that he would be less likely to be disturbed by the gay priest. He was returning (like thousands of other Italians) to his work place in Switzerland. He would be away from his young wife until the end of the year, when he would be able to go home again for Christmas. He had with him a few belongings in a small case (much smaller than mine) and a paper bag with supplies for the next few days: before leaving, his mother-in-law had given him two cooked chickens. But even as he told me this he was overcome by hunger, took one animal out of his bag and tore it apart, offering me half of it. And before we reached Zurich we had eaten the second one too! When I think of this young man and of countless other Italians, I am so moved by their great generosity, especially the poorer people who are so ready to share the little that they have, even with perfect strangers. The last I saw of him, he was helping me carry my heavy luggage along the platform in Zurich but as soon as we noticed a happy smiling Brigitte standing there to meet me, he vanished for ever.",[],{"_key":27358,"_type":9,"children":27359,"image":4,"markDefs":27364,"style":18},"d924451187a2",[27360],{"_key":27361,"_type":13,"marks":27362,"text":27363},"259529de2849",[],"\n          *     *     *     *     *     *     *     *     *     *     *     *     *     *     *\n",[],{"_key":27366,"_type":9,"children":27367,"image":4,"markDefs":27372,"style":18},"add7ecd658f1",[27368],{"_key":27369,"_type":13,"marks":27370,"text":27371},"b7ffeb5f6fdf",[],"It was like coming home. Everything was new and yet familiar. Although I was a foreigner in this foreign country, the months of contact with Brigitte had given me the feeling of belonging. Pü took us to her flat at the Wehntalerstrasse, which was to be my home for the next six weeks. She made it clear, however, that the neighbours (her flat was one of about six in the house) would definitely not approve of our living together here. Therefore she would leave me here each evening and go with Pü to Bülach where she could sleep at her parents’ place. I was in a sort of trance and accepted all this gladly — anything that would allow us to be more or less together. So I slept alone in her bed. As soon as she arrived in the morning at the Kinderspital I heard from her by telephone, at lunchtime I took a tram to meet her there, whistling outside her window the opening bars of Beethoven’s 8th symphony which she would answer, much to the delight of Dr Andres Giedion, who recognised the theme:",[],{"_key":27374,"_type":500,"caption":27375,"image":27376,"markDefs":4},"9a2798c232eb","Opening of Beethoven's 8th Symphony",{"caption":4,"id":27377,"meta":27378,"parentID":4,"parentType":3456,"url":27380},"973114e1ba3297596e5ec1dc48aa9743fec34654",{"_type":506,"aspectRatio":27379,"height":26381,"width":21821},4.723529411764706,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F973114e1ba3297596e5ec1dc48aa9743fec34654-803x170.jpg",{"_key":27382,"_type":9,"children":27383,"image":4,"markDefs":27388,"style":18},"353c16796992",[27384],{"_key":27385,"_type":13,"marks":27386,"text":27387},"1013311dc86d",[],"Then we ate Wähe (Swiss open fruit pie) together and in the evening after work, either I met her again in the city or she and Pü arrived again at the Wehntalerstrasse and we could spend the evening together. Of the neighbours in the flats around hers I hardly ever saw anybody, but Brigitte assured me that they would be observing us through the “spy-holes” in their doors. I did, however, see the caretaker occasionally and I had learned to greet him enthusiastically as one should: “Grüetzi Herr Ledergerber”. His reply was less enthusiastic!\n",[],{"_key":27390,"_type":9,"children":27391,"image":4,"markDefs":27396,"style":18},"b36340431537",[27392],{"_key":27393,"_type":13,"marks":27394,"text":27395},"720ca3158078",[],"It was now quite clear to me, a life without Brigitte was out of the question. But at the same time it was equally clear that I wanted to return to New Zealand at the end of the following year. Could I really expect her to give up her life in Switzerland where all her family (mother, father, brother and three sisters) lived, to follow me round the world to the antipodes? I turned this problem over in my mind for several days, and then finally asked her to marry me. There was no hesitation: Yes, yes of course, she would follow me wherever I wanted to go!\n",[],{"_key":27398,"_type":9,"children":27399,"image":4,"markDefs":27404,"style":18},"81f2e223dac5",[27400],{"_key":27401,"_type":13,"marks":27402,"text":27403},"00d316e49b0f",[],"My dazed state increased from trance to a floating dream. In the evening as we sat on the banks of the river Limmat looking at the Fraumünster, Grossmünster, Peter’s Church and all the lights of the business houses reflected in the water tears rolled down my cheeks. This was finally that state togetherness that I had hoped for, even although it was a totally new feeling.\n",[],{"_key":27406,"_type":9,"children":27407,"image":4,"markDefs":27412,"style":634},"2700595ad3ae",[27408],{"_key":27409,"_type":13,"marks":27410,"text":27411},"63a8d14c1715",[],"Letter to Betty and Hu, 28(?) Sept. ",[],{"_key":27414,"_type":9,"children":27415,"image":4,"markDefs":27420,"style":634},"c80ca85d90aa",[27416],{"_key":27417,"_type":13,"marks":27418,"text":27419},"40cae5b75be1",[],"How would you like a specially good daughter? That’s what I’ve found you, you see. I’m sorry you have never seen her, but I know you will both love her and you will be able to see her in 18 months.\n",[],{"_key":27422,"_type":9,"children":27423,"image":4,"markDefs":27428,"style":634},"1edc207358af",[27424],{"_key":27425,"_type":13,"marks":27426,"text":27427},"f70490283fdc",[],"Sometimes I feel a bit like a thief because she is part of a very happy and close family — but she wants to come to New Zealand. And these days mails are quick and so it’s not so bad…\n",[],{"_key":27430,"_type":9,"children":27431,"image":4,"markDefs":27436,"style":634},"a08a160c1048",[27432],{"_key":27433,"_type":13,"marks":27434,"text":27435},"768687ec7b41",[],"… I wonder if all this seems sudden to you? I think you may have read odd things between the lines of my last letter. To me, I seem to have been very slow. I nearly proposed to her months ago when we first arrived in Siena but wasn’t sure enough. But now I’m very sure and very happy.\n",[],{"_key":27438,"_type":9,"children":27439,"image":4,"markDefs":27444,"style":634},"1b1918098c32",[27440],{"_key":27441,"_type":13,"marks":27442,"text":27443},"bebde360dee9",[],"I don’t know when we’ll marry — the sooner the quicker. But it’ll take three or four weeks for the High Commissioner at Geneva to write to Wellington for them to check that I’m not already married and all that impedimenta…\n",[],{"_key":27446,"_type":9,"children":27447,"image":4,"markDefs":27452,"style":634},"38d51f6c3768",[27448],{"_key":27449,"_type":13,"marks":27450,"text":27451},"30ef5379c8cb",[],"… This place is very central so we’ll live here for about a year and we can pop round to bits of Europe every now and then. We went to Germany on Sunday — just an hour’s drive. We saw the Rhine and an enormous waterfall on it. And the following day we (Brigitte’s father and I) walked from Bülach to the Rhine and came back again by train. Lots of love from us both.\n",[],{"_key":27454,"_type":9,"children":27455,"image":4,"markDefs":27460,"style":18},"1cfc56bdda14",[27456],{"_key":27457,"_type":13,"marks":27458,"text":27459},"74b355a8f340",[],"Konrad Bänninger was already 76. He was a poet and had spent much of his adult life (after training as a teacher) as a free-lance writer. Aged 40 he had married and had five children with his 23 year younger German born wife: three daughters before the second world war (Brigitte was the third) and a girl and a boy after the war. To support the family he had returned to teaching (Brigitte had even been in his class for her secondary schooling) and had continued teaching right up to his 70th birthday. Now he was able to devote himself completely to his favourite occupation, reading and writing. As I met him, his day was well ordered: he spent the morning studying ancient Greek and the afternoon with his own writing: poetry or essays — in the warmer months outside on a bench under a huge oak tree. As a teacher he had taught German, French and History but he was also fluent in English (he had spent a year in Scotland as a young man) and he was passionately interested in English literature — at the time he was reading Yeats. Brigitte’s mother was also very good in English. She had learnt it in a grammar school in Wuppertal and although had never had much opportunity to use it, it now came back. All this meant that I was quickly assimilated into the Bänninger family.\n",[],{"_key":27462,"_type":9,"children":27463,"image":4,"markDefs":27468,"style":18},"7d3ea70132de",[27464],{"_key":27465,"_type":13,"marks":27466,"text":27467},"35a765c80085",[],"Now we could make plans for our marriage. I apologised to Brigitte that I didn’t have enough money for an engagement ring — Betty had always worn two rings, an expensive diamond engagement ring and a gold wedding ring. But here the custom was different. We bought a pair of simple white gold rings, one for her and one for me. These were engagement and wedding rings. It felt a bit strange to start with, but it made Brigitte very happy.\n",[],{"_key":27470,"_type":9,"children":27471,"image":4,"markDefs":27476,"style":634},"b06a18316ce4",[27472],{"_key":27473,"_type":13,"marks":27474,"text":27475},"c964256b2ccc",[],"Dear Betty and dear Hu\n",[],{"_key":27478,"_type":9,"children":27479,"image":4,"markDefs":27484,"style":634},"63ff7de88734",[27480],{"_key":27481,"_type":13,"marks":27482,"text":27483},"851f44136298",[],"Kit told me to call you this: and I’m very proud and pleased to do so! It’s so wonderful to have such good new parents on the other side of our world — on two islands which look so tiny on the map, but which are about the size of Italy. I’m looking forward to seeing you there one day!!\n",[],{"_key":27486,"_type":9,"children":27487,"image":4,"markDefs":27492,"style":634},"dda6e725c946",[27488],{"_key":27489,"_type":13,"marks":27490,"text":27491},"3c16e3200436",[],"It’s funny in a sot of a way to write to you, since I have never met you. But I think I know you very well, because Kit has told me lots of good things about you. Do you know that I am the happiest girl in the world for having met that dear Kit? You have a most wonderful son!\n",[],{"_key":27494,"_type":9,"children":27495,"image":4,"markDefs":27500,"style":634},"0e0d460d4a25",[27496],{"_key":27497,"_type":13,"marks":27498,"text":27499},"3313ae85186b",[],"And do you know? Since yesterday, we are wearing a nice little silvery ring on our left hands. Even Kit wears a ring. Here in Switzerland most men wear rings, and so he does, just to please me. I know he does not like it. But he does it cos I like it — and of course, one day in New Zealand, he’ll take it off. I won’t mind then.\n",[],{"_key":27502,"_type":9,"children":27503,"image":4,"markDefs":27508,"style":634},"848b0d5c9e78",[27504],{"_key":27505,"_type":13,"marks":27506,"text":27507},"a2557c6d044d",[],"I’m sorry this letter will be very short (I must go on with my work), but it carries best wishes and love and many thanks for your dear words from your daughter\n",[],{"_key":27510,"_type":9,"children":27511,"image":4,"markDefs":27516,"style":634},"556ea196a2e5",[27512],{"_key":27513,"_type":13,"marks":27514,"text":27515},"03e7de1a1f6f",[],"Brigitte\n",[],{"_key":27518,"_type":9,"children":27519,"image":4,"markDefs":27524,"style":18},"47506f8ab4b8",[27520],{"_key":27521,"_type":13,"marks":27522,"text":27523},"b18928404dbd",[],"I would have to find work here in Switzerland. With the memory of my student jobs on the Wellington waterfront I was quite optimistic: I could do anything, sweep the streets if necessary. Brigitte was less sure. The thousands of Italians now working in Switzerland were already doing these “menial” jobs. She thought I could perhaps teach English and rang up various language schools. I could go for an interview at the Zurich Berlitz School.\n",[],{"_key":27526,"_type":9,"children":27527,"image":4,"markDefs":27532,"style":18},"342bb8dfffcc",[27528],{"_key":27529,"_type":13,"marks":27530,"text":27531},"f616ac53af00",[],"The director of the Berlitz School was an Italian! And since he didn’t speak English and I didn’t speak German the interview was in Italian. First he told me what an excellent school he ran and that this branch of it was famous because James Joyce had taught here in the 1920s. He was pleased that I had already had some teaching experience and also foreign language learning experience, but what pleased him most of all was that I could not speak German. Most of the clientele of the school were German speakers and so my pupils would be forced to learn English to be able to communicate with me. This was the basic philosophy of the Berlitz Schools: native speakers who could not speak the language of the country they were working in — and it functioned — for a short time, until I learnt German!\n",[],{"_key":27534,"_type":9,"children":27535,"image":4,"markDefs":27548,"style":18},"10408b519544",[27536,27540,27544],{"_key":27537,"_type":13,"marks":27538,"text":27539},"730d86f4f459",[],"The only major problem was, and this was a problem for most of their teachers, I would have to have a work permit to teach in Switzerland and the rule was (as in many European countries at the time): one had to apply for a job from ",{"_key":27541,"_type":13,"marks":27542,"text":27543},"caa67de618bf",[15],"outside the country",{"_key":27545,"_type":13,"marks":27546,"text":27547},"ea099c964c88",[],". First, however, I would have to spend a trial period observing and teaching at the school for a couple of weeks and then, if they decided to employ me, I would have to leave the country, apply for the position via the Alien Police who would check my police record and if everything was in order, invite me back into the country.",[],{"_key":27550,"_type":9,"children":27551,"image":4,"markDefs":27555,"style":18},"21302eb248b6",[27552],{"_key":27553,"_type":13,"marks":27554,"text":25},"2b1591fd95ff",[],[],{"_key":22447,"_type":9,"children":27557,"image":4,"markDefs":27561,"style":6894},[27558],{"_key":27559,"_type":13,"marks":27560,"text":22448},"cb14512546e30",[],[],{"_key":27563,"_type":9,"children":27564,"image":4,"markDefs":27569,"style":634},"eb9301aac95b",[27565],{"_key":27566,"_type":13,"marks":27567,"text":27568},"8bc6b81b2a96",[73],"Dear Betty and dear Hu,                                         Kinderspital, 5. 10. 66\nI was so glad and surprised about your good telegram I got yesterday. I almost cried a wee bit when I got it.\n",[],{"_key":27571,"_type":9,"children":27572,"image":4,"markDefs":27577,"style":634},"72546f792c31",[27573],{"_key":27574,"_type":13,"marks":27575,"text":27576},"c452c5f0fa67",[73],"There is a golden sun and a blue sky outside my hospital window: If only I could go right now into that lovely dreamy sunshine ……\n",[],{"_key":27579,"_type":9,"children":27580,"image":4,"markDefs":27588,"style":634},"6412a8618b95",[27581,27585],{"_key":27582,"_type":13,"marks":27583,"text":27584},"0ecc88465479",[73],"15. 30 p.m. Kit stays at the Wehntalerstrasse: Writing letters praps? reading praps? learning German praps? Practising on my flute praps? Who knows? Tomorrow he starts teaching English at the Berlitz School here in Zurich. Aren’t we lucky he got that job so very quickly and very easily? ……",{"_key":27586,"_type":13,"marks":27587,"text":4878},"f323e6001870",[],[],{"_key":27590,"_type":9,"children":27591,"image":4,"markDefs":27596,"style":18},"50918d1a4573",[27592],{"_key":27593,"_type":13,"marks":27594,"text":27595},"973f8a22ff62",[],"At the Berlitz School I was introduced to a young Englishman who took me to his classes, showed me the teaching material and made me aware of typical problems German speakers had with English, especially with the ‘ing’-forms: he drew time diagrams to show the difference between: “I smoke 10 cigarettes a day” but (at the moment) “I am not smoking”. And more complicated the many different past forms: I smoked, I was smoking, I have smoked, I have been smoking, I had smoked, I had been smoking, I used to smoke — all with the appropriate time diagrams. This was a new and interesting challenge for me, which I was ready to take on. And since I was now trying to teach myself German I was fascinated to compare how this language managed (or didn’t manage!) to describe all these fine linguistic details.\n",[],{"_key":27598,"_type":9,"children":27599,"image":4,"markDefs":27604,"style":18},"ae4bc5cae9d2",[27600],{"_key":27601,"_type":13,"marks":27602,"text":27603},"b198416b67b3",[],"The school seemed to be run by the secretaries (I never saw the Italian director again!), two middle aged, multilingual and very fierce ladies, who kept critical eyes on students and teachers alike. If one wanted to succeed here it was clear that one had to keep on side with these ladies. Although I made no special effort to ingratiate myself with this ruling junta, I assume my acceptance came from one or other of these Drachen (dragons!), since I was invited to apply for the position of English teacher at the school — aus dem Ausland (from abroad) of course. I therefore wrote to Nelson in Vienna and asked if I could stay with him for a few weeks.",[],{"_key":27606,"_type":9,"children":27607,"image":4,"markDefs":27612,"style":18},"143ae0c73a76",[27608],{"_key":27609,"_type":13,"marks":27610,"text":27611},"8334e5c5f9210",[],"Brigitte’s bed where I slept was sprung by flexible slats which could also spring out of their slots if too much weight sat on them. We hoped that the noise of her bed springing apart did not disturb her neighbours and made jokes about it:",[],{"_key":27614,"_type":500,"image":27615,"markDefs":4},"f8e32c62c506",{"caption":4,"id":27616,"meta":27617,"parentID":4,"parentType":3456,"url":27621},"1dafe429532c80dc6b1ba33d7d9f04ab12255855",{"_type":506,"aspectRatio":27618,"height":27619,"width":27620},0.7144508670520231,1730,1236,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F1dafe429532c80dc6b1ba33d7d9f04ab12255855-1236x1730.jpg",{"_key":27623,"_type":9,"children":27624,"image":4,"markDefs":27629,"style":18},"a8958573ffad",[27625],{"_key":27626,"_type":13,"marks":27627,"text":27628},"1dc08d65dadf",[],"Just before I left for Vienna, Brigitte got an unfriendly message from the house owner, Mr Müller, saying that he had received complaints about my presence in his house at Wehntalerstrasse 30. She decided to visit him and talk him into letting us stay there until our marriage, or at least until the end of November.\n",[],{"_key":27631,"_type":9,"children":27632,"image":4,"markDefs":27637,"style":18},"33325f22f2ef",[27633],{"_key":27634,"_type":13,"marks":27635,"text":27636},"88304c632c2d",[],"The train for Vienna left early in the morning of the 17th of October:\n",[],{"_key":27639,"_type":9,"children":27640,"image":4,"markDefs":27645,"style":634},"9352fe9439be",[27641],{"_key":27642,"_type":13,"marks":27643,"text":27644},"122e999fd224",[],"Now what happened to me after you saw me pull my head inside the carriage so that the tunnel didn’t knock it off (afterwards I read on the window sill: nicht hinauslehnen!): The train went very slowly around the lake and I had the compartment all to myself. I thought there would have been lots of room for you too cos no one wanted to sit down here. But then we stopped somewhere and hordes of people got on including a kindly lady in a funny hat who kept giving me apples and a pear. We didn’t ever speak except when I said “danke schön” and as I was eating the pear “Es (sie!) ist sehr gut!” She had heard or rather seen that I didn’t make a reservation for dinner and I think she thought I’d starve. I didn’t tell her that I had some apples in my pockets — she was pleased to give me hers, so I had to accept them!\n",[],{"_key":27647,"_type":9,"children":27648,"image":4,"markDefs":27661,"style":634},"f5d661adefc0",[27649,27653,27657],{"_key":27650,"_type":13,"marks":27651,"text":27652},"05ba3fccf194",[],"Do you know, I understood a little bit of German on the train — not the details, just the gist of it and it was very amusing: The lady in the funny hat asked the man opposite her to close the window so that the smoke from the train didn’t come inside. And he explained to her that it was an ",{"_key":27654,"_type":13,"marks":27655,"text":27656},"fd4dcbcba778",[73],"electric",{"_key":27658,"_type":13,"marks":27659,"text":27660},"6d713e1eb5d2",[]," train!\n",[],{"_key":27663,"_type":9,"children":27664,"image":4,"markDefs":27669,"style":634},"ad92515f0ae7",[27665],{"_key":27666,"_type":13,"marks":27667,"text":27668},"236905a44ffc",[],"At Innsbruck a nasty thing happened. A porter brought somebody’s bags into the compartment and put them on the luggage rack and then demanded his tip before letting the person in. He wanted 15 shillings and this English voice said that she didn’t have it, and so he came and took the bags down and away again and continued screaming at this woman that he wanted 15 shillings. I felt very sorry for the woman and would have given him the 15 miserable Austrian shillings if I thought it would have helped, but she kept insisting that he didn’t deserve anything because he’d been so rude. So I did nothing and I don’t know what happened after that.\n",[],{"_key":27671,"_type":9,"children":27672,"image":4,"markDefs":27677,"style":634},"8ba92e32fe44",[27673],{"_key":27674,"_type":13,"marks":27675,"text":27676},"35af5fa28953",[],"After I’d been on the train for 12 hours and was thinking how awful the Trans Siberian Railway must be we suddenly arrived. I got off and looked for Nelson but he wasn’t there. I wasn’t very worried because I didn’t know if he would have got my letter. So I bought a street map of Vienna and was looking for his place on it when he turned up. It was wonderful to see him again, just the same look, the same voice and the same big bass-baritone laugh. The reason he was late was that the day before he had locked his key inside his flat and couldn’t get back in. He’d been ringing a breaking-in firm all day who didn’t arrive until 7.30 pm and I arrived at 8. But all’s well now. We talked for ages and then I slept in the middle of a ‘normous double bed where you should have been too. Then today Nelson took me to the Swiss Consul and afterwards we went to the Kunsthistorisches Museum and saw good things by Breughel and Bosch.\n",[],{"_key":27679,"_type":9,"children":27680,"image":4,"markDefs":27685,"style":634},"76d834ac4bb1",[27681],{"_key":27682,"_type":13,"marks":27683,"text":27684},"bd1de5f490df",[],"Oh and my camera! Dear Brigitte, what an absentminded husband you’ve found! — and he left his pen behind too! I thought, when I pulled my head in before that tunnel nearly knocked it off and when I saw I had no camera with me, that praps it was better to leave it in Pü than in a railway carriage…\n",[],{"_key":27687,"_type":9,"children":27688,"image":4,"markDefs":27701,"style":18},"a2eb3e8e8561",[27689,27693,27697],{"_key":27690,"_type":13,"marks":27691,"text":27692},"ecc64169e774",[],"The exciting thing about being in Vienna was that there were at least two major opera houses and each had ",{"_key":27694,"_type":13,"marks":27695,"text":27696},"4667ed7973a8",[73],"Stehplätze",{"_key":27698,"_type":13,"marks":27699,"text":27700},"e4489edfc11c",[]," (standing places) for people (like me) with very little money. ",[],{"_key":27703,"_type":9,"children":27704,"image":4,"markDefs":27708,"style":18},"e12ddfbbda62",[27705],{"_key":27706,"_type":13,"marks":27707,"text":25},"1d553c3942da",[],[],{"_key":27710,"_type":9,"children":27711,"image":4,"markDefs":27716,"style":634},"46121e50c847",[27712],{"_key":27713,"_type":13,"marks":27714,"text":27715},"52259b99fb95",[],"Cara, cara Brigitte, guess where I am. I’m writing this in the Vienna State Opera House. You could come here too. You could lean on these funny rails, it only costs 9 shillings (about 2 francs) to stand here and do you know what you would see? Tonight: Il Trovatore, on Friday: Fidelio, and later: Die Zauberflöte (“Der Vogelfänger bin ich ja”!) and on the 31st : Falstaff. Do you think, dear Brigitte, you could send me the two scores of “Zauberflöte” and “Falstaff”? Or bring them! Sometimes I think to hell with the money! You can ring up if you suddenly decide to come: 5789084 (seven numbers!). Praps I’ll ring you for a surprise!\n",[],{"_key":27718,"_type":9,"children":27719,"image":4,"markDefs":27723,"style":18},"b6fc517b54cf",[27720],{"_key":27721,"_type":13,"marks":27722,"text":25},"f8a4091c6bb0",[],[],{"_key":27725,"_type":9,"children":27726,"image":4,"markDefs":27731,"style":634},"fe8616dfcb15",[27727],{"_key":27728,"_type":13,"marks":27729,"text":27730},"bb86e665b8dc",[73],"My dear Kit,\n",[],{"_key":27733,"_type":9,"children":27734,"image":4,"markDefs":27739,"style":634},"fbb8753c1d26",[27735],{"_key":27736,"_type":13,"marks":27737,"text":27738},"34aebcddc3d8",[73],"Thanks for the Wiener Staatsoper. I was so pleased to get it this morning and so pleased to know that you are enjoying your Viennese stay!!!! O Kit, I’d love to be there with you, with you and Nelson, who laughs a big bass-baritone laugh. I can hear him just now.\n",[],{"_key":27741,"_type":9,"children":27742,"image":4,"markDefs":27747,"style":634},"0c2fd2a4274d",[27743],{"_key":27744,"_type":13,"marks":27745,"text":27746},"7f1c40c996b5",[73],"But listen to this special story. It starts yesterday, 19th October, about 19.30 Uhr: It rained and rained and rained. Little Pü jumped over wet streets and looked for Mr Müller’s house. Finally we found it together, Mr Müller’s beautiful house with a beautiful view and a beautiful dog and a beautiful black-and-white cat without tail and in his beautiful house was Mr Müller in a beautiful rage……he was very furious when I turned up, you see. He shouted at poor Brigittchen as if she were the most disgusting creature in the world …… there he sat with his round glasses and his round eyes behind them and was furious: He must have heard lots of lies from my lovely old lady- neighbours …… things I didn’t know myself …… lots of silly nonsense. That’s why he was furious. You see, dear Kit, my lovely old girl-neighbours kept calling on him, wrote him letters, and telephoned, complained and did all sorts of silly funny things …… my poor old neighbours. You must think that Swiss people are very odd …… grown-ups are very odd and very boring and very …… the Little Prince would have found the right expression.\n",[],{"_key":27749,"_type":9,"children":27750,"image":4,"markDefs":27755,"style":634},"69891ffee342",[27751],{"_key":27752,"_type":13,"marks":27753,"text":27754},"1e7ac81547b5",[73],"Let’s get back to our story now: Herr Müller could not stop shouting, and so I could not help it and started crying, yes, I started crying there in front of Mr Müller and could not stop …… it rained outside and his nasty words filled the room. Then that suddenly changed: his voice suddenly became softer, and suddenly I was able to speak and he was able to speak (he’s not at all a bad man, a little silly and narrow minded of course), and I was very kind to him behind my tears and my wet face (I had no handkerchief, dear Kit, and I could not ask Herr Müller to lend me one and there was no Kit to give me one), well, there we talked and cried and shouted and sat — finally I went back in the rain, after having admired his beautiful cat and beautiful dog and beautiful house and beautiful view!!! I think he will agree with the end of November! It was good I went there, cos in his imagination I had grown into a witch, a bad bad woman or a super-human awful creature.\n",[],{"_key":27757,"_type":9,"children":27758,"image":4,"markDefs":27763,"style":634},"5972d68ae8b0",[27759],{"_key":27760,"_type":13,"marks":27761,"text":27762},"835616040f44",[73],"And then after that I had to go to the pictures, just somewhere, a hospital girl came with me: It was just the right sort of film, wild western, all in Mexico, all full of shooting, killing, laughing, murdering …… something about dollars, about a girl with long black hair, about revenge, lots of funny big terrifying dark faces …… and there I forgot all about Herr Müller. That was good, you see!\n",[],{"_key":27765,"_type":9,"children":27766,"image":4,"markDefs":27771,"style":634},"be7d33bd76ad",[27767],{"_key":27768,"_type":13,"marks":27769,"text":27770},"607580ce5a16",[73],"And today, I think it was really very funny, all that story. You should have watched us, dear Kit, and you would have laughed and laughed and laughed, praps …… that’s what I’m doing right now.\n",[],{"_key":27773,"_type":9,"children":27774,"image":4,"markDefs":27779,"style":634},"deb40366e924",[27775],{"_key":27776,"_type":13,"marks":27777,"text":27778},"c0d4eb375701",[73],"Sunday, 23rd Oct. “Herein is enshrined the soul of the clarinet”, so said Elgar of the Brahms Clarinet Quintet …… I’m listening to it now, and that very deep autumnal atmosphere takes me out in that sad and joyful life with falling coloured leaves …… I’m looking forward to hearing it this evening at the church in Greifensee, but Kit, dearest Kit, come with me please ……\n",[],{"_key":27781,"_type":9,"children":27782,"image":4,"markDefs":27787,"style":634},"3f072f649837",[27783],{"_key":27784,"_type":13,"marks":27785,"text":27786},"c762647f1d9c",[73],"Later Sunday, (on my father’s typewriter) I just read one of his early poems. I like it. It’s very sad, cos it’s autumn …… but it’s very good. Here it is:",[],{"_key":27789,"_type":754,"author":27790,"image":4,"markDefs":4,"poem":27791,"title":27843},"a7422b53e6ce","Konrad Bänninger",[27792,27800,27808,27819,27827,27835],{"_key":27793,"_type":9,"children":27794,"markDefs":27799,"style":18},"53f493370226",[27795],{"_key":27796,"_type":13,"marks":27797,"text":27798},"777e01c7cc35",[73],"Der Nebel steht in den Bäumen, \nist alles jetzt so still and rein―\n― muss schlafen gehn und träumen, \ndarf nicht mehr singen und mich freun.",[],{"_key":27801,"_type":9,"children":27802,"markDefs":27807,"style":18},"6e66859838d9",[27803],{"_key":27804,"_type":13,"marks":27805,"text":27806},"a43662e56b93",[73],"Der Menschen Füsse gehen \nauf hartem Stein, wer weiss wie weit. \nDer Wind will auch noch wehen \nund singen eine kleine Zeit.",[],{"_key":27809,"_type":9,"children":27810,"markDefs":27818,"style":18},"3e556b61366b",[27811,27815],{"_key":27812,"_type":13,"marks":27813,"text":27814},"f4df01f48136",[73],"Die Menschen und der kühle Wind \nsind all vorbei, ich bin allein―\n― muss schlafen gehn und träumen, \ndarf nicht mehr singen und mich freun.",{"_key":27816,"_type":13,"marks":27817,"text":4878},"c2ac0e3f5b48",[],[],{"_key":27820,"_type":9,"children":27821,"markDefs":27826,"style":18},"00df89f8ef50",[27822],{"_key":27823,"_type":13,"marks":27824,"text":27825},"4a25a3a80161",[],"The fog stands in the forest \nall is so still and pure―\n― must go and sleep and dream now, \nmay no longer sing or be glad.",[],{"_key":27828,"_type":9,"children":27829,"markDefs":27834,"style":18},"e1f1e0ece77c",[27830],{"_key":27831,"_type":13,"marks":27832,"text":27833},"bd9196701722",[],"The feet of people amble \non solid stone, who knows how far. \nThe wind will also bluster \nand sing a little while.",[],{"_key":27836,"_type":9,"children":27837,"markDefs":27842,"style":18},"4f0d17100190",[27838],{"_key":27839,"_type":13,"marks":27840,"text":27841},"293cc76e70a5",[],"The people and the frosty wind \nare all forgotten, I’m alone―\n― must go and sleep and dream now, \nmay no longer sing or be glad\n",[],[27844],{"_key":27845,"_type":9,"children":27846,"markDefs":27851,"style":18},"d3c4f0db0b70",[27847],{"_key":27848,"_type":13,"marks":27849,"text":27850},"fa82a4516328",[15,73],"Early Poem",[],{"_key":27853,"_type":9,"children":27854,"image":4,"markDefs":27862,"style":634},"52e7bfbfa9a4",[27855,27859],{"_key":27856,"_type":13,"marks":27857,"text":27858},"8dd6c1f41398",[73],"It’s still Sunday, 22.30 I’m really a wee bit depressed!!! You know what? There we went, Gudrun and I, to that little place Greifensee to meet Mozart and Brahms and a clarinet ……And do you know what we found there? No Mozart, no Brahms, no clarinet …… only a very old dark church, that’s all!! The concert was yesterday and not today. And back we went really depressed, I had to stop the car twice cos Gudrun got sick! And that’s all. I’m so sad: I must find Mozart on a record. Very soon. You see, you too found a very absent-minded wife. She even can’t remember the exact concert dates! Good night. Sleep very very well. B",{"_key":27860,"_type":13,"marks":27861,"text":4878},"7b5f49048f98",[],[],{"_key":27864,"_type":9,"children":27865,"image":4,"markDefs":27870,"style":18},"e813d3f0f7b3",[27866],{"_key":27867,"_type":13,"marks":27868,"text":27869},"6fa6d68c4bc4",[],"Brigitte and Müeti continued looking for a flat for us — we had started looking as soon as we decided to marry, but reasonably priced ones were not easy to come by. Then they found one, in the Gartenstrasse in Bülach not far from Vögelicher where Vati and Müeti lived.\n",[],{"_key":27872,"_type":9,"children":27873,"image":4,"markDefs":27881,"style":634},"455854328b77",[27874,27878],{"_key":27875,"_type":13,"marks":27876,"text":27877},"1d8e2e1529ad",[73],"And I did another very important thing today. I had to go to a doctor for a general check up. I should have gone already in February (Hospital insurance business!) but I always forgot, so I went now. It was a very quick consultation cos I seem to be so terribly healthy and a terribly uninteresting case …… and as I was getting dressed behind a yellow curtain, I asked the doctor what he thought about anti-baby pills …… he is very keen on them and immediately wrote a prescription …… and I went immediately to a shop and bought pills for 3 months. Shall I try them?",{"_key":27879,"_type":13,"marks":27880,"text":4878},"a807262d93d0",[],[],{"_key":27883,"_type":9,"children":27884,"image":4,"markDefs":27889,"style":634},"3dc004082f1e",[27885],{"_key":27886,"_type":13,"marks":27887,"text":27888},"5d29c435f30f",[73],"Tomorrow I must ring up a man and tell him to bring a black new telephone to the Gartenstrasse 35. I’m really very busy, you see?\n",[],{"_key":27891,"_type":9,"children":27892,"image":4,"markDefs":27900,"style":634},"ba9def0b100a",[27893,27897],{"_key":27894,"_type":13,"marks":27895,"text":27896},"18effa523cba",[73],"Tomorrow is a holiday. This place must run a close second to Italy for all its holidays. So that’s another day more I’ll have to wait without my permit. I don’t like staying here when I think of you having to shift on your own. But I have to promise not to be sad — instead I’ll just admire you and clap a little, just a little — I don’t like clapping much, people spoil operas by clapping in them — but I clap for special things, so I’ll clap for you!. I’ll admire you for supporting me in a non-church wedding, even though this is what Müeti would like. She is such a good person and I like her very much and wouldn’t want to hurt her, but praps she doesn’t mind too much? And I’ll admire you for taking pills when you’re still not very sure of them. — that’s very brave, brava!",{"_key":27898,"_type":13,"marks":27899,"text":4878},"b279bf800de6",[],[],{"_key":27902,"_type":9,"children":27903,"image":4,"markDefs":27939,"style":18},"49877db262ef",[27904,27908,27912,27915,27919,27923,27927,27931,27935],{"_key":27905,"_type":13,"marks":27906,"text":27907},"574d9019b155",[],"The opera possibilities in Vienna were, for a New Zealand music student, quite unbelievable. Although I was a frequent concertgoer in NZ, I had never had the opportunity to see anything but chamber opera performances. In Vienna you could see large-scale operas every evening and if you were prepared to stand or sit on the floor, you could do so for just a few Austrian shillings. Within the first two weeks I saw five Verdi operas, too many, I later decided, since one is quickly saturated. Then I went to a performance of Die ",{"_key":27909,"_type":13,"marks":27910,"text":27911},"cc9044a5fcc7",[73],"Zauberflöte",{"_key":27913,"_type":13,"marks":27914,"text":23299},"b8af9774605d",[],{"_key":27916,"_type":13,"marks":27917,"text":27918},"ddcb386b110d",[73],"Wiener Volksoper.",{"_key":27920,"_type":13,"marks":27921,"text":27922},"7fe2ee1f38a8",[]," This was much smaller than the huge Wiener Staatsoper and the Stehplätze were upstairs where people sat on the stairs. I sat near a lady who was busy knitting. She continued knitting when the opera started — fortunately there was no loud clicking of the needles. Then when the ",{"_key":27924,"_type":13,"marks":27925,"text":27926},"1448cfc6267e",[73],"Königin der Nacht",{"_key":27928,"_type":13,"marks":27929,"text":27930},"efebb27fa114",[]," suddenly appeared in a fiery cloud of smoke, she put down her knitting, picked up a vocal score and followed the famous aria note for note till the end. Then she returned to her knitting and waited for her next favourite aria. In many ways opera in Austria and in Italy seemed like a folk sport. People in the larger cities had obviously grown up with it, they knew certain works by heart and, like the man in the ",{"_key":27932,"_type":13,"marks":27933,"text":27934},"98bb55285b23",[73],"San Carlo ",{"_key":27936,"_type":13,"marks":27937,"text":27938},"aef66db5758d",[],"in Naples, who was prepared to defend his favourite works and singers with energetic arguments in much the same way as the New Zealanders would dispute the qualities of the players in a rugby or a cricket match.\n",[],{"_key":27941,"_type":9,"children":27942,"image":4,"markDefs":27946,"style":18},"9f63164e0090",[27943],{"_key":27944,"_type":13,"marks":27945,"text":25},"e3a8ffbd895e0",[],[],{"_key":27948,"_type":9,"children":27949,"image":4,"markDefs":27954,"style":634},"60e7a0e20cd5",[27950],{"_key":27951,"_type":13,"marks":27952,"text":27953},"6b19c9955f00",[],"Do you know what good thing Nelson did today? He went to the bank and drew out 2000 shillings so that he could buy seats for us for Parsifal tomorrow night. And do you know what he paid? 175 shillings each! That’s about 30 francs each and he hasn’t got much money. But with that pink form that will come soon I’ll be able to pay him back. Having seats will be good for two reasons. One is that the opera is 6* hours long I think, and if you stand you don’t always concentrate, instead you think how uncomfortable you are, and the other is, that to get a Stehplatz you have to start queuing hours and hours beforehand for Wagner and the weather is not good for this now.\n",[],{"_key":27956,"_type":9,"children":27957,"image":4,"markDefs":27962,"style":634},"c8c3c38105fe",[27958],{"_key":27959,"_type":13,"marks":27960,"text":27961},"a812cfefec2b",[],"* it was only 5!\n",[],{"_key":27964,"_type":9,"children":27965,"image":4,"markDefs":28001,"style":634},"a6c44c7081ed",[27966,27970,27974,27978,27982,27986,27990,27994,27997],{"_key":27967,"_type":13,"marks":27968,"text":27969},"bccd501b7b20",[],"But do you know where I’m sitting at the moment? On the floor of a corridor in the ",{"_key":27971,"_type":13,"marks":27972,"text":27973},"b1550d2f8a51",[73],"Staatsoper",{"_key":27975,"_type":13,"marks":27976,"text":27977},"cd3b623aff67",[],", in a queue for ",{"_key":27979,"_type":13,"marks":27980,"text":27981},"833b2a7caa00",[73],"Falstaff",{"_key":27983,"_type":13,"marks":27984,"text":27985},"3687aedb9851",[],". So aren’t I the luckiest of Kits? To have seen a marvellous P",{"_key":27987,"_type":13,"marks":27988,"text":27989},"0fd9affeea61",[73],"apa- papa- papa- geno",{"_key":27991,"_type":13,"marks":27992,"text":27993},"3fad8b5a479f",[]," last night and now I’m in a good place in the queue for the fat knight, Sir John Falstaff, and tomorrow I’ve got an excellent seat with an excellent friend for Wagner’s last opera (",{"_key":27995,"_type":13,"marks":27996,"text":27981},"885ea0815aff",[73],{"_key":27998,"_type":13,"marks":27999,"text":28000},"5e6fa2ff384a",[]," is Verdi’s last opera too!!)\n",[],{"_key":28003,"_type":9,"children":28004,"image":4,"markDefs":28009,"style":18},"7becc79e81bf",[28005],{"_key":28006,"_type":13,"marks":28007,"text":28008},"0606910a673d",[],"It snowed. Quite heavily and I felt cold, I hadn’t been expecting such a change in the weather, not so soon. Nelson and I went to a second hand shop and we found a big black policeman’s coat, which fitted and warmed perfectly.",[],{"_key":28011,"_type":9,"children":28012,"image":4,"markDefs":28017,"style":18},"c682989102d5",[28013],{"_key":28014,"_type":13,"marks":28015,"text":28016},"c790ef11edd7",[],"\nNelson and I have just been to the pictures: Donald Duck!! It was good for a while but it got too much! On our way home through BITTERLY COLD weather we crowded our two selves into a photographing box and had this terrible photo taken. We thought we looked so odd it should be recorded, he with a fur hat and I with another of his hats plus his bright yellow scarf — pity it‘s not in colour. I‘ve got my new black policeman‘s coat on too for which I‘m very thankful, what with snow and temperatures of 0°C!!",[],{"_key":28019,"_type":9,"children":28020,"image":4,"markDefs":28024,"style":18},"8e31bb19cdac",[28021],{"_key":28022,"_type":13,"marks":28023,"text":25},"e59d4caacbaa",[],[],{"_key":28026,"_type":500,"caption":28027,"image":28028,"markDefs":4},"1f213b645224","Nelson and Kit in a Wiener Photo-booth",{"caption":4,"id":28029,"meta":28030,"parentID":4,"parentType":3456,"url":28034},"28f1da698d21e5061d75e54b8fd5e8714321729b",{"_type":506,"aspectRatio":28031,"height":28032,"width":28033},0.774526678141136,581,450,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F28f1da698d21e5061d75e54b8fd5e8714321729b-450x581.jpg",{"_key":28036,"_type":9,"children":28037,"image":4,"markDefs":28042,"style":634},"ca1bea872bed",[28038],{"_key":28039,"_type":13,"marks":28040,"text":28041},"50209d2d5800",[],"We also bought Nelson a beautiful and new Harris Tweed sports coat and thick warm trousers, so we both look “hellofa smart”. He’s gone off to enrol at the university this morning and I’m out because it’s the day the “maid” (a dragon-like lady) comes to clean the house. Nelson wants to do a course in Drama: history, production, etc. — everything — takes three years plus (or perhaps including?) a year “im Ausland” (England perhaps, or America). But he’s left it till the last minute to enrol and has gone off rather pessimistically. Like me, he doesn’t have his passport, he doesn’t even have a receipt from the radio people who took it — he sometimes reads English for them but you need a special work permit for the radio — hence they still have his passport until the permit arrives.\n",[],{"_key":28044,"_type":9,"children":28045,"image":4,"markDefs":28065,"style":634},"000f9c0b3d78",[28046,28050,28054,28057,28061],{"_key":28047,"_type":13,"marks":28048,"text":28049},"26242698f80b",[],"But would you like to know what we did yesterday? We went and walked in the snow — lots and lots of it …… in the Vienna Woods. It was very beautiful there with all the ",{"_key":28051,"_type":13,"marks":28052,"text":28053},"a8e0066623eb",[73],"Schnee",{"_key":28055,"_type":13,"marks":28056,"text":11858},"e1257054373b",[],{"_key":28058,"_type":13,"marks":28059,"text":28060},"5eb6a44af40e",[73],"c’è anche neve a Zurigo?",{"_key":28062,"_type":13,"marks":28063,"text":28064},"79ecefaaafc3",[]," And does winter always start so early? The poor trees in the Vienna Woods think it’s autumn and are still holding their red and brown and yellow leaves but the weather thinks it’s winter and has sunk to 0°C and dropped lots of snow and the poor trees have had to bow down under the weight of the snow on their leaves. We had to walk under some of these bowing trees backwards to stop the snow from falling down our necks.\n",[],{"_key":28067,"_type":500,"image":28068,"markDefs":4},"396701474e8c",{"caption":4,"id":28069,"meta":28070,"parentID":4,"parentType":3456,"url":28074},"3cd2dadbe16bf23bcf04aab590e991c0bc9e9f5f",{"_type":506,"aspectRatio":28071,"height":28072,"width":28073},1.4757834757834758,351,518,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F3cd2dadbe16bf23bcf04aab590e991c0bc9e9f5f-518x351.jpg",{"_key":28076,"_type":9,"children":28077,"image":4,"markDefs":28090,"style":634},"b48d421a2d95",[28078,28082,28086],{"_key":28079,"_type":13,"marks":28080,"text":28081},"d0121ea7c1d6",[],"And then we came home and put on our suits and walked to the opera house very importantly. We gave our coats to the ",{"_key":28083,"_type":13,"marks":28084,"text":28085},"a79972c98482",[73],"guardaroba",{"_key":28087,"_type":13,"marks":28088,"text":28089},"7ff0650c3184",[]," man and our tickets to a brown coated man and we strolled sort of regally and affluently behind him as he showed us to our very expensive seats and we said “dankeschön” most politely to the people who had to stand up for us and we walked past them FACING THEM! And do you know what happened? I’ve often felt sorry for whoever has the misfortune to sit behind me but I’ve never had anyone complain directly before: we had heard the prelude and the curtain had just risen when a fat man behind me tapped me on the shoulder and said something in German. I said, I’m sorry, but I don’t speak German and so he asked me in quite good English if I could possibly put my head down a little. He said it quite politely and I thought that if he had paid 175 Schillings and couldn’t see the opera he had every reason to be a bit peeved and so I tried to sit down a little (it’s very hard to make yourself shorter!) but I wasn’t very comfortable sitting like that. And then at the first interval I heard an argument behind me (in English!) and this fat man was saying to another behind him: “well I’m sorry, there’s nothing I can do about it, it’s the gentleman in front of me you see ……” I don’t know if they were speaking English for my benefit but it seemed pretty rude to me, so I said: “Well I’ve been sitting down lower and I’ve got a sore bottom because of it!” The fat man looked strangely apologetic and the other went off in a huff!\n",[],{"_key":28092,"_type":9,"children":28093,"image":4,"markDefs":28142,"style":634},"0cdfeff3e410",[28094,28098,28102,28106,28109,28113,28117,28121,28124,28128,28131,28135,28138],{"_key":28095,"_type":13,"marks":28096,"text":28097},"ce3302436deb",[],"But let me tell you about ",{"_key":28099,"_type":13,"marks":28100,"text":28101},"b6610189b3a8",[73],"Parsifal",{"_key":28103,"_type":13,"marks":28104,"text":28105},"2c5f1cb55b4b",[],". At times it was so wonderful that I was sitting there open-mouthed with amazement and oblivious of my sore bottom and the rude fat man. The first good thing is that it’s traditional not to clap any part of ",{"_key":28107,"_type":13,"marks":28108,"text":28101},"ff02d3be4d72",[73],{"_key":28110,"_type":13,"marks":28111,"text":28112},"28c41d0e2839",[]," (at the",{"_key":28114,"_type":13,"marks":28115,"text":28116},"4ea9a31f0efd",[73]," Wiener Staatsoper",{"_key":28118,"_type":13,"marks":28119,"text":28120},"df9f2dbc7d3b",[]," anyway). The second good thing is that Wagner writes “continuous music” — there are no arias and there are very few cadences (this can and does unfortunately make it rather boring sometimes when it moves too slowly), but when there is movement, this feeling of continuity is truly wonderful. One of the most wonderful moments was the change between the first and second scenes: One of the knights takes ",{"_key":28122,"_type":13,"marks":28123,"text":28101},"fe9505f2e19a",[73],{"_key":28125,"_type":13,"marks":28126,"text":28127},"de4380f52ab4",[]," off to the temple to see the Holy Grail (the cup used by Christ at the Last Supper and later by Joseph of Arimathea to catch Jesus’ blood after he was stabbed in the side with a spear — this spear is also an important “protagonist” in the opera). Anyway, this scene has to change from an outside, misty woodland landscape (the mistiness was achieved magnificently by a transparent curtain drawn across the whole stage) to the inside scene in the temple. ",{"_key":28129,"_type":13,"marks":28130,"text":28101},"8e09a0f8d2c0",[73],{"_key":28132,"_type":13,"marks":28133,"text":28134},"f83e3ea4f964",[]," and the old knight start walking slowly to the back of the stage (it’s a very deep stage here) and as they walk, a shining bluish light on the transparent curtain makes it look as if they gradually disappear into the mist. The music gets louder and louder and then on this front screen the trees of the misty woodland scene seem to move and form patterns of an abstract, impressionistic design and then, slowly out of this design, emerge the tall columns of the back of the temple. As everything clears you see all the detail of the temple with an enormous altar in the middle and with ",{"_key":28136,"_type":13,"marks":28137,"text":28101},"17cabb261a82",[73],{"_key":28139,"_type":13,"marks":28140,"text":28141},"092c7d7d275e",[]," and the old knight just arriving on the left. But the orchestration during this change is overwhelming: bells, bass drum, timpani and a very large brass complement all playing very loudly produce a sound quite unique in my experience — it really has to be seen and heard to be believed. Unfortunately it wasn’t all like that. Parts of it seemed to move very very very slowly so that I lost interest and remembered the fat man and my bottom again. Perhaps though, if you could follow the German text in these slow passages it would still be interesting. However it was a strange and beautiful experience and it is easy to see how people become Wagner addicts. Nevertheless I have the feeling that to listen to the music alone without anything to look at would be impossibly boring.\n",[],{"_key":28144,"_type":9,"children":28145,"image":4,"markDefs":28166,"style":18},"05a2e98007bd",[28146,28150,28154,28158,28162],{"_key":28147,"_type":13,"marks":28148,"text":28149},"5b18469e7041",[],"This was one of the few occasions on which Nelson and I went to a performance together. He was in Vienna to study singing and while I was there, he was singing in the chorus of ",{"_key":28151,"_type":13,"marks":28152,"text":28153},"6c7b9fb0a800",[73],"Porgy and Bess",{"_key":28155,"_type":13,"marks":28156,"text":28157},"6ba654a3fa36",[],". I tried to get a ",{"_key":28159,"_type":13,"marks":28160,"text":28161},"c748c2a158f0",[73],"Stehplatz",{"_key":28163,"_type":13,"marks":28164,"text":28165},"7f8bc2a88a21",[]," for a performance of this one night but had to wait so long for the right tram that by the time I got to the theatre, there were only unaffordable seats left.\n",[],{"_key":28168,"_type":9,"children":28169,"image":4,"markDefs":28174,"style":18},"03fc2e5df956",[28170],{"_key":28171,"_type":13,"marks":28172,"text":28173},"1eec7e9de0bb",[],"Nelson still had only one key to the apartment so I normally waited for him in a café and then we would return home together. During the day, however, we were often together (except when he had a singing lesson) and after Brigitte sent the poem by her father, Nelson talked about his interest in German poetry, which he had already started to study in New Zealand. He had made a special study of Rilke:\n",[],{"_key":28176,"_type":9,"children":28177,"image":4,"markDefs":28182,"style":18},"8c5426c2fa86",[28178],{"_key":28179,"_type":13,"marks":28180,"text":28181},"2805beac7071",[],"Nelson read me a poem about a Panther. I just listened to the sound of the German. It’s still too hard for me but he made a very good translation of it, which he also read:",[],{"_key":28184,"_type":754,"author":8380,"image":4,"markDefs":4,"poem":28185,"title":28238},"701c63114c9c",[28186,28194,28202,28209,28216,28224,28231],{"_key":28187,"_type":9,"children":28188,"markDefs":28193,"style":18},"89a839ee98a0",[28189],{"_key":28190,"_type":13,"marks":28191,"text":28192},"e88348405cba",[],"Sein Blick ist vom Vorübergehn der Stäbe \nso müd geworden, daß er nichts mehr hält. \nIhm ist, als ob es tausend Stäbe gäbe \nund hinter tausend Stäben keine Welt.",[],{"_key":28195,"_type":9,"children":28196,"markDefs":28201,"style":18},"d3df9c158747",[28197],{"_key":28198,"_type":13,"marks":28199,"text":28200},"f1ee929e31a3",[],"Der weiche Gang geschmeidig starker Schritte, \nder sich im allerkleinsten Kreise dreht, \nist wie ein Tanz von Kraft um eine Mitte, \nin der betäubt ein großer Wille steht.",[],{"_key":28203,"_type":9,"children":28204,"markDefs":28208,"style":18},"53a9412f973e",[28205],{"_key":28198,"_type":13,"marks":28206,"text":28207},[],"Nur manchmal schiebt der Vorhang der Pupille \nsich lautlos auf ——. Dann geht ein Bild hinein, \ngeht durch der Glieder angespannte Stille ——\nund hört im Herzen auf zu sein.",[],{"_key":28210,"_type":9,"children":28211,"markDefs":28215,"style":18},"0e696f2b19fd",[28212],{"_key":28213,"_type":13,"marks":28214,"text":25},"bbaf64f4fd5f",[],[],{"_key":28217,"_type":9,"children":28218,"markDefs":28223,"style":18},"0f73089fbbe1",[28219],{"_key":28220,"_type":13,"marks":28221,"text":28222},"8b85c3819883",[],"From passing by of bars his vision wearies \nSo much that it can carry nothing more. \nA thousand bars seem laid in dreary series, \nBeyond a thousand bar no world is there.",[],{"_key":28225,"_type":9,"children":28226,"markDefs":28230,"style":18},"d0549bc111a2",[28227],{"_key":28220,"_type":13,"marks":28228,"text":28229},[],"The gentle, lissome rhythm of his paces, \nEncompassing a circle, cramped and small, \nIs like the dance of force about a stasis \nThat holds the stupefaction of a will.",[],{"_key":28232,"_type":9,"children":28233,"markDefs":28237,"style":18},"0ffe4c791513",[28234],{"_key":28220,"_type":13,"marks":28235,"text":28236},[],"At times the curtain of his pupil rises \nWithout a sound, to let an image in. \nAnd through the still and rigid limbs it oozes \nTo penetrate the heart and die within.",[],[28239],{"_key":28240,"_type":9,"children":28241,"markDefs":28246,"style":18},"985839737c66",[28242],{"_key":28243,"_type":13,"marks":28244,"text":28245},"c28f1139b0b8",[73,15],"Der Panther",[],{"_key":28248,"_type":9,"children":28249,"image":4,"markDefs":28254,"style":634},"29097a37df98",[28250],{"_key":28251,"_type":13,"marks":28252,"text":28253},"0b0ce2a086d1",[73],"I forgot to tell you that one night we walked round the main street, very late, to look at the prostitutes and there are dozens of them. We wanted to see what they would look like, how soulless, how business-like they would look, and of course some of them are. But many of them look surprisingly ordinary, natural girls. Mind you, I suppose the more they can cultivate this normal and comparatively innocent look, the better business they’ll do. I wonder if many of them regard themselves as good people (some seemed full of self respect), I even wonder if they look on us as we look on your dear old ladies who write to and ring up Herrn Müller?\n",[],{"_key":28256,"_type":9,"children":28257,"image":4,"markDefs":28262,"style":634},"b01a6dae26e3",[28258],{"_key":28259,"_type":13,"marks":28260,"text":28261},"5a6de517ce04",[73],"My dear Kit, our flat is just wonderful, even without furniture. I went there with Müeti yesterday. She was so very thrilled about it and said she’d love to live there. We’ll make it the best Kit\u002FBrigitte-paradise won’t we!\n",[],{"_key":28264,"_type":9,"children":28265,"image":4,"markDefs":28270,"style":634},"af34368695c8",[28266],{"_key":28267,"_type":13,"marks":28268,"text":28269},"0df945a48d35",[73],"And I don’t think Müeti minds about the church business. She’s quite happy and is just looking forward to us there at the Gartenstrasse 35.\n",[],{"_key":28272,"_type":9,"children":28273,"image":4,"markDefs":28281,"style":634},"358ff2b9c5c5",[28274,28278],{"_key":28275,"_type":13,"marks":28276,"text":28277},"dbb606184615",[73],"Yes, people keep on asking for photos, asking about me: That’s quite a strange and awkward position I am in and I’m also a wee bit scared. They must think enormously great and impossible things about me: What I am, am not, what I do, do not, what I look like and don’t look like …… they must think that Kit Powell’s future wife must be quite extraordinary, quite unusual, quite special …… but she happens to be quite an ordinary Swiss girl as ordinary as can be, enjoying life, living in her own world of dreams and poems and loving somebody special quite enormously in an extraordinary and unusual and special manner — that’s all ……",{"_key":28279,"_type":13,"marks":28280,"text":4878},"1ed71858cf58",[],[],{"_key":28283,"_type":9,"children":28284,"image":4,"markDefs":28289,"style":634},"8e2739c348e8",[28285],{"_key":28286,"_type":13,"marks":28287,"text":28288},"84cbe3cd5353",[],"How can she be possibly such an ordinary Swiss girl, that marvellous Brigitte, who loves so very much and is loved and needed so urgently? I think she’s really very very special and I’m very very confident that my friends will be most impressed. They’ll love you too as they do me. So please, don’t ever be afraid and don’t worry about the photos, they can wait!\n",[],{"_key":28291,"_type":9,"children":28292,"image":4,"markDefs":28297,"style":634},"ff264733e851",[28293],{"_key":28294,"_type":13,"marks":28295,"text":28296},"941a123430f6",[73],"Poor Pü was sick today, had to bring him to the hospital. He was so very cold, the heating didn’t work any more. Now the man got him warm again for 37 Franken.\n",[],{"_key":28299,"_type":9,"children":28300,"image":4,"markDefs":28305,"style":634},"47dc2293efc4",[28301],{"_key":28302,"_type":13,"marks":28303,"text":28304},"88a5c5a787bf",[73],"One word about Vati’s “…… darf nicht mehr singen und mich freun”. He was in a dark and mysterious state of tiredness at that time. He was just tired and wanted to sleep. And when he did not sleep his only joy was writing poems. Do you understand? You won’t be able to understand it all, because there is that secret again I told you once, that very special secret belonging to a poet, the secret he keeps for himself all his life …… and here it was his tiredness.\n",[],{"_key":28307,"_type":9,"children":28308,"image":4,"markDefs":28313,"style":634},"43c194cc4778",[28309],{"_key":28310,"_type":13,"marks":28311,"text":28312},"8713c7a41949",[73],"Isn’t Rilke’s Panther desperately good? I can see that animal (or human being) in its endless tiredness, in its infinite sadness …… all its strength killed, its whole will imprisoned in that hopeless cage, leaving only a little space for a dead heart. That’s Rilke’s well-known depressive mood. I wonder if my Kit can like it?\n",[],{"_key":28315,"_type":9,"children":28316,"image":4,"markDefs":28324,"style":634},"69c9fe4cea70",[28317,28321],{"_key":28318,"_type":13,"marks":28319,"text":28320},"ce1203fbef0c",[73],"And look, there is no autumn that would not remind me of Rilke’s “Herbst” with those falling leaves, with those heavenly gardens and with that dark and frightening loneliness: things fall, men fall, a piece of everybody falls and falls — where to? You don’t know. Rilke finds a consolation in believing in Somebody, in a God, having control over all this falling, holding it together with his strong and immensely tender hands …… :",{"_key":28322,"_type":13,"marks":28323,"text":4878},"0505d16b9c40",[],[],{"_key":28326,"_type":754,"author":8498,"image":4,"markDefs":4,"poem":28327,"title":28396},"f1920a67ee3d",[28328,28336,28344,28352,28360,28372,28380,28388],{"_key":28329,"_type":9,"children":28330,"markDefs":28335,"style":18},"68e07b4d9dc0",[28331],{"_key":28332,"_type":13,"marks":28333,"text":28334},"794a6516d921",[],"Die Blätter fallen, fallen wie von weit, \nals welkten in den Himmeln ferne Gärten; \nsie fallen mit verneinender Gebärde. ",[],{"_key":28337,"_type":9,"children":28338,"markDefs":28343,"style":18},"1a20b35bd427",[28339],{"_key":28340,"_type":13,"marks":28341,"text":28342},"022c53111553",[],"Und in den Nächten fällt die schwere Erde \naus allen Sternen in die Einsamkeit. ",[],{"_key":28345,"_type":9,"children":28346,"markDefs":28351,"style":18},"84056a517436",[28347],{"_key":28348,"_type":13,"marks":28349,"text":28350},"6a199eeed81b",[],"Wir alle fallen. Diese Hand da fällt. \nUnd sieh dir andre an: es ist in allen. ",[],{"_key":28353,"_type":9,"children":28354,"markDefs":28359,"style":18},"0f6e3039ef54",[28355],{"_key":28356,"_type":13,"marks":28357,"text":28358},"1d18fe6b077c",[],"Und doch ist Einer, welcher dieses Fallen \nunendlich sanft in seinen Händen halt\n",[],{"_key":28361,"_type":9,"children":28362,"markDefs":28371,"style":18},"7e1f7938b645",[28363,28367],{"_key":28364,"_type":13,"marks":28365,"text":28366},"abc6e2915e31",[15],"Autumn",{"_key":28368,"_type":13,"marks":28369,"text":28370},"69b1b6f15024",[],"\nThe leaves are falling, falling as from afar \nas gardens in the far skies are withering, \nthey fall with a refusing gesture. ",[],{"_key":28373,"_type":9,"children":28374,"markDefs":28379,"style":18},"a03074a9ee9f",[28375],{"_key":28376,"_type":13,"marks":28377,"text":28378},"279656d8a8ed",[],"And in the nights the heavy earth falls \nfrom all the stars into the loneliness. ",[],{"_key":28381,"_type":9,"children":28382,"markDefs":28387,"style":18},"7001c2f04f4f",[28383],{"_key":28384,"_type":13,"marks":28385,"text":28386},"65828fb27985",[],"We all fall. This hand here falls. \nAnd look at the others. It’s in them all. ",[],{"_key":28389,"_type":9,"children":28390,"markDefs":28395,"style":18},"58fad10496de",[28391],{"_key":28392,"_type":13,"marks":28393,"text":28394},"f8df919ca81f",[],"And yet there’s One, who holds this falling \ninfinitely gently in his hands.\n",[],[28397],{"_key":28398,"_type":9,"children":28399,"markDefs":28404,"style":18},"3620d6a31dd4",[28400],{"_key":28401,"_type":13,"marks":28402,"text":28403},"ee78db12272b",[15,73],"Herbst",[],{"_key":28406,"_type":9,"children":28407,"image":4,"markDefs":28426,"style":18},"eb2f2ca807e8",[28408,28412,28415,28419,28422],{"_key":28409,"_type":13,"marks":28410,"text":28411},"6fb88e5cf31a",[],"Apart from the visit to Wagner’s ",{"_key":28413,"_type":13,"marks":28414,"text":28101},"f64d1efd4177",[73],{"_key":28416,"_type":13,"marks":28417,"text":28418},"c358e48cf205",[]," we lived very frugally. If we ate out at all it was in a ",{"_key":28420,"_type":13,"marks":28421,"text":26782},"564090ab429c",[73],{"_key":28423,"_type":13,"marks":28424,"text":28425},"c9c5293c6948",[]," or sometimes in a cheap restaurant which offered Hungarian goulash which we liked. In spite of that I ran out of money and had to ask Brigitte twice to send me a hundred franc note, which she could hide in a normal letter.\n",[],{"_key":28428,"_type":9,"children":28429,"image":4,"markDefs":28434,"style":634},"237a77fb91c6",[28430],{"_key":28431,"_type":13,"marks":28432,"text":28433},"816a6ce3c49a",[73],"Just filled in a pink form and I sent you a wee bit of money. Are you starving, dearest Kit? And listen: I won’t be able to come to Vienna. Please don’t be disappointed, it’s just a very bad moment for such a trip: MONEY – TIME – FLAT SHIFTING …… Yes, I think I’d better shift sometime next week or the next so that when you come back (come very soon please!!!!) everything will be g o o d …… Took the first pill last night and feel perfectly well ……\n",[],{"_key":28436,"_type":9,"children":28437,"image":4,"markDefs":28442,"style":18},"380ac98814e1",[28438],{"_key":28439,"_type":13,"marks":28440,"text":28441},"2eecd55c3962",[],"And a day later:\n",[],{"_key":28444,"_type":9,"children":28445,"image":4,"markDefs":28450,"style":634},"eedfc403b64f",[28446],{"_key":28447,"_type":13,"marks":28448,"text":28449},"3cd47459583a",[73],"Why can letters make me so happy, so very happy? Of course, only Kit-letters can do so, and they always do!!! Especially two at once. Yes, my dear Kit, why are you there and not here? Why? When I go to bed I always have to hold the pillow very tight against me, but it does not help, it makes it even worse. There’s no substitute for Kit!\n",[],{"_key":28452,"_type":9,"children":28453,"image":4,"markDefs":28458,"style":634},"ade2434aeb31",[28454],{"_key":28455,"_type":13,"marks":28456,"text":28457},"cd7e89ab94f2",[73],"I rang the Berlitz School today. They haven’t heard anything yet from the Alien Police but that “very friendly woman” recommended I call on the police personally, so I’ll go there perhaps tomorrow?\n",[],{"_key":28460,"_type":9,"children":28461,"image":4,"markDefs":28466,"style":634},"82fea64fc87f",[28462],{"_key":28463,"_type":13,"marks":28464,"text":28465},"7c8df1286ecc",[73],"And do you know what? I ordered two beds (later joined together to make a double bed) today!! Are you pleased? And do you know what else?? I went to that razor chap with your razor. They can’t repair it but they are prepared to pay 25 francs if we buy a new one …… and, I’m sad I could not get it straight away cos poor naughty Pü is going to eat all the money: Today he started dripping and dripping …… defect water pump, quite expensive! It almost upset me like that time when I had to leave Pü at the garage (had to take the tram today) but then I saw your optimistic face (photo) and that helped …… so now I’m all right. I promise, dear Kit, that you’ll get a razor later.\n",[],{"_key":28468,"_type":9,"children":28469,"image":4,"markDefs":28474,"style":634},"02e4fa8cb155",[28470],{"_key":28471,"_type":13,"marks":28472,"text":28473},"81e549189164",[73],"Did I tell you that I’m sitting in a wee tea room at present? I was frightened of taking the tram when all people go, so I can wait until they are all at home and stay with you. I even think I’d better go on foot, don’t you? But it’s terribly cold!! I’m wearing warm black stockings these days! Do you like coloured stockings?\n",[],{"_key":28476,"_type":9,"children":28477,"image":4,"markDefs":28482,"style":634},"8a749bea1482",[28478],{"_key":28479,"_type":13,"marks":28480,"text":28481},"5d6459816cce",[73],"And there is a funny thing in this tea room. An assembly of psychiatrists turned up and later some other psychiatric faces …… unknown to me but psychiatric looking …… funny people, these psychiatrists. All a wee bit mad. Dr. Weber, the psychiatrist from the hospital, just left and returned cos he had forgotten to pay. I like that, cos this happed even to me sometimes!! Maybe to you too?\n",[],{"_key":28484,"_type":9,"children":28485,"image":4,"markDefs":28490,"style":634},"25ec8cd62cd4",[28486],{"_key":28487,"_type":13,"marks":28488,"text":28489},"05ddc4e60fb5",[73],"Dear, dear, dear Kit, I’ll go now …… goodbye …… and come home soon! I miss you!!\n",[],{"_key":28492,"_type":9,"children":28493,"image":4,"markDefs":28498,"style":634},"fbb04b5b2920",[28494],{"_key":28495,"_type":13,"marks":28496,"text":28497},"f2e8a001e651",[73],"Love, Brigitte",[],{"_key":28500,"_type":9,"children":28501,"image":4,"markDefs":28505,"style":18},"9add7d1ac7a2",[28502],{"_key":28503,"_type":13,"marks":28504,"text":25},"2ebe24c00eaf",[],[],{"_key":28507,"_type":9,"children":28508,"image":4,"markDefs":28512,"style":18},"c9c0f88c9cf4",[28509],{"_key":28510,"_type":13,"marks":28511,"text":25},"683af57e9f30",[],[],{"_key":28514,"_type":9,"children":28515,"image":4,"markDefs":28519,"style":1358},"2c762f7edcf3",[28516],{"_key":28517,"_type":13,"marks":28518,"text":25},"9c5d5ee76c64",[],[],{"_key":22450,"_type":9,"children":28521,"image":4,"markDefs":28525,"style":6894},[28522],{"_key":28523,"_type":13,"marks":28524,"text":22451},"a5cd859eee1d0",[15],[],{"_key":28527,"_type":9,"children":28528,"image":4,"markDefs":28532,"style":18},"29abc7f5b6e4",[28529],{"_key":28530,"_type":13,"marks":28531,"text":25},"5fe240c9e90c",[],[],{"_key":28534,"_type":9,"children":28535,"image":4,"markDefs":28539,"style":18},"f0d673ef0200",[28536],{"_key":28537,"_type":13,"marks":28538,"text":25},"9a8ec271bf5c",[],[],{"_key":28541,"_type":9,"children":28542,"image":4,"markDefs":28571,"style":634},"b61977a178db",[28543,28547,28551,28555,28559,28563,28567],{"_key":28544,"_type":13,"marks":28545,"text":28546},"884b03bae79f",[],"Now this evening (Wednesday, 2. 11. 1966), my very dear Brigitte, I’m writing to you from the Gesellschaft der Musikfreunde which Nelson says is a concert hall of marvellous acoustics and that I really ought to hear some music in it. So here I’ve come and the ",{"_key":28548,"_type":13,"marks":28549,"text":28550},"54c62414aa38",[73],"Wiener Symphoniker",{"_key":28552,"_type":13,"marks":28553,"text":28554},"e15a50a4609b",[]," is going to play me Schubert’s 5th symphony, and then a Prokofiev violin concerto and then the marvellous ",{"_key":28556,"_type":13,"marks":28557,"text":28558},"893b62f3b57b",[73],"Pastoral Symphony",{"_key":28560,"_type":13,"marks":28561,"text":28562},"f188b1d86b44",[]," of my friend Lud. But while I’m waiting for Charles Münch and his band I’m writing to you in a corner behind the Stehplatz using a ",{"_key":28564,"_type":13,"marks":28565,"text":28566},"42955728a544",[73],"Feuerhydrant",{"_key":28568,"_type":13,"marks":28569,"text":28570},"285bbed96c11",[]," as a writing desk, which is just exactly the right height.",[],{"_key":28573,"_type":500,"caption":28574,"image":28575,"markDefs":4},"8fde83214060","Writing on the \"Feuerhydrant\"",{"caption":4,"id":28576,"meta":28577,"parentID":4,"parentType":3456,"url":28580},"35ab3641860bdc0900278152c40fb7c4e63606dc",{"_type":506,"aspectRatio":28578,"height":3493,"width":28579},0.6928374655647382,503,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F35ab3641860bdc0900278152c40fb7c4e63606dc-503x726.jpg",{"_key":28582,"_type":9,"children":28583,"image":4,"markDefs":28588,"style":634},"6aa8ce16c7cd",[28584],{"_key":28585,"_type":13,"marks":28586,"text":28587},"fd23a6b2afe9",[],"The mail didn’t come until midday today (probably because of the extra work caused by the holiday yesterday) and when there was no work permit I went off to the Swiss Embassy to see why not and a sign on the door said: hours 9 – 12 and so I couldn’t get in. Nelson was being a bit depressed for no reason that even he could think of and said that it was a typical working day in Vienna. He says he spends 40% of his time walking somewhere only to find it is shut. After that we went to two Mensas which were also shut! But I’m determined to stay optimistic and I’ll go off there again early tomorrow, I won’t even wait for the mail to come. It would be good if you rang the Berlitz but then I hope to be back again before you’ll have had time to do that. They’re buzzing rather nastily for the concert to start so I’ll go and see what’s happening.\n",[],{"_key":28590,"_type":9,"children":28591,"image":4,"markDefs":28603,"style":634},"fde6b6faef61",[28592,28596,28599],{"_key":28593,"_type":13,"marks":28594,"text":28595},"143109cedcbb",[],"Half Time: It’s been a good first half but I get very easily disturbed by the audience. You see, walking across the ",{"_key":28597,"_type":13,"marks":28598,"text":28161},"728001639f41",[73],{"_key":28600,"_type":13,"marks":28601,"text":28602},"8d1613af75ff",[]," sounds a bit like walking across your bed-sitting room at the Wehntalerstrasse — not that the people are walking here all the time, but they can’t all stand still. Especially between movements they think is a time to move and they are still moving when then the next movement starts and so the beginnings are filtered through these wood-squeaking sounds. There’s even a budding young conductor who conducted the entire Schubert for the benefit of his admirers and although he makes no (or very little) noise, his arm movement is very distracting. But I must stop complaining because the Schubert was wonderfully played and interpreted and the Prokofiev most delicately performed by quite a young girl soloist. They’re buzzing again.\n",[],{"_key":28605,"_type":9,"children":28606,"image":4,"markDefs":28611,"style":634},"40ee3a7d00c3",[28607],{"_key":28608,"_type":13,"marks":28609,"text":28610},"2480400109bc",[],"Next day: I’m now at the Swiss Embassy and the man here says they’ve heard nothing from Bern, but he’s just the welcoming (?!) man. He says I may see the officer. Anyway, it’s not many people who have been to the Swiss Embassy with a cabbage! You see, Nelson and I have just been to the market and there was nowhere to put the cabbage we bought there, so I had to bring it with me — but it’s wrapped fortunately.\n",[],{"_key":28613,"_type":9,"children":28614,"image":4,"markDefs":28619,"style":634},"3af4d1398ee2",[28615],{"_key":28616,"_type":13,"marks":28617,"text":28618},"6c781ac0b185",[],"Back home again now and things aren’t very bright. The Swiss authorities can undermine a wee bit even Kit’s optimism.\n",[],{"_key":28621,"_type":9,"children":28622,"image":4,"markDefs":28627,"style":18},"9bda04453035",[28623],{"_key":28624,"_type":13,"marks":28625,"text":28626},"25bbb1227fd0",[],"Perhaps it was naïve to think the Swiss Embassy would know anything, but I thought that they must have had some experience with people waiting for work permits, and that they could offer some friendly advice. Instead we just met a nervous lady whose only suggestion was to contact the Berlitz School, something which Brigitte had already done. I sunk into a state of mild depression. On the one hand, living in Vienna could be exciting, living with Nelson too, but I wanted to live with Brigitte and in Switzerland. I had known it could take at least two weeks when I came here but now it was nearly three and there was no sign that this state of waiting would change.\n",[],{"_key":28629,"_type":9,"children":28630,"image":4,"markDefs":28635,"style":634},"778c28bf989b",[28631],{"_key":28632,"_type":13,"marks":28633,"text":28634},"30c8cfc16ef1",[],"In the middle of yesterday there came upon me a terrible depression that I might be here for ever or at least for three or four weeks. That’s the impression I got from an indifferent seeming, nervous giggling, cross-eyed looking woman at the Swiss Embassy: “The only people who could hurry up the work permit”, she said, “were the Berlitz people”.\nSo I thought I’d ring them up and then I thought I’d write to them espresso, and then I couldn’t remember the boss-man’s name! So I thought I’d ring you, cos I’d much rather ring you, and you could go down and growl at them which would surely get things moving (Oh my Dear! Sorry! — I don’t mean that you’re a very vicious growler, but under these condition you might be — if you thought it would get me back faster) …\n",[],{"_key":28637,"_type":9,"children":28638,"image":4,"markDefs":28674,"style":18},"1b0eb2ff48e5",[28639,28643,28647,28650,28654,28658,28662,28666,28670],{"_key":28640,"_type":13,"marks":28641,"text":28642},"8ce2bd7ec4f0",[],"By this time Porgy and Bess had finished and Nelson’s evenings were free again. We decided to go to a modern concert, one with works by Ligeti (whom we had never heard of) and Schönberg. It was in the ",{"_key":28644,"_type":13,"marks":28645,"text":28646},"c6d98de596a2",[73],"Mozart Saal",{"_key":28648,"_type":13,"marks":28649,"text":2198},"59a2928a0d30",[],{"_key":28651,"_type":13,"marks":28652,"text":28653},"a9311c0956dc",[73],"Wiener Konzerthaus",{"_key":28655,"_type":13,"marks":28656,"text":28657},"1b844b6e365f",[],". The Schönberg work was “Pierot lunaire” which although a highly original work with its instrumentation and Sprechgesang was not very uplifting for someone in my state. But the Ligeti ",{"_key":28659,"_type":13,"marks":28660,"text":28661},"45107be0804c",[73],"Aventures & Nouvelles Aventures ",{"_key":28663,"_type":13,"marks":28664,"text":28665},"6127de28d0c0",[],"was quite different, in fact I had never heard anything like it in my life before. It was written for three singers, soprano, alto and baritone and a similar instrumentation to the Schönberg work but in contrast to ",{"_key":28667,"_type":13,"marks":28668,"text":28669},"a76c3e16235f",[73],"Pierot Lunaire",{"_key":28671,"_type":13,"marks":28672,"text":28673},"60abae7b9845",[]," it had an important part for percussion, which as well as the normal skin, wood and metal instruments, required the player to tear paper, hammer a box and to empty a tray of crockery on the floor.\n",[],{"_key":28676,"_type":9,"children":28677,"image":4,"markDefs":28682,"style":18},"313e6ae89e6a",[28678],{"_key":28679,"_type":13,"marks":28680,"text":28681},"fcccefff601f",[],"But more spectacular than the instrumentalists were the singers. They were expected to make all manner of sounds possible (and apparently impossible) with their voices: heavy breathing, speaking, shouting and very precise singing from normal range and over into the falsetto. Often an outburst from a voice was followed by a soft echo effect from an instrument on exactly the same note — either these people had practiced for months or they all had perfect pitch. And especially the singers seemed to be acting out dramatic instructions — the male singer was black (William Pearson), which for no good reason I can think of, seemed to add to the drama. I’ve always loved it when singers show something of the rôle that they are singing about, but this seemed to go a step further with the singers reacting to each other: explaining, shocking and being shocked — all with their faces, they never moved far from their places by their music stands. Seen in retrospect, this was the beginning of new Music Theatre which was to come later with Berio, Stockhausen, Kagel, etc.\n",[],{"_key":28684,"_type":9,"children":28685,"image":4,"markDefs":28690,"style":18},"8eb748701c18",[28686],{"_key":28687,"_type":13,"marks":28688,"text":28689},"fcf0aecc9496",[],"Two Manessische Liederhandschrift (pictures from the German Minnesänger) postcards came from Zurich:",[],{"_key":28692,"_type":500,"caption":28693,"image":28694,"markDefs":4},"9044d7e19d08","Codex Manesse, King Otto IV of Brandenburg playing chess with a lady (ca. 1320) Codex Manesse, 71v, Kristan of Hamle (medieval Lovers, pulled in a basket, ca. 1310) ",{"caption":4,"id":28695,"meta":28696,"parentID":4,"parentType":3456,"url":28699},"6b397ce3bf1b00d0b664f9dd7c1f643ae30f1e70",{"_type":506,"aspectRatio":28697,"height":23665,"width":28698},1.4298245614035088,815,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F6b397ce3bf1b00d0b664f9dd7c1f643ae30f1e70-815x570.jpg",{"_key":28701,"_type":9,"children":28702,"image":4,"markDefs":28707,"style":18},"2d7ae62523ab",[28703],{"_key":28704,"_type":13,"marks":28705,"text":28706},"eca7e485eb59",[],"\n1. 2. Dear Kit, Lets play chess and wait and wait and wait …… until those musicians start playing and playing and playing … … and when we’ve waited enough …… and when you come back ……I’ll let you in in that way! Love, B",[],{"_key":28709,"_type":9,"children":28710,"image":4,"markDefs":28714,"style":18},"c973ab957c22",[28711],{"_key":28712,"_type":13,"marks":28713,"text":25},"cd91e945070d",[],[],{"_key":28716,"_type":9,"children":28717,"image":4,"markDefs":28722,"style":18},"2cc61f936024",[28718],{"_key":28719,"_type":13,"marks":28720,"text":28721},"c0679a80aa1d",[],"Suddenly it came, the long awaited permission to work at the Berlitz School in Switzerland! Nelson found me the telephone number of the Kinderspital so that I could tell Brigitte. It was enormous, four numbers for Switzerland and another two for Zürich and then the six hospital numbers. I dialled them very carefully and heard it ringing at the other end. A german speaking voice answered and I answered with my few words of German, which Nelson had taught me: ",[],{"_key":28724,"_type":9,"children":28725,"image":4,"markDefs":28730,"style":18},"8ee4d0c4e1d2",[28726],{"_key":28727,"_type":13,"marks":28728,"text":28729},"b0b88f70eb84",[],"\"Darf ich bitte Fräulein Bänninger sprechen?\" There was a complicated answer: The telephone lady tried to tell me that Brigitte was in a different part of the Kinderspital and that she was unfortunately unable to connect me with that part. I would have to ring again with a different number. Eventually I understood that this lady wanted to dictate the correct number to me:",[],{"_key":28732,"_type":9,"children":28733,"image":4,"markDefs":28738,"style":18},"fbf1519b5ac0",[28734],{"_key":28735,"_type":13,"marks":28736,"text":28737},"a5303ff83d0a",[],"\"Siebenundvierzig, neunzig, neunzig\" — I was so nervous that I understood nothing. \"Noch einmal bitte\" — \"Siebenundvierzig, neunzig, neunzig\" — It was still incomprehensible and I had the horrible feeling I might never grasp it, but I tried again: \"Bitte noch einmal!\" and the telephone lady in her loudest and clearest voice: ",[],{"_key":28740,"_type":9,"children":28741,"image":4,"markDefs":28746,"style":18},"b30193230ee3",[28742],{"_key":28743,"_type":13,"marks":28744,"text":28745},"f3a8b7fa52d0",[15],"\"VIER SIEBEN NEUN NULL NEUN NULL\" ",[],{"_key":28748,"_type":9,"children":28749,"image":4,"markDefs":28754,"style":18},"4b8100e6f6f3",[28750],{"_key":28751,"_type":13,"marks":28752,"text":28753},"5c228182f9d0",[],"This time I got it! And I rang Brigitte directly and we could both jump up and down, albeit still 750 km apart. ",[],{"_key":28756,"_type":9,"children":28757,"image":4,"markDefs":28761,"style":18},"744ecb265424",[28758],{"_key":28759,"_type":13,"marks":28760,"text":25},"3f811ff93eb9",[],[],{"_key":28763,"_type":9,"children":28764,"image":4,"markDefs":28769,"style":18},"70d3a22718cc",[28765],{"_key":28766,"_type":13,"marks":28767,"text":28768},"6d3c9cd12a82",[],"I have often, especially as a teacher, thought back to this moment in my life. The telephone number of the Kinderspital, or rather Brigitte's part of it, has long since changed, but the number 479090 is marked indelibly in my brain. This told me that when a fact that must be learnt is important enough, it can be learnt. But of course even the best of teachers cannot constantly make all the facts he is trying to impart, so emotionally frightening, so powerfully urgent, as this number was to me in Vienna in November of 1966. Nevertheless it was demonstrating a principle that could perhaps be used in a variety of ways.\n",[],{"_key":28771,"_type":9,"children":28772,"image":4,"markDefs":28777,"style":18},"29c1052ebcf1",[28773],{"_key":28774,"_type":13,"marks":28775,"text":28776},"4b77b11fa20a",[],"So I returned HOME. In our imaginations Brigitte hoisted me into her apartment on the Wehntalerstrasse. Herr Ledergerber and the old ladies withdrew into their lairs and our new life started. The new apartment in the Gartenstrasse in Bülach was not yet ready, but almost.\n",[],{"_key":28779,"_type":9,"children":28780,"image":4,"markDefs":28785,"style":634},"fdf45650fa8e",[28781],{"_key":28782,"_type":13,"marks":28783,"text":28784},"073d09707e6b",[73],"Dear Betty,                                                                      (Zurich, 10. 11. 66) ",[],{"_key":28787,"_type":9,"children":28788,"image":4,"markDefs":28793,"style":634},"01b16111e1a9",[28789],{"_key":28790,"_type":13,"marks":28791,"text":28792},"d0fe2c69f063",[73],"I was just about to write you a few lines when I got your good letter. I wanted to tell you lots of good things, especially that the NZ Consulate in Geneva told us of the arrival of the long awaited affidavit, so we will get it in the next few days and then, dear Betty we will soon be married. Isn’t that very very wonderful?? A pity that you won’t be here but we will think about you very specially and so you will be here too, won’t you?\n",[],{"_key":28795,"_type":500,"caption":28796,"image":28797,"markDefs":4},"3875477dd1a3","Plan of Flat in the Gartenstrasse",{"caption":4,"id":28798,"meta":28799,"parentID":4,"parentType":3456,"url":28803},"a3dd12262260bccaf2c20e580488a3dcab63401e",{"_type":506,"aspectRatio":28800,"height":28801,"width":28802},1.3356890459363957,849,1134,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fa3dd12262260bccaf2c20e580488a3dcab63401e-1134x849.jpg",{"_key":28805,"_type":9,"children":28806,"image":4,"markDefs":28811,"style":634},"415ee5a236ff",[28807],{"_key":28808,"_type":13,"marks":28809,"text":28810},"3fa7dbc01c7b",[73],"And now look: this is our new flat: we shifted yesterday. It was hard work, we got very tired. Kit was so good and helped such a lot. I couldn’t have managed without him. It’s still an awful mess but after a few days everything will be fine.\n",[],{"_key":28813,"_type":9,"children":28814,"image":4,"markDefs":28819,"style":634},"de6f893ba803",[28815],{"_key":28816,"_type":13,"marks":28817,"text":28818},"4549f1a8cddd",[73],"8pm. I’m still in the hospital because I have lots of work. Kit is teaching at the Berlitz School from 7 – 9pm. Then I’ll get him with our little tiny pale-blue car called Pylades (you know that man? Friend of Orestes?), but the abbreviation is simply Py or Pü …… and nobody would notice behind it that famous Greek figure!\n",[],{"_key":28821,"_type":9,"children":28822,"image":4,"markDefs":28827,"style":634},"4fc12099bb1f",[28823],{"_key":28824,"_type":13,"marks":28825,"text":28826},"da9e3bb23272",[73],"I’m so glad you like Klee’s colours! The colours are most important in his paintings: He was born in Berne (capital of Switzerland) and lived there for a long time. There is a permanent Klee exhibition there which I love. I must take Kit there one day and show him — and you too when you come to see us! No, I don’t really paint, I just like looking at paintings a lot (an uncle of mine was a painter, he died during my Perugia stay). And I haven’t got a “professional” voice. I just enjoy singing songs very much! And I do like your letters very much. I’m glad you are pleased with your Russian grammar exam paper. Have I already told you how much I admire your studying enthusiasm?\n",[],{"_key":28829,"_type":9,"children":28830,"image":4,"markDefs":28835,"style":634},"04627e827566",[28831],{"_key":28832,"_type":13,"marks":28833,"text":28834},"7458430f7e9f",[73],"Is it really spring in N.Z. right now? It’s impossible to imagine, because it’s terribly cold and terribly wet here these days. Fortunately it was not so bad yesterday when we shifted.\n",[],{"_key":28837,"_type":9,"children":28838,"image":4,"markDefs":28843,"style":634},"00d3bfac961e",[28839],{"_key":28840,"_type":13,"marks":28841,"text":28842},"fa602094bcdd",[73],"I sometimes think you might like to know a bit more about your new daughter’s family? I’ll tell you very briefly:\n",[],{"_key":28845,"_type":9,"children":28846,"image":4,"markDefs":28851,"style":634},"2fd3a432b5db",[28847],{"_key":28848,"_type":13,"marks":28849,"text":28850},"612bf9b0ae9f",[73],"Vati (father) has been a secondary teacher: French, German and History. He is retired now. But his special field was and is reading and writing, especially writing of poetry and essays.\n",[],{"_key":28853,"_type":9,"children":28854,"image":4,"markDefs":28859,"style":634},"a187d41b32b5",[28855],{"_key":28856,"_type":13,"marks":28857,"text":28858},"a4153c54d734",[73],"Müeti (mother) got married when she was about twenty (just after having passed her exams, they call it Abitur in Germany, learning Latin and things, you know). And then, 5 children turned up:\n",[],{"_key":28861,"_type":9,"children":28862,"image":4,"markDefs":28867,"style":634},"156ab2280c20",[28863],{"_key":28864,"_type":13,"marks":28865,"text":28866},"2c81929294dd",[73],"Gudrun, my eldest sister, studied music (flute) and teaches now (flute lessons). She is married with a writer who speaks French. Quite a difficult man and quite a hard life. But she is happy, cos she has a very sweet and nice 7 months old little boy who always smiles at people.\n",[],{"_key":28869,"_type":9,"children":28870,"image":4,"markDefs":28875,"style":634},"521b7785ee9a",[28871],{"_key":28872,"_type":13,"marks":28873,"text":28874},"d34db0c3665e",[73],"And the second one is Hilde (primary school teacher, married to another primary school teacher). They both teach and have a little wee two year old boy called Pauli.\n",[],{"_key":28877,"_type":9,"children":28878,"image":4,"markDefs":28883,"style":634},"d490a7219d14",[28879],{"_key":28880,"_type":13,"marks":28881,"text":28882},"24181958fdab",[73],"And the third one? That’s Brigitte, you see. I don’t know much about her. I only know that she is extremely happy cos she met that very special Kit. She enjoys her very interesting job at the Children’s hospital: she types and phones and does every day lots of good things for these nice and friendly doctors. And if poor sick children smile at her, she is glad. Otherwise, she is a very bad flute player and a bad poem writer — but she enjoys doing these things! And isn’t that important? Oh Betty, it’s hard to write about myself, I don’t know any more. We’d better meet very soon, don’t you think?\n",[],{"_key":28885,"_type":9,"children":28886,"image":4,"markDefs":28891,"style":634},"5177e6821b25",[28887],{"_key":28888,"_type":13,"marks":28889,"text":28890},"da856f0e8060",[73],"And there is Renate, 20 years old. Future primary teacher. Final exams next spring. All teachers, you see. (All my grandparents were teachers too!!!).\n",[],{"_key":28893,"_type":9,"children":28894,"image":4,"markDefs":28899,"style":634},"5c743541c4fc",[28895],{"_key":28896,"_type":13,"marks":28897,"text":28898},"82fde3c5c70a",[73],"And last but not least, let me present you Adrian: Last week he started his University studies: Journalism and Psychology. Also he has his own Jazz band.\n",[],{"_key":28901,"_type":9,"children":28902,"image":4,"markDefs":28907,"style":634},"3ea1e6e55f2c",[28903],{"_key":28904,"_type":13,"marks":28905,"text":28906},"bef695f768a8",[73],"You see, dear Betty, quite a big funny family. You like it a bit? Lots of love, Brigitte\n",[],{"_key":28909,"_type":9,"children":28910,"image":4,"markDefs":28915,"style":18},"cb43ae47d9d2",[28911],{"_key":28912,"_type":13,"marks":28913,"text":28914},"7870a32f5a43",[],"I had also started my new teaching life at the Berlitz School. There were interesting students but the organisation was not always friendly. The biggest problem was that I had to make my timetable fit the needs of the customers. Often I had a private student at 10am and then nothing until 3pm and then another long break until the evening classes started at 7pm. It was a private school and it was completely dependent on the money paid by those wanting to learn a language. The pupils for private lessons paid the school 15 francs an hour and from that the school paid the teachers 5 francs 80 cents. So the obvious thing to do was to arrange with these students to meet them at home or in a café for 10 francs per hour. There was such a café in the basement of the school building, but this, although very handy, was a bad place to meet because the dragon-ladies from the school reception made frequent forays to check that no such private arrangements were taking place, and in the event of finding a culprit they would threaten him with withdrawal of the work permit. Nevertheless, although I was never going to make much money here it was enough to pay the rent of the new flat, but for everything else (food, clothes and studying) I was completely dependent of Brigitte and here secretarial job.\n",[],{"_key":28917,"_type":9,"children":28918,"image":4,"markDefs":28923,"style":18},"e6e0fc91df88",[28919],{"_key":28920,"_type":13,"marks":28921,"text":28922},"e1f496837961",[],"As soon as we moved into the flat in Bülach I arranged to learn German with Brigitte’s father. I couldn’t have had a better teacher although, of course, he did not use the shock treatment which I had experienced in Vienna for learning the Kinderspital telephone number. He had just retired from his teaching life and was now concentrating on his own reading and writing. Although his English was excellent he spoke only High German with me as did Müeti whose mother tongue this was. What was however difficult, was that the Swiss always speak their own dialects among each other and so for the whole of the year which followed while I was learning High German, I understood almost nothing of the everyday talk that was going on around me. Nevertheless, the decision to learn the “high” language was certainly correct, since this was the written language and all formal situations (radio, school lessons, church services, public lectures) were conducted in this language. And of course, if I was to study in Germany, then I would need this. All German speaking Swiss have learnt the “high” language (or Schriftdeutsch, as they often call it) for the ten years of their official school education and when they realise that the person they are talking to is not Swiss they switch automatically to High German. This means that one is not automatically excluded from a conversation among adults. The sad thing, however, is that one cannot talk to small children who are not yet able to speak the “high” language.\n",[],{"_key":28925,"_type":9,"children":28926,"image":4,"markDefs":28931,"style":18},"17c3a6d1c0f1",[28927],{"_key":28928,"_type":13,"marks":28929,"text":28930},"c045f74a9189",[],"As long as my timetable at the Berlitz School allowed it, I tried to visit him twice a week. We started with a normal language book but soon changed to reading short stories by Johann Peter Hebel (1760–1826). These mostly light hearted and elegantly written anecdotes from the late 18th and early 19th century left a lasting impression on me. Here, as an example, is an extract from a story about Fredrick the Great and the miller whose mill was much too close to his castle in Potsdam:\n",[],{"_key":28933,"_type":9,"children":28934,"image":4,"markDefs":28939,"style":18},"d00afe70fff4",[28935],{"_key":28936,"_type":13,"marks":28937,"text":28938},"14e4e0dd0468",[],"Ausserdem aber, wenn der König in seinen besten Gedanken war und nicht an den Nachbar dachte, auf einmal liess der Müller das Wasser in die Räder schiessen und dachte auch nicht an den Herrn Nachbar, und die Gedanken des Königs stellten das Räderwerk der Mühle nicht, aber manchmal das Klapperwerk der Räder die Gedanken des Königs.\n",[],{"_key":28941,"_type":9,"children":28942,"image":4,"markDefs":28947,"style":18},"01ba63524eab",[28943],{"_key":28944,"_type":13,"marks":28945,"text":28946},"56478c1e03c0",[],"Besides, when the king was in his best thoughts and not thinking of his neighbour, suddenly the miller would let the water shoot into the mill wheels and was also not thinking of his lordly neighbour, and the thoughts of the King could not stop the wheels of the mill as could often the clatter of the wheels the thoughts of the king.\n",[],{"_key":28949,"_type":9,"children":28950,"image":4,"markDefs":28962,"style":18},"711a07e876f2",[28951,28955,28958],{"_key":28952,"_type":13,"marks":28953,"text":28954},"eefc2287b973",[],"Bülach was a half hour’s trip by train or car from Zürich, so even when forced to wait several hours between private lessons it was impracticable (and expensive!) to return home. Instead I would go to a café in the city and use this time to teach myself German. I had a copy of Hemmingway’s “The Old Man and the Sea” in German and in English which was especially useful.\nMy mind went back to the English lady I had met at the ",{"_key":28956,"_type":13,"marks":28957,"text":23929},"3885e42fdbdf",[73],{"_key":28959,"_type":13,"marks":28960,"text":28961},"5a557d48ec53",[]," in Perugia who had said, I was still young enough to make the necessary mouth changes for Italian. Now for German there were new adjustments to make, although, so it seemed at least, less extreme than for Italian. Nevertheless there were new sounds to make, sounds not used by an English mouth. When I compared English “Zurich” with German “Zürich” every sound in that word was different: z (voiced s) \u002F z [ts], u \u002F ü, r (English r) \u002F (German lightly rolled), i [ǝ] \u002F [i], ch [k] \u002F … and here was a completely new sound, the German guttural ch, as in Bach or Buch, comes, after all other vowel sounds out of the throat, but here (after an ‘i’) it is made as a fricative sound between the tongue and the hard palate — like a ‘sh’ made near the middle of the tongue.\n",[],{"_key":28964,"_type":9,"children":28965,"image":4,"markDefs":28970,"style":18},"0f91b909b9a7",[28966],{"_key":28967,"_type":13,"marks":28968,"text":28969},"b4aabbcac6e9",[],"I learnt a lot from the mispronunciations of my students. It was clear, for example that German had two u-sounds: [u] and [ü]. But it was not clear that neither of these was exactly the same as the English ‘u’. This was somewhere in between the two German ‘u’-s. Fortunately I had already made the change of mouth shape for the Italian ‘u’ which was very similar to the German one, the ‘ü’ would however mean a new contortion. But it was one thing to be able to make the right sounds and quite another to be able to hear these sounds. The German ear has learnt to hear the difference between [u] and [ü] from the cradle. Because my English ear had not been trained in this direction I often found myself wondering if I had heard an [u] or an [ü].\n",[],{"_key":28972,"_type":9,"children":28973,"image":4,"markDefs":28978,"style":18},"f11f99cbb771",[28974],{"_key":28975,"_type":13,"marks":28976,"text":28977},"9b1b2a8d229a",[],"The other umlaut sounds, ä and ö, were less difficult since there were very similar sounds in English: ö [ǝ:] and ä [ɛ] (German) or ä [æ] (Swiss). More difficult were the German sounds [e] and [o], since in English they are almost always spoken as a diphthong: [ei] as in ‘say’ [sei] and [ou] as in ‘no’ [nou]. One has to speak the beginning of these diphthongs and consciously avoid saying the final [i] or [u], so strongly is the English mouth programmed to speak these double sounds. “Oh no!” for example would have been spoken by my German speaking students often as [o no] whereas an English speaker would say [ou nou] or, with a very British accent, [öü nöü]!!\n",[],{"_key":28980,"_type":9,"children":28981,"image":4,"markDefs":28986,"style":18},"7de7a7b1e809",[28982],{"_key":28983,"_type":13,"marks":28984,"text":28985},"5def2b55299a",[],"Another major pronunciation problem for the students was, of course, the two English ‘th’ sounds: θ, ð. If I was not very strict (and I was in this case!) they would be spoken as [t] (or [s]) or [d]. The difference between tree and three or sink and think seemed to me important enough to justify this firmness. Besides, I expected the same of my German teachers and appreciated it when, for example, Brigitte made me make a difference between ‘denn’ [dɛn] and ‘den’ [de:n].\n",[],{"_key":28988,"_type":9,"children":28989,"image":4,"markDefs":28994,"style":18},"6a45cc666d93",[28990],{"_key":28991,"_type":13,"marks":28992,"text":28993},"9b8be52293be",[],"As a musician the problems of pronunciation were more easily solved than those of grammar. Curiously, with Italian it had never bothered me that a tree was masculine and a plant feminine. There were no other genders. But now in German there was a third possibility, apparently just as in English: neuter. Unfortunately the tree was still masculine and the plant still feminine and not neuter, as an English speaker would have liked it to be. Learning to say der Baum or die Pflanze was not too difficult, what was difficult (and still is, nearly 50 years later), was to refer to the tree or to the plant as he and she. Or, worse still, to the girl (das Mädchen) as it (es). And it can be even more complicated depending on how one refers to an object. A large church, for example, could be der Dom, die Kathedrale, or das Münster and therefore from one moment to the next can change from he to she or to it. Although German speakers learn this in that wonderful early age when everything is soaked up and laid down as normal, it is comforting to notice that even they can sometimes be confused with genders. But the main mistake on my part is to assume that ‘er’, ‘sie’ and ‘es’ are the same as ‘he', ‘she’ and ‘it’. This is probably the biggest language trap of all: to assume that related words (between one’s own and the new language) are the same. Where no relationship is obvious one learns new words unencumbered from their parallel meanings in the native language. But where common origins are clear one tends to forget that both languages have grown in quite different directions in the last few thousand years.\n",[],{"_key":28996,"_type":9,"children":28997,"image":4,"markDefs":29002,"style":18},"8d5106b4e8d5",[28998],{"_key":28999,"_type":13,"marks":29000,"text":29001},"cb0e326c539a",[],"These are just some of the beginning (and continuing) problems. There remains that huge chapter of cases (nominative, accusative, dative and genitive) and another of syntax, and yet another of those impossibly illogical words: prepositions, chapters which not only help you to express yourself in the new language, they also help you to understand your own language in a new light. The deeper your understanding of the new language the greater is your appreciation of your mother language. It is an on-going process — and it never finishes.",[],{"_key":29004,"_type":9,"children":29005,"image":4,"markDefs":29009,"style":18},"b253d90ba560",[29006],{"_key":29007,"_type":13,"marks":29008,"text":25},"42efdc95e004",[],[],{"_key":29011,"_type":9,"children":29012,"image":4,"markDefs":29016,"style":18},"7f7ec6af7d62",[29013],{"_key":29014,"_type":13,"marks":29015,"text":25},"d42aba747a79",[],[],{"_key":22453,"_type":9,"children":29018,"image":4,"markDefs":29022,"style":6894},[29019],{"_key":29020,"_type":13,"marks":29021,"text":22454},"ed46740aac240",[15],[],{"_key":29024,"_type":9,"children":29025,"image":4,"markDefs":29030,"style":18},"267e0765d073",[29026],{"_key":29027,"_type":13,"marks":29028,"text":29029},"0022d0eabd8c",[],"After all those months of impediments we were now together. We had a flat of our own, we could sleep together, we were happy. We were however “living in sin”. There were fortunately no prim neighbouring ladies in this building who would write to and complain to the owner — only a poor demented soul who lived above us and banged on the floor with a broomstick when I played the piano. Nevertheless marriage was important, if only to ensure a safer residence permit. When I went to the Gemeinde Bülach to register, as every person who moves into, or even within, Switzerland is required to do, I was told that I was one of a group of 20% of foreigners living here. The others were mostly Italians, who were just here to work and who were required by the nature of their permits to leave the country again every nine months. By being married to a Swiss I could have more permanent residency — so long as I obeyed the law.\n",[],{"_key":29032,"_type":9,"children":29033,"image":4,"markDefs":29038,"style":18},"204ea0830dc6",[29034],{"_key":29035,"_type":13,"marks":29036,"text":29037},"4e77ed0d9b02",[],"By now the documents had arrived from New Zealand, which proved that I was not already married and so we arranged for a civil marriage ceremony at the Gemeinde. We would need two people as witnesses, preferably people also competent in English in case I should not understand any part of the procedure. Brigitte’s sister Renate and her fiancé Ueli were pleased to take part. The ceremony would be on the 14th December at 11am and afterwards the family would gather for a meal with the parents at their flat in Vögeliacher. I was allowed to express a wish for this dinner. I had seen in the shops and the restaurants the word Rehpfeffer, venison, and thought this would be very special. Müeti agreed and ordered this to be delivered from the Kreuz Restaurant.\n",[],{"_key":29040,"_type":9,"children":29041,"image":4,"markDefs":29046,"style":18},"d0f945861959",[29042],{"_key":29043,"_type":13,"marks":29044,"text":29045},"12479f457e2c",[],"Just before the day, I decided I had had enough of wearing a beard and shaved it off and on the morning of the 14th I went to the hairdresser, Herr Iten (for the last time for the next 40 years — thereafter Brigitte kept my hair in order) who, in spite of his own long wavy white hair, left me with very little on my head.\n",[],{"_key":29048,"_type":9,"children":29049,"image":4,"markDefs":29054,"style":18},"0e8c715e8bd9",[29050],{"_key":29051,"_type":13,"marks":29052,"text":29053},"fbfc7b799bd4",[],"The ceremony in the Rathaus was conducted by Herr Führer. Ueli arrived late, he had forgotten his passport and had to race home again (about 5 km to the next village). Herr Führer had evidently checked in his English-German dictionary the word ‘ledig’ and found three answers: single, unmarried, bachelor. To be quite sure he asked me to swear that I was all three, which of course I did.",[],{"_key":29056,"_type":500,"caption":29057,"image":29058,"markDefs":4},"45a19c85141c","Family group at Vögeliacher, 14. 12. 1966 after the civil marriage ceremony in the Bülacher Rathaus: Hilde, Vati, Gudrun holding Renaud, Renate, Ueli, Müeti, Kit and Brigitte",{"caption":4,"id":29059,"meta":29060,"parentID":4,"parentType":3456,"url":29064},"e670dc44092313619a962ad366dbf0698edce969",{"_type":506,"aspectRatio":29061,"height":29062,"width":29063},2.1588628762541804,598,1291,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fe670dc44092313619a962ad366dbf0698edce969-1291x598.jpg",{"_key":29066,"_type":9,"children":29067,"image":4,"markDefs":29071,"style":18},"df2abd808a2a",[29068],{"_key":29069,"_type":13,"marks":29070,"text":25},"3a896527e260",[],[],{"_key":29073,"_type":500,"caption":29074,"image":29075,"markDefs":4},"98ca04434192","The Wedding Day in Bülach — with snow!",{"caption":4,"id":29076,"meta":29077,"parentID":4,"parentType":3456,"url":29081},"629c1d7f46680db76ba23c6b248a81e25788b5f9",{"_type":506,"aspectRatio":29078,"height":29079,"width":29080},0.6963890935887989,1357,945,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F629c1d7f46680db76ba23c6b248a81e25788b5f9-945x1357.jpg",{"_key":29083,"_type":9,"children":29084,"image":4,"markDefs":29089,"style":18},"e879139d6574",[29085],{"_key":29086,"_type":13,"marks":29087,"text":29088},"b91b5e94780a",[],"On the same evening we boarded the night train for our honeymoon in Paris.\nEven in winter Paris was beautiful, a very different beauty from “Paris in the Springtime”. It was a normal working day as we arrived at 7 am. The Gare de l’Est was packed with workers pouring out of one Metro and streaming to another. We had seldom seen so many people in such a small place, possibly because we were not normally in a railway station at such an hour. We found a cheap room in a hotel near the Louvre which was our home for the next week. The bed was too small and the single pillow very uncomfortable but for newly weds it was perfect. It reminded us of Henri Toulouse-Lautrec’s picture “The Bed”.",[],{"_key":29091,"_type":500,"caption":29092,"image":29093,"markDefs":4},"564735a0ecf7","Henri Toulouse-Lautrec: “The Bed”.",{"caption":4,"id":29094,"meta":29095,"parentID":4,"parentType":3456,"url":29098},"c989199ba3f5da0dab6152b076becf0f52e260d2",{"_type":506,"aspectRatio":29096,"height":29097,"width":6571},1.4947683109118086,1338,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fc989199ba3f5da0dab6152b076becf0f52e260d2-2000x1338.jpg",{"_key":29100,"_type":9,"children":29101,"image":4,"markDefs":29106,"style":18},"29deb5fa0cbd",[29102],{"_key":29103,"_type":13,"marks":29104,"text":29105},"932f3077a2b4",[],"The days were short and the nights long but, again, this was ideal for us. Paris was Brigitte’s city and she set about showing it to me most seriously!: first Sainte Chapelle with its huge vertical Gothic lines containing exquisite stained glass windows. She asked a man in uniform where to find it: ",[],{"_key":29108,"_type":9,"children":29109,"image":4,"markDefs":29113,"style":18},"88ae27f6c9b7",[29110],{"_key":29111,"_type":13,"marks":29112,"text":25},"d60078182eb2",[],[],{"_key":29115,"_type":500,"caption":29116,"image":29117,"markDefs":4},"609fe8c5e314","Brigitte: 1. With map of Paris. 2. Asking directions at St. Chapelle. 3. By the Seine",{"caption":4,"id":29118,"meta":29119,"parentID":4,"parentType":3456,"url":29123},"4f2116f3c71573583bafdc7ea0c1039d65e48ce8",{"_type":506,"aspectRatio":29120,"height":29121,"width":29122},2.174803149606299,635,1381,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F4f2116f3c71573583bafdc7ea0c1039d65e48ce8-1381x635.jpg",{"_key":29125,"_type":9,"children":29126,"image":4,"markDefs":29131,"style":18},"d44c26ed0d0c",[29127],{"_key":29128,"_type":13,"marks":29129,"text":29130},"e48e00fec800",[],"— then after a walk along the river Seine we visited Notre Dame. She knew it well from previous visits and I from pictures but we were quite taken by the sheer size of the building, and by the fact that much of it (the building time ranged over centuries) was built a thousand years ago. ",[],{"_key":29133,"_type":9,"children":29134,"image":4,"markDefs":29138,"style":18},"bd29faee67c1",[29135],{"_key":29136,"_type":13,"marks":29137,"text":25},"aac81f798bd9",[],[],{"_key":29140,"_type":500,"image":29141,"markDefs":4},"a462dca0e695",{"caption":4,"id":29142,"meta":29143,"parentID":4,"parentType":3456,"url":29147},"207ef6d255b0e958e032676626f6f2675d21df10",{"_type":506,"aspectRatio":29144,"height":29145,"width":29146},1.4760869565217392,460,679,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F207ef6d255b0e958e032676626f6f2675d21df10-679x460.jpg",{"_key":29149,"_type":9,"children":29150,"image":4,"markDefs":29155,"style":18},"1275237d47af",[29151],{"_key":29152,"_type":13,"marks":29153,"text":29154},"d7f6ef42db86",[],"In many ways the outside impressed us more than the inside (with the exception of the fabulous vaulted ceiling): the sculpture around the portals, the cheeky gargoyles high up on the roof (unfortunately it did not rain, I would love to have seen them spouting water) and, most of all, the flying buttresses:",[],{"_key":29157,"_type":500,"caption":29158,"image":29159,"markDefs":4},"a7c5481a2ad1","Gargoyle and Flying Buttresses",{"caption":4,"id":29160,"meta":29161,"parentID":4,"parentType":3456,"url":29165},"c17b5303ddbd6762b11540bf891e57919a12f386",{"_type":506,"aspectRatio":29162,"height":29163,"width":29164},2.8016194331983804,494,1384,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fc17b5303ddbd6762b11540bf891e57919a12f386-1384x494.jpg",{"_key":29167,"_type":9,"children":29168,"image":4,"markDefs":29173,"style":18},"0133b3eec6c9",[29169],{"_key":29170,"_type":13,"marks":29171,"text":29172},"fb6ee14e0245",[],"\nAs I understand the history of these huge religious buildings, the word Gothic was used by the Renaissance architects as a perjorative term for the old and ugly architecture. I assume that one of their main dislikes was exactly these buttresses which we found so beautiful. They were of course a mechanical necessity. Their creators wanted to build tall and elegant buildings with tall and elegant windows which would let much more light inside than was the case with the earlier (Romanesque) architecture and they wanted to put an equally elegant stone roof on top whose weight would push such fine tall walls outwards and bring the contruction crashing to the ground. Solid buttresses would have given the necessary support but let much less light in. So they made crane-like buttresses, sometimes two or three rows of them, one on top of the other, and they made them with the same elegance as they had created for the building itself. That the late middle aged engineers were able to successly solve such enormously complex mechanical problems is indeed remarkable although we do not know how many similar projects failed. And equally remarkable is the fact that the building time of these cathedrals was much longer than a human life. These (mostly unknown) architects started projects which they knew with certainty that they would never see completed.\n",[],{"_key":29175,"_type":500,"caption":29176,"image":29177,"markDefs":4},"a84c792962ba","Brigitte by the Bouquinists along the Seine",{"caption":4,"id":29178,"meta":29179,"parentID":4,"parentType":3456,"url":29183},"27cef25a9db1c4054c3f24190172c4ba86754f50",{"_type":506,"aspectRatio":29180,"height":29181,"width":29182},1.4563318777292575,458,667,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F27cef25a9db1c4054c3f24190172c4ba86754f50-667x458.jpg",{"_key":29185,"_type":9,"children":29186,"image":4,"markDefs":29191,"style":18},"d8844d223191",[29187],{"_key":29188,"_type":13,"marks":29189,"text":29190},"34aff9192536",[],"Even in these cold days Paris was rich in outdoor life. There were still a few „bouquinists“ with open book-boxes on the Seine walls, and there were innumerable „clochards“ whose whole life was spent outside. They wore all the clothes which they owned, giving the appearance of a „michelin“ man and they slept on the streets in many layers of cardboard boxes.\n",[],{"_key":29193,"_type":500,"caption":29194,"image":29195,"markDefs":4},"26d3431f5852","Paris Clochard",{"caption":4,"id":29196,"meta":29197,"parentID":4,"parentType":3456,"url":29201},"666eb1e7d2c8b59b6df48df748b94d2019b52d1b",{"_type":506,"aspectRatio":29198,"height":29199,"width":29200},1.3068862275449102,668,873,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F666eb1e7d2c8b59b6df48df748b94d2019b52d1b-873x668.jpg",{"_key":29203,"_type":9,"children":29204,"image":4,"markDefs":29209,"style":18},"d45fdaac6061",[29205],{"_key":29206,"_type":13,"marks":29207,"text":29208},"157826b9d0ea",[],"The meat market at „Les Halles“ did have a roof but nevertheless had the feeling of being outside. This huge and not very hygenic looking business place was later replaced by a complex of shops and boutiques and interesting sculptures.",[],{"_key":29211,"_type":500,"caption":29212,"image":29213,"markDefs":4},"87673f3d47ba","Meat market at \"Les Halles\"",{"caption":4,"id":29214,"meta":29215,"parentID":4,"parentType":3456,"url":29219},"83e71f749c0499a6a516d00ea23949ebcb9d6021",{"_type":506,"aspectRatio":29216,"height":29217,"width":29218},1.490066225165563,453,675,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F83e71f749c0499a6a516d00ea23949ebcb9d6021-675x453.jpg",{"_key":29221,"_type":9,"children":29222,"image":4,"markDefs":29227,"style":18},"1e12fe05e16e",[29223],{"_key":29224,"_type":13,"marks":29225,"text":29226},"8dd6acc0e442",[],"\nOn Brigitte‘s favourite bridge, „Pont des Arts“ there were still a few well wrapped up painters and in the garden of the „Rodin Museum“ children in coats and caps were playing.",[],{"_key":29229,"_type":9,"children":29230,"image":4,"markDefs":29234,"style":18},"3af86a3be2a3",[29231],{"_key":29232,"_type":13,"marks":29233,"text":25},"98dec381012c",[],[],{"_key":29236,"_type":500,"caption":29237,"image":29238,"markDefs":4},"693ad22e932d","1. Pont des Arts            2. Rodin Garden ",{"caption":4,"id":29239,"meta":29240,"parentID":4,"parentType":3456,"url":29243},"288d5f16982be8fad69c9a5eacb20ab51c9706a6",{"_type":506,"aspectRatio":29241,"height":4715,"width":29242},1.511265164644714,872,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F288d5f16982be8fad69c9a5eacb20ab51c9706a6-872x577.jpg",{"_key":29245,"_type":9,"children":29246,"image":4,"markDefs":29251,"style":18},"dc6d741ae93d",[29247],{"_key":29248,"_type":13,"marks":29249,"text":29250},"9f6a399daf91",[],"\nEven the outdoor nightlife was still in full swing. Montmatre was packed with these curious peep-stalls with sad cold in body and soul young women.\n",[],{"_key":29253,"_type":500,"caption":29254,"image":29255,"markDefs":4},"c52eec3b5d0a","Night life in Montmartre",{"caption":4,"id":29256,"meta":29257,"parentID":4,"parentType":3456,"url":29261},"3c88b7dc10ccccd4b5e5f25fb48fee2d1c7929b8",{"_type":506,"aspectRatio":29258,"height":29259,"width":29260},1.4846491228070176,456,677,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F3c88b7dc10ccccd4b5e5f25fb48fee2d1c7929b8-677x456.jpg",{"_key":29263,"_type":9,"children":29264,"image":4,"markDefs":29276,"style":18},"fc5315645adf",[29265,29269,29272],{"_key":29266,"_type":13,"marks":29267,"text":29268},"5b035b6021b1",[],"In the Louvre we found (among many other things) the last two masterpieces of Michelangelo which I had specially wanted to see. These two were the only „slaves“ which he actually finished. Strangely, however, I found I really preferred the unfinished ones which are in the ",{"_key":29270,"_type":13,"marks":29271,"text":23264},"87f200c99a8b",[73],{"_key":29273,"_type":13,"marks":29274,"text":29275},"ac28487b2428",[]," in Florence. ",[],{"_key":29278,"_type":9,"children":29279,"image":4,"markDefs":29283,"style":18},"25d8253d5759",[29280],{"_key":29281,"_type":13,"marks":29282,"text":25},"879d9d74061b",[],[],{"_key":29285,"_type":500,"caption":29286,"image":29287,"markDefs":4},"fa0f3b574721","Michelangelo: Two Captives, Louvre",{"caption":4,"id":29288,"meta":29289,"parentID":4,"parentType":3456,"url":29293},"21bf00e55a76f41258091948b6d27d466b6e306b",{"_type":506,"aspectRatio":29290,"height":29291,"width":29292},1.1461988304093567,855,980,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F21bf00e55a76f41258091948b6d27d466b6e306b-980x855.jpg",{"_key":29295,"_type":9,"children":29296,"image":4,"markDefs":29301,"style":18},"10cf73475660",[29297],{"_key":29298,"_type":13,"marks":29299,"text":29300},"bbfeda47b150",[],"Although the finished sculptures have immense strength the Florentine works have even greater force, as if the figures are struggling to free themselves out of the granite blocks. Also, the different surfaces of the unfinished works (sometimes smooth, sometimes rough) give one a feeling of distance, as if the unpolished surface is slightly out of focus, or further away.\n",[],{"_key":29303,"_type":9,"children":29304,"image":4,"markDefs":29309,"style":18},"e7386a93d487",[29305],{"_key":29306,"_type":13,"marks":29307,"text":29308},"1dca19c859c9",[],"We also visited „Mona Lisa“ and we wondered again why she is so famous. ",[],{"_key":29311,"_type":500,"caption":29312,"image":29313,"markDefs":4},"1daeb1188401","Louvre, Mona Lisa",{"caption":4,"id":29314,"meta":29315,"parentID":4,"parentType":3456,"url":29316},"31c443a62d2ca4de3bc6da5c0fc4ec5f8bdde81f",{"_type":506,"aspectRatio":29258,"height":29259,"width":29260},"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F31c443a62d2ca4de3bc6da5c0fc4ec5f8bdde81f-677x456.jpg",{"_key":29318,"_type":9,"children":29319,"image":4,"markDefs":29324,"style":18},"1d18ce0b39ae",[29320],{"_key":29321,"_type":13,"marks":29322,"text":29323},"88c2009839f3",[],"Perhaps because people like boringly calm ladies we thought, or perhaps it is 500 years of publicity. For us it was clear, the painting is good but not special and the subject is not even special. ",[],{"_key":29326,"_type":9,"children":29327,"image":4,"markDefs":29347,"style":18},"dcdfd4c01c1c",[29328,29332,29336,29340,29343],{"_key":29329,"_type":13,"marks":29330,"text":29331},"563c303692d4",[],"Our favourite Parisiene gallery was the ",{"_key":29333,"_type":13,"marks":29334,"text":29335},"af362486e2ce",[73],"Jeu de Paume",{"_key":29337,"_type":13,"marks":29338,"text":29339},"18baed3a4a8b",[],". Here were the impressionists and the fauves and the expressionists and the other early 20th century groups of artists. This museum was alive with colour and innovation, with experimentation and audacity. How, for example, Monet could show the effects of light on the stones of the Rouen Cathedral! Early morning, full sun and evening! How he managed to paint so quickly we couldn‘t imagine. Thirty variations on a theme (not all here in the ",{"_key":29341,"_type":13,"marks":29342,"text":29335},"b4b64072c199",[73],{"_key":29344,"_type":13,"marks":29345,"text":29346},"3f737b6aa339",[],")!\n",[],{"_key":29349,"_type":500,"caption":29350,"image":29351,"markDefs":4},"02aa7460daf7","Claude Monet: Rouen Cathedral, 1. Morning Sun           2.  Full Sun",{"caption":4,"id":29352,"meta":29353,"parentID":4,"parentType":3456,"url":29357},"1a8a04f28294dcd5656ffcc4461f54bacc6e8470",{"_type":506,"aspectRatio":29354,"height":29355,"width":29356},1.3671782762691853,847,1158,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F1a8a04f28294dcd5656ffcc4461f54bacc6e8470-1158x847.jpg",{"_key":29359,"_type":9,"children":29360,"image":4,"markDefs":29365,"style":18},"c72e72aaac77",[29361],{"_key":29362,"_type":13,"marks":29363,"text":29364},"b9e960d4f014",[],"And we found new friends: „Afternoon at Pardigon“ by Henri Edmond Cross for instance.",[],{"_key":29367,"_type":500,"caption":29368,"image":29369,"markDefs":4},"18c4c9bc9fd1","Henri Edmond Cross: „Afternoon at Pardigon“",{"caption":4,"id":29370,"meta":29371,"parentID":4,"parentType":3456,"url":29372},"20bac0e096dd1c5e476dca168edfce3f0bd762da",{"_type":506,"aspectRatio":382,"height":28033,"width":28033},"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F20bac0e096dd1c5e476dca168edfce3f0bd762da-450x450.jpg",{"_key":29374,"_type":9,"children":29375,"image":4,"markDefs":29380,"style":18},"a5b2c245b719",[29376],{"_key":29377,"_type":13,"marks":29378,"text":29379},"1d413332ef88",[],"On our last full day we took train to Chartres. This famous cathdral also had exciting flying buttresses and outside sculpture but the most memorable thing by far are the stained glass windows. One could spend a lifetime here studying these wonderfully colourful pictures: there are over 50 „lower windows“ and „clerestory windows“ and in each of these there can be up to 30 panels — not to mention the rose-windows.",[],{"_key":29382,"_type":9,"children":29383,"image":4,"markDefs":29387,"style":18},"9af224cb061f",[29384],{"_key":29385,"_type":13,"marks":29386,"text":25},"455cb8498efc",[],[],{"_key":29389,"_type":500,"caption":29390,"image":29391,"markDefs":4},"8745591775d3","Chartres Cathedral: The Creation of Eve, Noah planting a vine, Noah and son building the Arch.",{"caption":4,"id":29392,"meta":29393,"parentID":4,"parentType":3456,"url":29397},"f659c2c33b79931780b13f419155f88f0bc62588",{"_type":506,"aspectRatio":29394,"height":29395,"width":29396},0.7538265306122449,1568,1182,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Ff659c2c33b79931780b13f419155f88f0bc62588-1182x1568.jpg",{"_key":29399,"_type":9,"children":29400,"image":4,"markDefs":29404,"style":18},"9acef162b102",[29401],{"_key":29402,"_type":13,"marks":29403,"text":25},"ce0d4e90359e",[],[],{"_key":22456,"_type":9,"children":29406,"image":4,"markDefs":29410,"style":6894},[29407],{"_key":29408,"_type":13,"marks":29409,"text":22457},"02e14fd34b7e",[15],[],{"_key":29412,"_type":9,"children":29413,"image":4,"markDefs":29417,"style":18},"63fdeec86876",[29414],{"_key":29415,"_type":13,"marks":29416,"text":25},"6009c3eff798",[],[],{"_key":29419,"_type":9,"children":29420,"image":4,"markDefs":29425,"style":18},"92def21a219e",[29421],{"_key":29422,"_type":13,"marks":29423,"text":29424},"8b26c042f0750",[],"So ended 1966 — without end. It was (as was mentioned earlier) just a beginning. A beginning which was to stretch out over more than fifty years. By way of a “full stop” however, I will mention just a few events from 1967, events which were in the spirit of those which shaped 1966: the coming together of two people and each learning of the culture of the other.\n",[],{"_key":29427,"_type":9,"children":29428,"image":4,"markDefs":29441,"style":18},"1d058254fd93",[29429,29433,29437],{"_key":29430,"_type":13,"marks":29431,"text":29432},"16f42fe44212",[],"We settled into the flat in the Gartenstrasse which stood in the shadow of building with the large words: ",{"_key":29434,"_type":13,"marks":29435,"text":29436},"51e2aac6f97a",[73],"Des Herrn Wort ist eine rechte Lehre. ",{"_key":29438,"_type":13,"marks":29439,"text":29440},"e4ee59f88dc7",[],"(The Lord’s word is a true doctrine). I often puzzled over this statement. It seemed to be saying: some doctrines were true and some false. And the author of these words seemed to know which were true. Although I was passionately interested in the art which this doctrine had produced, I was not at all sure that this art had anything to do with the truth of the doctrine which had inspired it. Furthermore this same doctrine (or variants thereof) had produced terrible wars, which made me suspicious of it. Nevertheless, when Müeti was looking for someone to accompany her to church (the normal Swiss reform church, not that of our neighbours) I was ready to go, since it was somewhere where I could expect to hear High German and therefore understand what was being spoken. On a later visit to Switzerland at Christmas time I went again with Müeti and the sermon was about the shepherds who hurried to the stall in Bethlehem and returned to their fields as different, changed people. It was, the parson said, as if over the door to the crib where Jesus lay, had been written the words: “Wer hereinkommt, wird verwandelt” (Who enters here, will be transformed). As a teacher this phrase pleased me and so I wrote it over the door of my classroom.\n",[],{"_key":29443,"_type":9,"children":29444,"image":4,"markDefs":29449,"style":18},"d6689aa9d8a8",[29445],{"_key":29446,"_type":13,"marks":29447,"text":29448},"00c573886f19",[],"Switzerland is (or was) a country of bells: cows have big bells, goats have smaller bells, and sheep have tiny bells. The railway stations had bells to tell you when a train was expected, different bells for different directions. And most of all churches have bells. The same bells which announce church services also tell the time. There are often four bells; A-G-E-C. The two higher ones chime the quarter hours: first quarter: A-G, second quarter: A-G, A-G, etc. and the full hour: A-G, A-G, A-G, A-G. Then to tell you which hour it is, the next larger bell (E) strikes the number, and (in case you missed counting at the beginning) the largest bell (C) repeats the strike. At noon or midnight this process can last several minutes. Often after the evening classes at the Berlitz School Brigitte and Pü picked me up there at nine o’clock, but sometimes when she had less to do at the hospital they went home first and I came later by train. The train arrived just before ten and as I strode out towards the Gartenstrasse the church clock started its procedure. I broke into a run and often succeeded in reaching home before it had finished. One evening I went to sleep on the train and didn’t wake when the train stopped at Bülach. Fortunately it was a train whose final destination was Bülach. After a few minutes the lights were turned off and it (and I!) was shunted onto a siding. Poor Brigitte was desperate. She knew precisely when I should enter the door. She rang up Müeti who didn’t know any good advice. In the meantime I had awoken and groped my way out of the dark train and wandered back along the train track to the station. I still find it hard to imagine that someone of my size could have been overlooked before the train was put to sleep.\n",[],{"_key":29451,"_type":9,"children":29452,"image":4,"markDefs":29472,"style":18},"8bd96e58c0b7",[29453,29457,29461,29465,29469],{"_key":29454,"_type":13,"marks":29455,"text":29456},"4f22f7a7c423",[],"Müeti planned a German trip: Munich, ",{"_key":29458,"_type":13,"marks":29459,"text":29460},"31b207034554",[73],"die Romantische Strasse",{"_key":29462,"_type":13,"marks":29463,"text":29464},"9b761fd64ee5",[]," from Augsburg to Würzburg, Wuppertal (the city of her birth), Essen, and then on to Tante Maria in Sinzig. There we would pick up Vati who would come later by train. Although we visited the Alte und Neue Pinakothek in Munich and the Wallraf-Richartz-Museum in Cologne, the high point of the trip was the work of Tilman Riemenschneider (1460-1531) in some of the churches on the ",{"_key":29466,"_type":13,"marks":29467,"text":29468},"11d941286af8",[73],"Romantische Strasse",{"_key":29470,"_type":13,"marks":29471,"text":2020},"56174bdc95a4",[],[],{"_key":29474,"_type":500,"caption":29475,"image":29476,"markDefs":4},"2dbc0b127dcc","Müeti's Plan for a German Trip",{"caption":4,"id":29477,"meta":29478,"parentID":4,"parentType":3456,"url":29481},"f961f0a14a8c3f9484bb7bc9463aacc60272ce0d",{"_type":506,"aspectRatio":29479,"height":29480,"width":3194},0.7674418604651163,645,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Ff961f0a14a8c3f9484bb7bc9463aacc60272ce0d-495x645.jpg",{"_key":29483,"_type":9,"children":29484,"image":4,"markDefs":29489,"style":18},"af73191b45af",[29485],{"_key":29486,"_type":13,"marks":29487,"text":29488},"7db001a88ff6",[],"Tilman Riemenschneider was a contemporary of Michelangelo but since the Renaissance came later in northern Europe he belongs to the transition period between late Gothic and Renaissance. We stayed in the wonderfully preserved middle-aged town of Rotenburg and visited other Riemenschneider churches in Creglingen and Detwang. All these sculptures are in wood (Lindenholz) and partly show tiny holes from boring insects which have unfortunately attacked them. Some are relief sculptures and some in the round but all show strongly human faces albeit mostly very serious ones. Perhaps it is this emphasis on the earnest and the suffering of life and the fact that Riemenschneider hardly moved away from the towns around Würzburg (in comparison with his contemporary Albrecht Dürrer who studied in Italy) which has given him the reputation of being half Gothic and half Renaissance. I personally see only the latter in his style.",[],{"_key":29491,"_type":500,"caption":29492,"image":29493,"markDefs":4},"e4064c7a0785","Unfortunately many of Riemenschneider's wooden sculptures have been attacked by worms.",{"caption":4,"id":29494,"meta":29495,"parentID":4,"parentType":3456,"url":29498},"93d158dd1aef48c5884601ae67c99bd9b51bc165",{"_type":506,"aspectRatio":29496,"height":29497,"width":12092},1.6247086247086246,858,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F93d158dd1aef48c5884601ae67c99bd9b51bc165-1394x858.jpg",{"_key":29500,"_type":9,"children":29501,"image":4,"markDefs":29506,"style":18},"de355421fe6d",[29502],{"_key":29503,"_type":13,"marks":29504,"text":29505},"02e2a643332d",[],"\nWe visited Müetis’ relations in Wuppertal and Essen and were astonished to see in this extremely densely populated region (Ruhrgebiet) so many green areas. But we were quite overtaxed on the Autobahn, every exit had a long list of major cities and the traffic was consequently very busy. At one point, trying to read this long list of names, I hopped lanes without looking properly and poor Pü lost a door handle, smashed off by an angry motorist who was driving correctly.\n",[],{"_key":29508,"_type":9,"children":29509,"image":4,"markDefs":29514,"style":18},"1d43a41a332b",[29510],{"_key":29511,"_type":13,"marks":29512,"text":29513},"4e92240c57f2",[],"The last visit was to Tante Maria, widow of Helme Boss, professor of art history, a role which she in many ways had shared with him. This was the lady who had pronounced the name Turner with such deference when she had visited Brigitte in London several years earlier. In fact everything she said had the air of authority as if she were consciously composing elegant prose and pronouncing it with the diction it deserved. For me as a beginner in German this was very encouraging, I understood almost everything she said and if I did not, she was delighted to reformulate it until I did. She was a very generous lady, especially with big helpings of food, which she expected to be consumed completely and which in turn demanded long postprandial marches to set our tummies at rest. She and her husband had had no children, which meant that her niece, our Müeti, had played a special role in their lives. From Müeti we heard that during the war, Tante Maria and Onkel Helme had hidden (and fed) a Jewish family from the Nazi police for several years in their cellar. This was for me an answer to a question which had been lurking in my mind for some time: What sort of people are these Germans who could have chosen and supported a Hitler, who could have let him go as far as he did. The answer was, of course, that not all Germans agreed with this National Sozialismus. Hitler came to power at a time when Germany was at a very low ebb, where it was expected to pay huge sums as reparations for having caused the First World War. These payments were in fact so big that it couldn’t possibly pay and when Hitler repudiated the Treaty of Versailles, which had stipulated these payments, he had a big following among the German people. And once established as the Führer, he created a system which was impossible to oppose. Any dissenters were executed, so resistance was only possible in secret. Doing what Tante Maria and her husband had done to save the lives of the Jewish family was therefore very dangerous, they could easily have cost them their lives. Needless to say the family Curtius remained eternally grateful and often returned with special presents for Tante Maria even then more than twenty years after the war.\n",[],{"_key":29516,"_type":9,"children":29517,"image":4,"markDefs":29522,"style":18},"468be723372c",[29518],{"_key":29519,"_type":13,"marks":29520,"text":29521},"294a4673812e",[],"Vati arrived by train as was planned and the following day we set off along the Rhine towards Switzerland. First stop was at the Lorelei, that headland where the famous water spirit sat singing (like the Sirens of the Odyssey) and bewitching the boatmen by the beauty of her voice so that their vessels to crashed onto the rocks. As we stood at the water’s edge Vati produced a book from his luggage and read the poem by Clemens Brentano (he preferred this to the more famous one by Heinrich Heine).\nHe read aloud:",[],{"_key":29524,"_type":9,"children":29525,"image":4,"markDefs":29529,"style":18},"a337ce95cb43",[29526],{"_key":29527,"_type":13,"marks":29528,"text":4878},"4080b563eb0d",[],[],{"_key":29531,"_type":754,"hideTitle":3086,"image":4,"markDefs":4,"poem":29532,"title":29557},"d6057f94ec83",[29533,29541,29549],{"_key":29534,"_type":9,"children":29535,"markDefs":29540,"style":18},"96d26b8dfe33",[29536],{"_key":29537,"_type":13,"marks":29538,"text":29539},"68a9ea59bf26",[],"Zu Bacharach am Rheine \nwohnt’ eine Zauberin, \ndie war so schön und feine \nund riß viel Herzen hin.",[],{"_key":29542,"_type":9,"children":29543,"markDefs":29548,"style":18},"a6aa868dc2df",[29544],{"_key":29545,"_type":13,"marks":29546,"text":29547},"2049926214bb",[],"Und machte viel zuschanden \nder Männer rings umher, \naus ihren Liebesbanden \nwar keine Rettung mehr! ",[],{"_key":29550,"_type":9,"children":29551,"markDefs":29556,"style":18},"5edc4f8c23d7",[29552],{"_key":29553,"_type":13,"marks":29554,"text":29555},"0fb126175db0",[],"Der Bischof ließ sie laden \nvor geistliche Gewalt \nund mußte sie begnaden, \nso schön war ihr’ Gestalt. ",[],[29558],{"_key":29559,"_type":9,"children":29560,"markDefs":29565,"style":18},"dc001763601c",[29561],{"_key":29562,"_type":13,"marks":29563,"text":29564},"e22c8033ba91",[15,73],"Lorelei",[],{"_key":29567,"_type":9,"children":29568,"image":4,"markDefs":29573,"style":18},"d1f9604443b8",[29569],{"_key":29570,"_type":13,"marks":29571,"text":29572},"981adec3b5a4",[],"… (26 Strophen)",[],{"_key":29575,"_type":9,"children":29576,"image":4,"markDefs":29580,"style":18},"3762d6f613c0",[29577],{"_key":29578,"_type":13,"marks":29579,"text":25},"85e547c28d75",[],[],{"_key":29582,"_type":754,"hideTitle":1058,"image":4,"markDefs":4,"poem":29583,"title":29608},"98436f5b60a4",[29584,29592,29600],{"_key":29585,"_type":9,"children":29586,"markDefs":29591,"style":18},"33105448c52a",[29587],{"_key":29588,"_type":13,"marks":29589,"text":29590},"9cf4624bbc9d",[],"At Bacharach on the Rhine \nLived a sorceress, \nShe was so beautiful and fine \nAnd tore many hearts apart ",[],{"_key":29593,"_type":9,"children":29594,"markDefs":29599,"style":18},"414438eed927",[29595],{"_key":29596,"_type":13,"marks":29597,"text":29598},"8c18391c9196",[],"And for many of the men \nWithin her neighbourhood \nShe broke their bonds of love \nQuite beyond repair. ",[],{"_key":29601,"_type":9,"children":29602,"markDefs":29607,"style":18},"bf6edf45a948",[29603],{"_key":29604,"_type":13,"marks":29605,"text":29606},"8a83444c0151",[],"The bishop called her to him \nAccusing of spiritual powers \nHad though to forgive her \nBecause she was so fair. ",[],[29609],{"_key":29610,"_type":9,"children":29611,"markDefs":29619,"style":18},"326aee647fb0",[29612,29615],{"_key":29613,"_type":13,"marks":29614,"text":29564},"1c54d50e02b9",[15,73],{"_key":29616,"_type":13,"marks":29617,"text":29618},"528ef5ebd2d4",[]," (English)",[],{"_key":29585,"_type":9,"children":29621,"image":4,"markDefs":29625,"style":18},[29622],{"_key":29588,"_type":13,"marks":29623,"text":29624},[]," … (26 Verses)",[],{"_key":29627,"_type":9,"children":29628,"image":4,"markDefs":29633,"style":18},"672b4a12544c",[29629],{"_key":29630,"_type":13,"marks":29631,"text":29632},"6708c265ce24",[],"\nBefore reaching Switzerland we made two important stops to see the exquisite Romanesque churches in Worms and in Speyer. This was my first contact with the German pre-Gothic style and I was very impressed: normal buttresses and rounded arches could also be beautiful!\n",[],{"_key":29635,"_type":9,"children":29636,"image":4,"markDefs":29641,"style":18},"9023543d2126",[29637],{"_key":29638,"_type":13,"marks":29639,"text":29640},"a9a0d309bfcf",[],"It was at the “Diet of Worms” in 1521 that Martin Luther was branded a heretic after publishing his 95 Theses (1517) and thereby starting the Reformation.",[],{"_key":29643,"_type":500,"caption":29644,"image":29645,"markDefs":4},"e6b56ebacb13","Left: Worms Cathedral.  Right: Speyer Cathedral",{"caption":4,"id":29646,"meta":29647,"parentID":4,"parentType":3456,"url":29651},"b6b87c37dce14f8b414602927228789e8ee50385",{"_type":506,"aspectRatio":29648,"height":29649,"width":29650},1.9071580439404678,1411,2691,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fb6b87c37dce14f8b414602927228789e8ee50385-2691x1411.jpg",{"_key":29653,"_type":9,"children":29654,"image":4,"markDefs":29659,"style":18},"9760e1c495ce",[29655],{"_key":29656,"_type":13,"marks":29657,"text":29658},"5acb4028ee5f",[],"\nWorms Cathedral Speyer Cathedral\nTravelling with Müeti was always very exciting. She had grown up during the First World War, had had an excellent schooling, had married very young, had three children before the Second World War and two more after it. All this meant that she had hardly ever travelled. Her brother, who fell in the last weeks of the Second World War, had been an architect and given her (in addition to that which she had learnt from Tante Maria) a special passion for buildings.  When a building was still in construction, she could not resist sneaking inside and study it with child-like delight. Brigitte and I decided to take her Ronchamp.\n",[],{"_key":29661,"_type":9,"children":29662,"image":4,"markDefs":29675,"style":18},"ee1616890e43",[29663,29667,29671],{"_key":29664,"_type":13,"marks":29665,"text":29666},"ef00929a3c76",[],"The chapel ",{"_key":29668,"_type":13,"marks":29669,"text":29670},"8239a74d58fc",[73],"Notre Dame du Haut ",{"_key":29672,"_type":13,"marks":29673,"text":29674},"30d2a468521e",[],"sits on top of a hill not far from the Swiss border in France. It is surely one of the gems of 20th century architecture, completed in 1954 by the Swiss architect Le Corbusier. Here he seems to have done something similar for architecture to what Kandinski did for painting (freed it from representing something) or Schönberg for music (freed it from tonality): le Corbusier freed architecture from straight lines. Here in Ronchamp was a church of interesting shapes with walls that were not parallel or at right angles to one another. Also the walls were of different thicknesses with windows (apparently) randomly placed, some with glass on the inside some on the outside of the thick wall openings and sitting on top of it all was a dark upward-curved reinforced concrete roof looking like the head of a mushroom.\n",[],{"_key":29677,"_type":500,"caption":29678,"image":29679,"markDefs":4},"da1fa41ea738","The Chapel of Notre Dame du Haut, Ronchamp",{"caption":4,"id":29680,"meta":29681,"parentID":4,"parentType":3456,"url":29685},"40531bcec919b01982918efa330015c020840749",{"_type":506,"aspectRatio":29682,"height":29683,"width":29684},1.493943472409152,743,1110,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F40531bcec919b01982918efa330015c020840749-1110x743.jpg",{"_key":29687,"_type":500,"caption":29688,"image":29689,"markDefs":4},"ba8137b28cec","Brigitte and Müeti viewing le Courbusier‘s architecture from all sides.",{"caption":4,"id":29690,"meta":29691,"parentID":4,"parentType":3456,"url":29692},"5f45da465b0827556e9e0940ada6f0e26f4d3a9a",{"_type":506,"aspectRatio":22570,"height":22571,"width":22572},"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F5f45da465b0827556e9e0940ada6f0e26f4d3a9a-1663x1176.jpg",{"_key":29694,"_type":9,"children":29695,"image":4,"markDefs":29700,"style":18},"8658b58f9fc1",[29696],{"_key":29697,"_type":13,"marks":29698,"text":29699},"7080753bb572",[],"Inside was a further surprise. All the many irregular windows which seemed to have been placed according to chance were playing games with the light that came streaming through them in such a miraculous way that we were now sure that le Corbousier had calculated their sizes and positions very precisely.\n",[],{"_key":29702,"_type":500,"caption":29703,"image":29704,"markDefs":4},"00839ea3577a","Inside the chapel at Ronchamp",{"caption":4,"id":29705,"meta":29706,"parentID":4,"parentType":3456,"url":29709},"582211e17eb67cb23669fdfeeb6916cda0073ae9",{"_type":506,"aspectRatio":29707,"height":29708,"width":5890},1.0296010296010296,777,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F582211e17eb67cb23669fdfeeb6916cda0073ae9-800x777.jpg",{"_key":29711,"_type":500,"caption":29712,"image":29713,"markDefs":4},"9f05ced75c4c","Fiona and Brigitte (1980) with a le Corbusier painting on the chapel at Ronchamp",{"caption":4,"id":29714,"meta":29715,"parentID":4,"parentType":3456,"url":29716},"0e36d01596b1732febae9e45a66f31fe5ef17b61",{"_type":506,"aspectRatio":29707,"height":29708,"width":5890},"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F0e36d01596b1732febae9e45a66f31fe5ef17b61-800x777.jpg",{"_key":29718,"_type":9,"children":29719,"image":4,"markDefs":29724,"style":18},"9aa16a93494e",[29720],{"_key":29721,"_type":13,"marks":29722,"text":29723},"f18cee7739eb",[],"My only reservation of le Corbousier’s art was with his paintings. They were, however, abstract which fitted perfectly with the building itself, but I couldn’t find the humanity in them, which I did in the building itself.\n",[],{"_key":29726,"_type":9,"children":29727,"image":4,"markDefs":29732,"style":18},"578995d8dd11",[29728],{"_key":29729,"_type":13,"marks":29730,"text":29731},"dde2d0097a7f",[],"On the way home we stopped in Colmar. This city in Alsace had been German when Müeti was born but came to France after the First World War (along with Strasburg, Mulhouse, etc.). It is specially picturesque and calls itself “Little Venice” because of the many canals that flow through it. What we wanted to see here was famous “Isenheim Altar” of Matthias Grünewald. He was another contemporary of Michelangelo but whereas the Italian style of this period tends to extol the beauties of the human body the German style is much more brutal (perhaps even more realistic). Grünewald’s picture of Christ on the cross was painted for the Monastery of St. Anthony in Isenheim near Colmar, which specialized in hospital work. The Antonine monks of the monastery were noted for their care of plague sufferers as well as their treatment of skin diseases. The image of the crucified Christ is pitted with plague-type sores presumably from the scourging but also showing the patients of the time that Jesus understood and shared their afflictions.\n",[],{"_key":29734,"_type":500,"caption":29735,"image":29736,"markDefs":4},"aa7ac3d24b6a","Grünewald: Isenheim Alter (closed)",{"caption":4,"id":29737,"meta":29738,"parentID":4,"parentType":3456,"url":29742},"2d76dcee116dd4bb04ad0a2786029c980b455184",{"_type":506,"aspectRatio":29739,"height":29740,"width":29741},1.4394765539803707,917,1320,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F2d76dcee116dd4bb04ad0a2786029c980b455184-1320x917.jpg",{"_key":29744,"_type":9,"children":29745,"image":4,"markDefs":29750,"style":18},"8ed7c8b64a60",[29746],{"_key":29747,"_type":13,"marks":29748,"text":29749},"3c8f07b6dd06",[],"In the summer Pü took us on a tour of Normandy and Brittany where we saw the wonderful Bayeux Tapestry, an embroidered cloth nearly 70 metres long and 50 centimetres tall, which depicts the events leading up to the Norman conquest of England. How such a huge artwork was executed with such unity of style is a mystery. It is said to be the work of Queen Matilda (wife of William the Conqueror) — who was either a brilliant artist or had inspired ladies-in-waiting who also worked on the project.\n",[],{"_key":29752,"_type":500,"caption":29753,"image":29754,"markDefs":4},"8157fd092bf7","Bayeux Tapestry (detail)",{"caption":4,"id":29755,"meta":29756,"parentID":4,"parentType":3456,"url":29759},"e0cfd3cd0931b4eed6ddb14252c83b788bb63b36",{"_type":506,"aspectRatio":29757,"height":29758,"width":4775},2.450980392156863,408,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fe0cfd3cd0931b4eed6ddb14252c83b788bb63b36-1000x408.jpg",{"_key":29761,"_type":9,"children":29762,"image":4,"markDefs":29766,"style":18},"976c9a9fe661",[29763],{"_key":29764,"_type":13,"marks":29765,"text":25},"a5a79e11fc80",[],[],{"_key":29768,"_type":9,"children":29769,"image":4,"markDefs":29774,"style":18},"a6e103c331a7",[29770],{"_key":29771,"_type":13,"marks":29772,"text":29773},"81ee1486b629",[],"We were sleeping in a tiny tent, which we pitched in normal camping grounds. On the last night it started to rain heavily and we were forced to leave abruptly with drenched tent and sleeping bags. We tried to drive non stop across France but it is a huge country and we finally decided to sleep in the car. Much as we loved Pü, he was not good as a sleeping place. We resumed our drive in the early hours of the morning changing places at the wheel when we felt tired. Suddenly as we passed through a small town I was stopped by an angry gendarme who was shouting something about a “feu rouge”. I said: “Je ne parle pas français”. He threw his arms in the air: “Je m’en fou!” and drove off on his motorbike. Apparently he just needed to let of steam about foreigners who ignored French red traffic lights. And since I didn’t speak French it was much too complicated to take things any further. For once my ignorance of the French language was an advantage.\n",[],{"_key":29776,"_type":9,"children":29777,"image":4,"markDefs":29782,"style":18},"4138f68b96ba",[29778],{"_key":29779,"_type":13,"marks":29780,"text":29781},"5507e6484594",[],"About mid year I gave up working at the Berlitz School. I had enough contacts to be able to teach privately. This gave me the freedom to teach when I wished and to take holidays when it suited me. Most of the pupils I met in cafés in the city, but one, Fräulein Martelosio, invited me to her home where she lived with her Italian- speaking parents. The mother received me warmly and apologized for the disorder (which was not apparent): “É un quarant’otto”, she insisted. This expression fascinated me. I assumed it meant 1848 (mille otto cento quarant’otto), that year in European (and especially Italian) history when everything was in a great turmoil. Meeting the lonely Fräulein daughter at her home was probably not a good thing. As far as I was concerned she was diligent and made good progress and she paid regularly for her lessons. I was completely unaware that she had apparently developed a liking for me and at the end of the year she presented me with a Gold Vreneli to remember her by. Although officially its value was only 20 francs it must have cost her well over 100 francs — a big amount at that time. I sent it straight back to her but she was very offended: I should accept it. I did not, but it left Brigitte wondering what had happened during those private lessons.\n",[],{"_key":29784,"_type":9,"children":29785,"image":4,"markDefs":29793,"style":18},"bdce0f2e9651",[29786,29790],{"_key":29787,"_type":13,"marks":29788,"text":29789},"5aa4d9335055",[15],"Darmstadt",{"_key":29791,"_type":13,"marks":29792,"text":4878},"3ee07e47840c",[],[],{"_key":29795,"_type":9,"children":29796,"image":4,"markDefs":29801,"style":18},"3de55bd31b8b",[29797],{"_key":29798,"_type":13,"marks":29799,"text":29800},"34b5c6322f5a",[],"In August came the long planned for visit to the Contemporary Music Festival at Darmstadt (just south of Frankfurt). This was where Karlheinz Stockhausen presented his latest works and where others were invited to perform and to lecture.\nBefore Brigitte brought me to the train I hid packets of chocolate in unlikely places of our apartment.\n",[],{"_key":29803,"_type":9,"children":29804,"image":4,"markDefs":29809,"style":634},"ea3c54d1caf6",[29805],{"_key":29806,"_type":13,"marks":29807,"text":29808},"63a4c067b63f",[73],"O Kitchen, Kitchen, important news: You see, I’m hungry without you in the middle of the night, and I opened the little bread cupboard and found, you know WHAT?? A surprise! Just at the right moment. Nice and sweet and red!!\n",[],{"_key":29811,"_type":9,"children":29812,"image":4,"markDefs":29824,"style":634},"cd37ecc61047",[29813,29817,29820],{"_key":29814,"_type":13,"marks":29815,"text":29816},"471775eeeb21",[],"The train journey was very fast and comfortable and I read like mad. I finished the Agatha Christie (it was both the man and his wife who murdered!) and I read a little Guy de Maupassant and then I slept and then we were here. I got the stuff from the information bureau: program, concert tickets (two in Frankfurt with special transport), meal tickets, and then I paid and found this hotel quite quickly in spite of not much information. But other things like the place where the lectures will be, the ",{"_key":29818,"_type":13,"marks":29819,"text":26782},"2dbc045eb428",[73],{"_key":29821,"_type":13,"marks":29822,"text":29823},"d37a9f07ccfd",[]," and the concert “Stadthalle” I didn’t find so quickly in spite of lots of information. I was asking all sorts of people and running round in circles,, more likely because I didn’t understand them than because the information was wrong. Actually they speak very clearly here but they seem to go on with all sorts of subsidiary information so that once I hear what seems to be the “Hauptsache” I try to hang on to that and just say: “Ah so!” … “ah sooo!” to all other things they say.\n",[],{"_key":29826,"_type":9,"children":29827,"image":4,"markDefs":29832,"style":634},"02d24574868b",[29828],{"_key":29829,"_type":13,"marks":29830,"text":29831},"fb2208cb480b",[],"Found a place today where coffee is 20 Pfennig a cup! — I must go there more often. I must have looked surprised when the woman said 20Pf. cos she said: Nicht alles muss teuer sein, gell?\n",[],{"_key":29834,"_type":9,"children":29835,"image":4,"markDefs":29848,"style":634},"98212cbe6301",[29836,29840,29844],{"_key":29837,"_type":13,"marks":29838,"text":29839},"7901dd8b4d26",[],"Different from the ",{"_key":29841,"_type":13,"marks":29842,"text":29843},"7cc3d6a1eaeb",[73],"Chigiana",{"_key":29845,"_type":13,"marks":29846,"text":29847},"a63910043d56",[]," in Siena there were concerts every night.\nThe programme is the same every day, either two lectures and a concert or three lectures at 10.00, 16.00 and 20.00. Yesterday we had a man called Günther Becker on Komposition und Instrumentation at 10.00 and another called György Ligeti at 16.00 on analysis of some of his own works. The latter, although Hungarian, speaks so clearly that I can understand quite well in spite of the speed at which he goes. The other man just sat and read the long words he had prepared on a paper and I could only follow about half of it, but it doesn’t matter cos it was all old stuff. He described the new sounds as “eclectic” (“ausgewählt”) but it sounded anything but “out-chosen” — more like “chance-chosen”. “Eclectic” sounds just the adjective to go with “electronic” but it’s rather the words they use to describe their noises that are “eclectic”. I think you can really write what “music” you like as long as you can say some “eclectic” words about it.\n",[],{"_key":29850,"_type":9,"children":29851,"image":4,"markDefs":29856,"style":634},"238a3d146d9b",[29852],{"_key":29853,"_type":13,"marks":29854,"text":29855},"1067ebd5fa06",[],"In the evening we heard a piece that was considerably left to chance — i.e. not much detail was given to the players. The lights went out and a diagram was projected onto a screen and the players started playing. There were 16 such “pictures” (Klee- like with the odd note to play) but they seemed to know what they had to do and the general effect was better than some of the written-down (eclectic!) stuff. The good thing about it was having something to look at while listening. I still find it much easier to imagine this music as program or theatre music, similar to how Wagner’s music was more meaningful when I could see the action on the stage at the same time.\n",[],{"_key":29858,"_type":9,"children":29859,"image":4,"markDefs":29864,"style":18},"3e22d5e822bf",[29860],{"_key":29861,"_type":13,"marks":29862,"text":29863},"61cb35559b97",[],"The next evening was however disappointing. I went full of expectancy but I was not ready for what I heard:\n",[],{"_key":29866,"_type":9,"children":29867,"image":4,"markDefs":29872,"style":634},"04faf34c24d0",[29868],{"_key":29869,"_type":13,"marks":29870,"text":29871},"2a484e200bd2",[],"It’s funny it seems as if the strange noises that got into my ears this evening can’t get out — there’re ringings and buzzings still going on. It is FUNNY stuff this music. Sometimes I laugh, sometimes I’m shocked and sometimes rather annoyed — that’s really it — nothing seems shocking anymore, just annoying. The most annoying piece tonight was about half an hour of recorder noises — all the sounds you’re not meant to make with the recorder plus many more including voice noises while he was playing. It was funny for a while (i.e. funny haha) but after about 20 minutes you want to scream. Some of the audience almost did, they made the same noises back and shuffled with their feet on the floor and others tried to hush them but the recorder player went on and on, apparently oblivious to all this, almost as if he enjoyed the “music” he was playing. I laughed but sometimes I’m sad and wonder why the hell I want to study modern music if it has to sound so awful.\n",[],{"_key":29874,"_type":9,"children":29875,"image":4,"markDefs":29880,"style":634},"9896defde4ce",[29876],{"_key":29877,"_type":13,"marks":29878,"text":29879},"9049b4567e0f",[],"One electronic piece sounded not so bad. It was stereo from 4 corners of the hall and it was so clear and well recorded that it made you more disposed to listen to it seriously than you do to someone fooffing into a recorder. But it’s odd to sit and see no performers and at the end you don’t seem to need to clap — it’s funny to have to clap 4 loudspeakers!\n",[],{"_key":29882,"_type":9,"children":29883,"image":4,"markDefs":29888,"style":18},"8235ccd3d735",[29884],{"_key":29885,"_type":13,"marks":29886,"text":29887},"de703f21b0ce",[],"Although I was not chosen to be among the pupils at the Stockhausen-Workshop I was pleased to be able to attend all concerts and lectures. The main lecturers were György Ligeti and Earl Browne. Lutoslawski had been invited and when he could not (or would not?) come, the American Earl Browne came at short notice. At his first lecture he said some good things which allowed me to put into perspective a lot about what I had been wondering about at the time. He recounted the history of instrumental music from the renaissance up to about 1950 showing an ever- increasing precision in the determining of musical parameters. At the beginning very few parameters were determined (it was often free what instruments played, there were no tempo marks, no dynamics). By the time one reaches the early work of Stockhausen and Boulez every tiny detail was written down, leaving almost no room for “interpretation”. For composers like Earl Brown coming after this date the only possibility was to start again and try to find out what is the optimum amount of determination. He talked about his orchestral pieces “Available Forms 1 & 2” in which he had set out to see how little information one could give the orchestral players and had finished with musical fragments on cards which were numbered between 1 and 5. It was then up to the conductor to combine these as he whished. He could for example hold up 2 fingers and point to the woodwind players and combine this with number 5 from the strings. In other words, the success of the piece depended largely on the cleverness and musicality of the conductor. Earl Browne explained all this in English.\n",[],{"_key":29890,"_type":9,"children":29891,"image":4,"markDefs":29896,"style":18},"1acf73c4e9fe",[29892],{"_key":29893,"_type":13,"marks":29894,"text":29895},"ca8ffe560eac",[],"The following day he gave almost the same talk again and on the third day much the same again. Gradually it became clear, even to the German-speaking students, that this man had said all that he had to say and sothey planned a “happening”. During the lecture a 10 mark note was passed around on a cardboard tray and torn apart. By the time it reached me the note was in a dozen pieces, I tore one piece again and passed it on. Earl Browne continued, apparently oblivious to what was going on in front of him and certainly unaware of the delight he had caused among the students. In his defence, I suspect he had been asked late and came at the last minute, possibly even expecting to give only one lecture.\n",[],{"_key":29898,"_type":9,"children":29899,"image":4,"markDefs":29935,"style":18},"7b69debc5c27",[29900,29904,29908,29912,29916,29920,29924,29927,29931],{"_key":29901,"_type":13,"marks":29902,"text":29903},"d7aa973c0eb6",[],"Ligeti’s lectures were quite different. He was very well prepared and was able to bring new material each time! The main thing that remains for me was his talking about clusters — that word I had first heard from Petrassi but without an explanation of what it was. They are, of course, groups of all the notes between two given notes. But this was not interesting enough for Ligeti. He went to great trouble to put movement into his clusters so that instead of being a static sound as in (for example) Penderecki’s ",{"_key":29905,"_type":13,"marks":29906,"text":29907},"e4fc0c711829",[73],"Threnody",{"_key":29909,"_type":13,"marks":29910,"text":29911},"7033a1b8eef7",[]," clusters, the instruments in his ",{"_key":29913,"_type":13,"marks":29914,"text":29915},"198144e42035",[73],"Atmosphères",{"_key":29917,"_type":13,"marks":29918,"text":29919},"632b75f0bb26",[]," are constantly moving around within the confines of the cluster giving it the feeling of being alive. But I think most of all, Ligeti impressed by his integrity. Here was a highly original and very serious man (who could also be funny as in the ",{"_key":29921,"_type":13,"marks":29922,"text":29923},"4ecb465671dc",[73],"Aventures",{"_key":29925,"_type":13,"marks":29926,"text":2625},"8918e76b83e2",[],{"_key":29928,"_type":13,"marks":29929,"text":29930},"4e9a294588aa",[73],"Nouvelles Aventures",{"_key":29932,"_type":13,"marks":29933,"text":29934},"ae5fa694e42a",[],", which Nelson and I had experienced in Vienna), the author of new musical ideas and with the facility to explain them clearly.\n",[],{"_key":29937,"_type":9,"children":29938,"image":4,"markDefs":29943,"style":634},"04db9cd4089b",[29939],{"_key":29940,"_type":13,"marks":29941,"text":29942},"81a497b998a6",[],"The city doesn’t seem quite so ugly now, not that it’s changed of course, I just ignore it’s ugliness and then it’s not so bad. The music is still much the same too but what is interesting is what they say about it. This is the ridiculous situation which I talked about before: to be a good composer one must be a good speaker. If you can’t speak convincingly about your music it hasn’t got a chance. Last night we heard Stockhausen for the first time. He is certainly the most dynamic of all speakers. He looks very cool and ordinary to start with but he can suddenly become quite impassioned and therefore has a considerable power over his listeners. He can speak in very short and (apparently) to-the-point sentences, there are no hums or ahs while he thinks of what he has to say, it’s all there and it comes out in quick bursts, with great conviction and great force. When, however, you think about what he has said (you can’t do it as he’s speaking, he has such a presence which demands to be attended to rather than thought about) it all seems either obvious or not specially logical. And certainly when you hear his music as we did immediately afterwards, it appears to have very little to do with what he has just said.\n",[],{"_key":29945,"_type":9,"children":29946,"image":4,"markDefs":29951,"style":634},"a18baaba0501",[29947],{"_key":29948,"_type":13,"marks":29949,"text":29950},"45952e540b33",[],"On the other hand this man Ligeti, the Hungarian, is good and real and also his music seems good and to-be-liked. One nice thing he said yesterday about a piece of his we’ve been studying: Ich schlage vor, dass wir das Stück noch einmal spielen, weil ich es so gern habe (I suggest we play the piece again because I like it so much). It’s so good to hear someone say he likes a piece of music (especially his own)!\n",[],{"_key":29953,"_type":9,"children":29954,"image":4,"markDefs":29959,"style":634},"fc84fdd08521",[29955],{"_key":29956,"_type":13,"marks":29957,"text":29958},"8c6ac6ff061c",[],"PS: About your presents: As I left I told you to look in the fuse box and then you should also have found one in the bottle cupboard and the cupboard above the sink (you’ll have to stand on a chair) and one under the wee stool outside (lift it up and look on its bottom!). You could also look in the bathroom, on the bath side of the wicker basket is a thing for putting cotton-wool in and in one of its pockets is a little something.\n",[],{"_key":29961,"_type":9,"children":29962,"image":4,"markDefs":29970,"style":634},"5fc7079370d6",[29963,29967],{"_key":29964,"_type":13,"marks":29965,"text":29966},"6e91bc2335a1",[73],"Kitchen, your special presents made me cry a bit very very happily … especially the one under the chair. I had to look for it quite a while, but finally I turned it over and there it was … and there was my Kitchen, and there was everything!",{"_key":29968,"_type":13,"marks":29969,"text":4878},"7c751fa346d7",[],[],{"_key":29972,"_type":9,"children":29973,"image":4,"markDefs":29978,"style":18},"642b331d183b",[29974],{"_key":29975,"_type":13,"marks":29976,"text":29977},"e398256e2e58",[],"The evenings usually started by drinking beer with the German students. Although I had been especially learning German for this visit, I was now among lots of German students whose English was much better than my German. And they loved using it. They would tell jokes to each other in German and then translate them for my benefit. I had long wondered what sort of a people these were who could have allowed a Hitler to take power of their country, who could have stood by while he erected concentration camps and destroyed millions of people. This question had been partly answered through our visit to Tante Maria who had offered passive resistance and was now again answered in shocking way: I heard them tell a joke which I had already heard in the staff room at Linwood High School just before leaving for Europe. The terrible answer was that these people, who laughed about the same things which we laughed at, were in fact no different than we were. If I had been born here I would have been forced to act in exactly the same way in which the majority here had acted. Germany had been weakened by the absurd conditions set by the western allies at the Treaty of Versailles and had thereby given Hitler a wonderful opportunity to ‘save’ his country from bankruptcy. And once in power he had secured his position to such an extent that resistance was all but impossible. Seen like this, I was just as responsible for the disasters of the 20th century as these happy students were, perhaps even more so.\n",[],{"_key":29980,"_type":9,"children":29981,"image":4,"markDefs":29986,"style":18},"c569b50ede9a",[29982],{"_key":29983,"_type":13,"marks":29984,"text":29985},"d5756dc4c56b",[],"In the evening we were to have had a lecture, but the man couldn’t come so it was a free evening. I ate with two Germans who both speak English — one very well indeed — but who also spoke German sometimes for me! Later some more turned up and they arranged to meet at a Jazz Cellar, which we never found. We walked around Darmstadt searching and found two cellars in which we drank beer, we even found a Kegelbahn but not the Jazz Keller. These boys were telling jokes all the time, which I found very difficult but they translated some of them. What, however, struck me most was, apart from the fact that they were talking German they were exactly like NZ students, like boys I’ve taught, and these were the sort of people we were fighting during the war.\n",[],{"_key":29988,"_type":9,"children":29989,"image":4,"markDefs":30002,"style":18},"e70a43345a42",[29990,29994,29998],{"_key":29991,"_type":13,"marks":29992,"text":29993},"2c264a68945c",[],"The evenings belonged to Stockhausen. There were concerts at which his works were performed and they were preceded by long verbal introductions by the master himself. He explained, for example, how the form of his Klavierstück 10 moved from extreme order to extreme chaos using on the way a complicated version of Fibonacci numbers. The Kontarski brothers were there to play his extremely difficult piano works. What interested me most however was his use of microphones as “stethoscopes”. These were highly directional microphones which were moved around the surface of a huge tamtam, picking up sounds which would otherwise be inaudible, and sending them to a set of electronic controls at a desk in the middle of the auditorium where Stockhausen sat and manipulated these signals. The results were anything from very tender to excruciatingly loud. The performers at the big gong-like instrument were equipped with resonance tubes and microphones and Stockhausen sitting at his controls (like a tram driver) could transform their harmless signals into something utterly different, often quite grotesque. In his preface to the score of ",{"_key":29995,"_type":13,"marks":29996,"text":29997},"1791001cebab",[73],"Mikrophonie 1,",{"_key":29999,"_type":13,"marks":30000,"text":30001},"fca5b84e9378",[]," Stockhausen wrote:\n",[],{"_key":30004,"_type":9,"children":30005,"image":4,"markDefs":30018,"style":634},"01692c9bca50",[30006,30010,30014],{"_key":30007,"_type":13,"marks":30008,"text":30009},"6491f2cf1d71",[],"“I had bought myself a large tamtam for my composition ",{"_key":30011,"_type":13,"marks":30012,"text":30013},"17e157b3329a",[73],"MOMENTE",{"_key":30015,"_type":13,"marks":30016,"text":30017},"329ccb172ee5",[],", and set it up in my garden. I now made some experiments, exciting the tamtam with a great variety of implements – of glass, cardboard, metal, wood, rubber, plastic – that I collected from around the house, and connected a microphone (with strong directional sensitivity) that I held in my hand and moved around, to an electrical filter, whose output led to a potentiometer and was then made audible over a loudspeaker. My collaborator Spek was in the house and changed the filter settings and the dynamic levels, improvising. At the same time, we recorded the result on tape. The tape recording of this first microphony experiment was for me a discovery of the greatest importance. We had made no agreement about what the other would do; I used some of the implements that lay to hand as the mood took me, and at the same time I probed the surface of the tamtam with the microphone, as a doctor probes a body with a stethoscope; Spek also reacted spontaneously to what he heard as the result of our combined activity.”\n",[],{"_key":30020,"_type":500,"caption":30021,"image":30022,"markDefs":4},"46906b069dc3","Sketch made while listening to Stockhausen's \"Prozession\"",{"caption":4,"id":30023,"meta":30024,"parentID":4,"parentType":3456,"url":30028},"12cd505d28c41a80345039ba01ea8614b01cc1ff",{"_type":506,"aspectRatio":30025,"height":30026,"width":30027},2.230209281164695,1099,2451,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F12cd505d28c41a80345039ba01ea8614b01cc1ff-2451x1099.jpg",{"_key":30030,"_type":9,"children":30031,"image":4,"markDefs":30036,"style":18},"5a5fdbeeb36a",[30032],{"_key":30033,"_type":13,"marks":30034,"text":30035},"a642cbae4dd2",[],"Actually there’s one man missing from that picture — Stockhausen himself. He sits in the middle of the audience and twiddles knobs and makes sounds come out of the loudspeakers. This is all right for a few minutes, listening to the sounds they can make scratching or banging the Tamtam with every conceivable object and then magnifying them greatly with the electronic gear. But after 5 or 10 minutes you’ve had enough and so you can understand why people walk out or stamp when it goes on for about ¾ of an hour.\n",[],{"_key":30038,"_type":9,"children":30039,"image":4,"markDefs":30047,"style":634},"7f1f2eed77c6",[30040,30044],{"_key":30041,"_type":13,"marks":30042,"text":30043},"ce8999918d21",[73],"Rang up Jecklin yesterday and they’ll pick up the piano at the end of the month. \u002F Kitchen, found another chocolate yesterday. You are marvelous!!!",{"_key":30045,"_type":13,"marks":30046,"text":4878},"e3988d04cabf",[],[],{"_key":30049,"_type":9,"children":30050,"image":4,"markDefs":30055,"style":634},"09e477260452",[30051],{"_key":30052,"_type":13,"marks":30053,"text":30054},"95f3d75a95f9",[],"Don’t let Jecklin take away the chocolate under the left pedal of the piano! Also look behind your mirror.\n",[],{"_key":30057,"_type":9,"children":30058,"image":4,"markDefs":30078,"style":18},"33a74de75e2a",[30059,30063,30067,30071,30074],{"_key":30060,"_type":13,"marks":30061,"text":30062},"924237b5044c",[],"The main work to presented this year was the new Stockhausen work ",{"_key":30064,"_type":13,"marks":30065,"text":30066},"aec6fca557b0",[73],"Prozession",{"_key":30068,"_type":13,"marks":30069,"text":30070},"14fbc233a242",[],". It used exactly the same ‘microphony’ as described above but was written for an ensemble: Tamtam (2 players), Viola (with contact microphone), Electronium, Piano and of course Stockhausen himself at the tram controls. He gave his usual long introduction describing the instruments the microphones and the filters. Instead of a score the players have a sequence of plus and minus signs which they are to use to modify what they play. They start with quoting fragments from earlier Stockhausen works and these ‘quotes’ are to be imitated by the other players but changed according to how they interpret the plus or minus signs. For example, a plus could mean play it louder, or with longer note values or higher. How the players were to recognize when one even or ‘moment’ was finished and that it was time to start with a new ‘quote’ I did not understand, the main thing was that there was a long string of these processes (",{"_key":30072,"_type":13,"marks":30073,"text":30066},"71f3c3bf801a",[73],{"_key":30075,"_type":13,"marks":30076,"text":30077},"9141a950dd18",[],") and it seemed to go on for ever. After the performers had been playing for about half an hour, the audience became very restless, then gradually the shuffling of feet became organized and grew louder and louder until Stockhausen leapt out of his tram seat and onto the stage where he gathered up his musicians and disappeared. We waited anxiously to see what would happen. About five minutes later Stockhausen was back on the stage and harangued the audience; they were behaving like primitive school children, there was serious art taking place in front of them and it was their duty to treat it with the same seriousness. For me who had grown up during the Second World War and had often heard Hitler’s voice, played as western propaganda to raise antipathy against the Nazis, I had the feeling I was hearing all that again. Was this how Hitler had subdued all criticism against him? In any case, it worked. The audience behaved themselves exemplarily and, almost as a punishment, Stockhausen called his band back onto the stage and they played the whole piece, starting from the beginning again — and nobody shuffled a foot!\n",[],{"_key":30080,"_type":9,"children":30081,"image":4,"markDefs":30086,"style":18},"a4e09a51e544",[30082],{"_key":30083,"_type":13,"marks":30084,"text":30085},"4fefdffe02cd",[],"Darmstadt was just two weeks. Siena had been two months, but the difference was dramatic. Siena had just confirmed that which I already knew. Darmstadt had given me enough ideas to occupy me for the next decade. Some things like moving clusters or microphones as stethoscopes or even asking players to imitate and increase or decrease parameters, I was sure I could incorporate into my own style. What I was less sure, and it was also a major lesson from Darmstadt: success as a creator depended to a large extent on how well one can communicate what one is doing. Much of Stockhausen’s success was clearly from his fluency in describing what he was doing and why. Also Ligeti had a gift with language, for me a much more sympathetic one. It was not enough to have original ideas, one had also to be able to market them. But how they learnt this they never disclosed.",[],{"_key":30088,"_type":9,"children":30089,"image":4,"markDefs":30093,"style":18},"6e594ad868be",[30090],{"_key":30091,"_type":13,"marks":30092,"text":25},"2a5af5fd9df3",[],[],{"_key":30095,"_type":9,"children":30096,"image":4,"markDefs":30101,"style":18},"8af3cd3aba8f",[30097],{"_key":30098,"_type":13,"marks":30099,"text":30100},"82a62ff0d0390",[],"Early in 1967 Brigitte and I had booked our passage to New Zealand. It was to be on exactly the same ship, the “Fair Sky”, which had brought me to Europe. We had, however, not reckoned with the Israeli Six Day War. This had stopped all traffic moving through the Suez Canal. The new route would therefore be around the Cape of Good Hope: South Hampton, Las Palmas, Cape Town, Perth, Melbourne, Sydney, Brisbane, Wellington — leaving at the end of November. We started packing. Unlike the small amount of luggage I needed for the trip north, we were now transporting all Brigitte’s belongings, all that is, which would fit into big travelling trunks. The main bulk apart from clothes was her large collection of books, especially the non-English books which would be hard to find in New Zealand. What she could do without, she gave away, and the rest was prepared for transport by rail from Bülach to South Hampton. The saddest thing to be given away was Pü. Brigittte’s sister Renate accepted him and promised to look after him fondly as we had, so that made the parting bearable.\n\nJust before our departure a letter arrived at the Bänningers from Betty. It not only shows her concern for Brigitte’s parents but also how diligently she had learnt German. She had already learnt Italian well enough to teach it at the university and Russian to a level that she and Hu could travel in Russia and now that Brigitte had become her daughter-in-law she was determined to understand as much as possible of her German culture.\n",[],{"_key":30103,"_type":9,"children":30104,"image":4,"markDefs":30109,"style":634},"535af687a1c6",[30105],{"_key":30106,"_type":13,"marks":30107,"text":30108},"0860ff15385a",[],"\nDear Mrs and Mr Bänninger ",[],{"_key":30111,"_type":9,"children":30112,"image":4,"markDefs":30117,"style":634},"a9722ce77a3c",[30113],{"_key":30114,"_type":13,"marks":30115,"text":30116},"0eb09f749d86",[],"Many thanks for your letter and tape (cassette?). I can well imagine how sad you are about the departure of our children. Kit was very happy and felt very much at home with you. We are both looking forward very much to Brigitte and sincerely hope that she will feel as comfortable at our place as Kit was with you.\n\nI want to assure you that we will do everything in our power to make her happy here.\n\nWe hope very much that we can really get to know you either here or in Switzerland. In the meantime I will make every effort to improve my German.\n\nWith best wishes,\n\nBetty Powell",[],{"_key":30119,"_type":500,"caption":30120,"image":30121,"markDefs":4},"4288f1343dc9","Betty's Letter to Müeti und Vati",{"caption":4,"id":30122,"meta":30123,"parentID":4,"parentType":3456,"url":30127},"3716643147052518150d0699b8fb46fe5ba74adf",{"_type":506,"aspectRatio":30124,"height":30125,"width":30126},0.685947348906192,2697,1850,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F3716643147052518150d0699b8fb46fe5ba74adf-1850x2697.jpg",{"_key":30129,"_type":9,"children":30130,"image":4,"markDefs":30143,"style":18},"aa40993dd0e9",[30131,30135,30139],{"_key":30132,"_type":13,"marks":30133,"text":30134},"e1ad2a11fe14",[],"\n\n",{"_key":30136,"_type":13,"marks":30137,"text":30138},"69baa0da264d",[15],"Departure and Arrival",{"_key":30140,"_type":13,"marks":30141,"text":30142},"f29261cadd81",[],"\n\nBut parting from the family was even worse than we had imagined. Never will I forget the picture of Vati waving bravely to us as the train moved out of the station. We both collapsed into each other’s arms and wept bitterly, quite sure that we would never see him again. Fortunately we were wrong. Plane travel was just around the corner and we were able to fly back several times before he died, aged 91 in 1981.\n\nThe train took us first to Amsterdam where we could stay a few days with Luke van der Kaay’s mother and visit the van Gogh Museum in Apeldoorn and Rembrandt in the Rijksmuseum. As often happens our memories are dominated by curious and unimportant details: the half hour long walk in Apeldoorn from the gates of the Museum to its door or the evening meal with Mrs van der Kaay who took us to an Indonesian restaurant and ordered something boring for us to eat while she consumed a sumptuous meal for herself because, in her approaching senility, she imagined we would not eat such exotic food.\n\nWe had just three weeks in Britain before the ship left, a very short time to see that “home”, that “old country” which most travelling New Zealanders used as a base for visiting Europe from and which I was seeing for the first time. In London we stayed with the Bamfords and among many other things, visited Jenny and Peter Murray who took us on an interesting Wren-churches architecture walk. But we had an important mission to do for Vati: his brother Hermann had emigrated to Scotland as a young man, had married a Scottish lady who later turned out to be schizophrenic. He nursed her over many years with the help of a household lady until she died, and the latest news was that he had been forced to leave his home and been put into a mental home. We hired a wee Pü-like car and set off for Scotland. The only contact we had was the parson, a Mr Bennett, whose parish was where Uncle Hermann had lived in Kilmacolm, about 24 km west of Glasgow. Mr Bennett was friendly, mentioned Hermann’s curious behaviour, though what exactly was wrong with him was very unclear, just that people were afraid he might leave the stove on and burn himself and the house and so he had been forcibly removed and sent to a clinic in Paisley, the next biggest town between here and Glasgow.\n\nOn the way to Paisley Brigitte told to me how she had known her uncle. He had always been different from other people, he wore his curly hair long and he loved animals, all animals, not just mammals — he was a vegetarian and would literally never have harmed a fly. He had trained in Zurich as an engineer and had practiced in Scotland. Since the death of his schizophrenic wife, their housekeeper who had helped him with day-to-day chores, had married and moved to another part of Scotland, thus leaving him alone and was therefore possibly the reason for the worries of the neighbours that he was not able to look after himself.\n\nPaisley may once have been a town in its own right but now its pride and independence had been swallowed up by Glasgow turning it into a dismal, drab and poor suburb of the city. The mental institution was more like a provisional army barracks than a hospital. If one was not already mad, coming here would surely make one so. There was one huge hall filled with stretcher beds and there in the middle looking totally lost and sitting drooped on his stretcher was Uncle Hermann. His long hair had been shorn off but he was still recognisable and, better still, he recognised Brigitte immediately. They spoke English for my benefit to start with, but I soon move away so that they could talk together in Swiss German. The more I observed this very sad man, then more normal he seemed and the more totally abnormal his surroundings. Brigitte had bought him a bunch of flowers which made him very happy but in reality they just exaggerated the god forsakenness of the surroundings. How he must have wished he could have died in the inferno the do-good authorities thought they were saving him from. It would have been a glorious death. Here he was damned to a vegetative death — death through boredom.\n\nWe asked the clinic what we could do, who was responsible. They referred us to a lawyer in Glasgow, who had sanctioned the legal side of Onkel Hermann’s internment. We visited him immediately as we had very little time left. He received us warmly but with an eccentricity which was very disturbing. His office reminded us of a picture by Spitzweg or Daumier with a desk piled high with books and with documents rolled and tied with string and the lawyer himself peered out between these piles like a ridiculous caricature of his profession. It was clear from the beginning that we were not going to get much sense out of this man who was obviously much more peculiar than poor Onkel Hermann had ever been and we were reminded of the saying by Horace Mann: “We go by the major vote, and if the majority is insane, the sane must go to the hospital”.\n\nThis was little comfort and we felt rather depressed that our help had failed. Onkel Hermann would have to wait until his family managed to move him back to Switzerland the following year.",[],{"_key":30145,"_type":9,"children":30146,"image":4,"markDefs":30154,"style":634},"f0c6ee965ddd",[30147,30150],{"_key":30148,"_type":13,"marks":30149,"text":30134},"5749296cdf96",[],{"_key":30151,"_type":13,"marks":30152,"text":30153},"345ba399e79b",[73],"Eigenartig ist es, dass uns niemand der vielen Schotten gesagt hat, dass man Onkel Hermanns Hospitalisation vorbereitet hat? Uns wurde es quasi als Notfall geschildert. Doch dies ist jetzt nicht wichtig. Nur etwas Wichtiges habe ich vergessen: in jener Baracke hat es eigentlich gar keine Blumen, unsere goldenen Astern waren die einzigen, und Onkel Hermann hat sich so darüber gefreut. Was meint Ihr, via Fleurop einmal ein Sträusslein zu ihm?? Auch wir werden ihm noch Blümchen schicken, falls wir es machen können.\n\n",[],{"_key":30156,"_type":9,"children":30157,"image":4,"markDefs":30165,"style":634},"a341c9c906f7",[30158,30162],{"_key":30159,"_type":13,"marks":30160,"text":30161},"35762be2c97c",[73],"It is strange that none of the many Scots told us, that Uncle Hermann’s hospitalisation had been prepared. They described it rather as an emergency. But that is not important. Just something important I forgot: In those barracks there were no flowers at all, our golden asters were the only ones and Uncle Hermann was so pleased with them. What do you think, could you send him a little bunch via Fleurop? We will also do so if we can.",{"_key":30163,"_type":13,"marks":30164,"text":30134},"d66e5276f0ef",[],[],{"_key":30167,"_type":9,"children":30168,"image":4,"markDefs":30173,"style":18},"3d4e8e27d91e",[30169],{"_key":30170,"_type":13,"marks":30171,"text":30172},"519f066579d0",[],"We returned to the Bamfords in London, had a few days to see old friends again: Michael and Elaine Short from the Chigiana-course in Siena, my ex-pupil Graeme Humphrey from Linwood days, now studying piano at the Royal Academy, Peter and Jenny Murray and of course a visit to the Tate to see the Turners with new eyes.\n\nWe arranged to visit my “aunts” (actually Hu’s cousins) in Farnham on the way to the ship. These English relations were 3 elderly spinsters whom Betty and Hu had sent food parcels during the war and because of this long connection Molly, the eldest sister, had named me as her heir. They lived in “Hilltop Cottage”, Dockenfield, near Farnham.\n\n",[],{"_key":30175,"_type":9,"children":30176,"image":4,"markDefs":30181,"style":634},"44bbf004083a",[30177],{"_key":30178,"_type":13,"marks":30179,"text":30180},"1f652b416e9d",[],"*      *      *     *      *      *     *      *      *     *      *      *     ",[],{"_key":30183,"_type":9,"children":30184,"image":4,"markDefs":30188,"style":18},"5893f2a911cc",[30185],{"_key":30186,"_type":13,"marks":30187,"text":25},"a81bc6143ba8",[],[],{"_key":30190,"_type":9,"children":30191,"image":4,"markDefs":30199,"style":18},"3b36bef0c943",[30192,30196],{"_key":30193,"_type":13,"marks":30194,"text":30195},"3ff21379c4ae",[],"From now on, all correspondence was in German, but since the main language here is English, I shall write the translations of our letters in large type and the German originals in small type.",{"_key":30197,"_type":13,"marks":30198,"text":4878},"daec07f31f5d",[73],[],{"_key":30201,"_type":9,"children":30202,"image":4,"markDefs":30207,"style":18},"5348446da557",[30203],{"_key":30204,"_type":13,"marks":30205,"text":30206},"0ab1f3b62dce",[73],"\n30. 11. 67: (Brigitte to Family)",[],{"_key":30209,"_type":9,"children":30210,"image":4,"markDefs":30218,"style":18},"a304d852cde8",[30211,30215],{"_key":30212,"_type":13,"marks":30213,"text":30214},"9f72d80766fa",[73],"Dear Everybody, The ship sails tomorrow. Now we are sitting in Farnham with 3 delightful aunts of Kit’s, between 3 – 4 dogs and 4 – 5 cats, a goat should be here too, hens cackling somewhere — we’re sitting in Farnham on flowery armchairs, drinking tea and waiting for the ship.\n\nYesterday we rang up Richies in Kilmacolm again to for news of Uncle Hermann. Apparently he’s very depressed and very confused and is getting thinner and thinner. But the good man’s not eating!! Can’t anyone help him get a private room? Because in this men’s domain he can’t possibly get better, only worse. As soon as he’s fully conscious, he gets depressed by his situation, and gets worse than he was before. Yesterday in London we sent him via Fleurop a poinsettia with red and green leaves for Christmas.\n\nAlso yesterday we had to say farewell to the good Bamfords who have really spoilt us. But next year about August they’ll be returning to NZ so the departure was not too hard.\n\nIn front of me a golden fire is dancing, a cat is purring on the left flowery armchair, Kitchen is sneezing on the right flowery armchair and I am writing on the flowery sofa in the middle.\n\nFor a while now you won’t be able to get so many letters from us unless by bottle post. But there should be specially long greetings to you from all ports of call.\n\nOh you dear people, I get a bit very sad when I think of tomorrow’s departure, but Kitchen is so good to me and understands everything so well that I can really only be very happy. And just think how wonderful it will be when we come again sometime, when we see each other again! By the way, the house with the walnut tree in Christchurch is ready for us already.",{"_key":30216,"_type":13,"marks":30217,"text":4878},"0de87da18535",[],[],{"_key":30220,"_type":9,"children":30221,"image":4,"markDefs":30226,"style":634},"be54c88b12cf",[30222],{"_key":30223,"_type":13,"marks":30224,"text":30225},"9803f1e14bc7",[73],"30.11.67: ",[],{"_key":30228,"_type":9,"children":30229,"image":4,"markDefs":30234,"style":634},"6444482fd6b9",[30230],{"_key":30231,"_type":13,"marks":30232,"text":30233},"72b5094c1592",[73],"Unsere Lieben, Morgen fährt das Schiff. Jetzt sitzen wir in Farnham bei 3 alten köstlichen Tanten von Kit, zwischen 3 - 4 Hunden und 4 - 5 Katzen, eine Ziege soll auch noch da sein, Hühner gackern irgentwo — wir sitzen in Farnham auf geblümelten Sesseln. Wir trinken Tee und warten auf das Schiff.",[],{"_key":30236,"_type":9,"children":30237,"image":4,"markDefs":30242,"style":634},"17aa86a64146",[30238],{"_key":30239,"_type":13,"marks":30240,"text":30241},"85b7bdc1c7ae",[73],"\nGestern haben wir den Richies in Kilmacolm nochmals angerufen, um Neues über Onkel Hermann zu hören. Es soll ihm leider nicht sehr gut gehen. Er soll “very depressed” und sehr verwirrt sein, werde auch immer dünner! Aber er isst ja auch gar nichts, der gute Mann!! Ob man ihm nicht vielleicht zu einem Einzelzimmer verhelfen könnte? Denn in diesem Männerkreis kann er unmöglich gesund, höchstens kränker werden. Sobald er zu vollem Bewusstsein gelangt, deprimiert ihn seine Lage so, dass er noch kränker wird als vorher. Wir haben ihm dann gestern noch aus London einen roten Weihnachtsstern mit grünen Blättern via Fleurop schicken lassen!\n\nGestern haben wir auch den guten Bamfords, die uns so verwöhnt haben, adee sagen müssen. Doch nächstes Jahr, ca. August, werden die beiden nach NZ zurückkommen. So war der Abschied nicht zu schwer.\n\nVor mir tanzt ein goldenes Feuerchen, eine Katze schnurrt auf dem geblümten Sessel zur Rechten, Kitchen niest auf dem geblümten Sessel zur Linken, und ich schreibe auf dem geblümten Sofa in der Mitte.\n\nJetzt werdet ihr dann für ein Weilchen nicht so viele Briefe von uns bekommen können, höchstens via Flaschenpost. Aber von allen Häfen sollen dann besonders lange Grüsse an Euch abgehen!\n\nJe meine Lieben, ich werde doch wieder ein bisschen ganz fest besonders traurig, wenn ich an die morgige grosse Fahrt denke, doch Kitchen ist so gut zu mir und versteht alles so gut, dass ich wirklich nur fest froh sein kann. Und denkt doch, wie besonders wundervoll es sein wird, wenn wir dann wieder einmal kommen können, wenn wir uns dann wieder sehen werden! Übrigens, das Haus mit dem Nussbaum steht in Christchurch für uns bereit.",[],{"_key":30244,"_type":9,"children":30245,"image":4,"markDefs":30249,"style":18},"5e48246ea9c2",[30246],{"_key":30247,"_type":13,"marks":30248,"text":25},"e995e36e343e",[],[],{"_key":30251,"_type":9,"children":30252,"image":4,"markDefs":30257,"style":18},"11740c649257",[30253],{"_key":30254,"_type":13,"marks":30255,"text":30256},"4dd97100e336",[],"Brigitte’s fears of the ship journey, were, in spite of my comforting words, justified. I couldn’t believe that the same ship that took me so happily northwards from New Zealand to Italy two years before was now utterly different. First, it was now full and there were not enough deck chairs (or sitting chairs anywhere) for so many people. And second, these people were quite different. On the northbound trip the passengers were like me, young people embarking on the Big Trip or postgraduate students like Jenny and Peter Murray going to study abroad. Now the majority of these passengers were assisted immigrants — disgruntled or unemployed people hoping for a better life in Australia. That they had risked this big move was in itself praiseworthy but one had the feeling that their lot would not just improve with a geographical change, it needed an inner change for which they did not really see the necessity. They “killed” time on board by consuming the customs free cigarettes and alcohol. Strangely the drunkenness did not affect us greatly but the smell of cigarette smoke dominated the whole ship. It was as if the stale smell of tobacco permeated the walls and, aggravated by the fresh sea air which sharpened our olfactory sense, it seeped out again to plague us. Although not smokers, we had never been radically opposed, indeed we had occasionally smoked in company where most others were smoking. Now this all-pervading tobacco cloud seemed to hang over the ship, driving us to become radical non smokers. There was a further problem which I had also not experienced on my first sea trip: the air conditioning which reached our tiny cabin was too cool for us to stay there for very long. We could sleep well enough, albeit one above the other, but during the day, the cool air forced us up on deck where there was only stale tobacco and no sitting places. We were armed with a library of books which we wanted to read on the way, but we could find nowhere to sit down and read them.\n\nAs we arrived in Southampton we were greeted with the news that our luggage had not reached the ship. The authorities promised to check again but we were nevertheless highly agitated. While we waited we consoled ourselves with mail: letters and parcels of forgotten luggage, including my camera tripod which Vati had, to his shame, declared as a music stand (see sketch later). One letter was from him for my birthday which would fall between Southampton and Las Palmas:\n\n28. 11. 1967 ",[],{"_key":30259,"_type":9,"children":30260,"image":4,"markDefs":30265,"style":18},"27313d3c31ee",[30261],{"_key":30262,"_type":13,"marks":30263,"text":30264},"77bc6026c8a6",[],"Dear Kit ",[],{"_key":30267,"_type":9,"children":30268,"image":4,"markDefs":30273,"style":18},"38460045bc79",[30269],{"_key":30270,"_type":13,"marks":30271,"text":30272},"5725f7c2e646",[],"It will soon be your birthday which you will celebrate on the high seas! Birthdays cannot be embraced adequately with words, especially this your 29th birthday which encompasses the meeting and ensuing year and a half of friendship and union for life with Brigitte. This time seems to me like a fairytale, fashioned of miracles, painted with colours from another world and full of hope for lasting happiness — and at the same time with the everyday aims and brave steps, even with a tough struggle for the light that shows one the way through rough terrain. Dear children, Kit and Brigitte, I and all of us here are with you in these days and we will also celebrate your birthday, although we miss you, but we will celebrate it as if you were both here. And we will never forget, how wonderful this year was with you near us, and at the end within our close family circle which, however, did not limit you. But the ever greater responsibility which fell on your shoulders preparing for the big journey seemed to increase — nevertheless you spared no effort until deep into the night — I was impressed and admired you both, and as you were on the way to my sick brother waiting for you in Scotland and the reports of your trip arrived how you overcame various obstacles — I saw it again as if painted in fairy-tale colours. Regarding Uncle Hermann, since I am busy with this at the moment, the following: Max in Bern is preparing to travel to our brother, Elsbeth will accompany him. It was my special wish and that this will be fulfilled for the good of my brother is because you have cleared the way and brother Max will continue your work!\n\nNow comes the big wide sea. We are guarding the „Postal Information“ for your ports of call as a precious treasure and hope never to disappoint you, when you see the post boat coming. The paper is always kept in the same place in the „Document Box“, so that it can’t go astray! — And today came a special letter from Mother Powell (see page 138) which told us how much they are looking forward to Brigitte and that they wish with all their heart that she will feel exactly so at home with them as Kit felt with us. You cannot be better greeted and welcomed, dear Brigittchen, and I am quite sure it will be like that. Stay as you both are, dear people, and everything will come out well.\n\nMy dear children, I must stop now, time is running out! In the living room I can hear Ueli’s violin and Renatchen’s piano. Dear Kit, don’t laugh — probably you can play or invent a little chamber music in your ship’s cabin, far from mundane ears and even without tripod (see later), I meant to say music-stand — and Brigitte will take out her flute and play „Der Mond ist aufgegengen“ („The Moon has Risen“). Or is the flute not in your travelling bag? That would be a pity. — On the 2nd of December, which is only a Saturday, we will toast Kitchen’s big day, we still have some Teufener (red wine) in the cellar. Müeti will read through what I have written and then I’ll go to the post office! Farewell dear poeple. May the sun and the breath of the sea make you happy. Bon voyage. Vati\n\n",[],{"_key":30275,"_type":9,"children":30276,"image":4,"markDefs":30284,"style":634},"986ae643e634",[30277,30281],{"_key":30278,"_type":13,"marks":30279,"text":30280},"fcca99f66381",[73],"28. November 1967\n\nMr. and Mrs. C.B.Powell, Southbound Voyage Number 47 t.v. „Fairsky“, c\u002Fo Keller Bryant & Co. Ltd., 21\u002F22 Queens Terrace, Southampton\n\nLieber Kit\n\nDu hast bald Geburtstag, und feierst ihn auf hoher See! Geburtstage kann man nicht mit Worten erschöpfen, vor allem nicht diesen Deinen 29. Geburtstag, der die anderthalb Jahre Deiner Begegnung und der ihr entsprungenen Freundschaft und Verbindung fürs Leben mit Brigitte abschliesst. Wie ein Märchen kommt mir diese Zeit vor, gewirkt aus Wundern, gemalt mit Farben aus einer andern Welt und als eine Hoffnung dauernden Glückes — und doch auch mit irdisch-treuem Willen und tapfern Schritten, ja mit zähem Kampfe ums Licht, um einen Weg im Dickicht errungen. Liebe Kinder, Kit und Brigitte, ich und wir alle sind bei euch an diesem Tage und werden ihn auch feiern, obwohl ihr uns fehlt, und wollen doch feiern, als wärt ihr an unserer Seite. Und wollen nie vergessen, wie schön dieses Jahr, da ihr in unserer Nähe und zuletzt in unserem engsten Kreise wart, der euch doch nicht beengte. Zwar immer grösser schien die Mühe, die ihr tragen musstet, um die grosse Reise vorzubereiten — und doch war euch keine Mühe zuviel bis tief in die Nacht — ich habe gestaunt und euch Liebe bewundert, und als ihr unterwegs wart und Eure Berichte von der Fahrt nach Schottland, wo mein kranker Bruder wartete und ihr manche Hindernisse überwandet, eintrafen — da sah ich es wieder leuchten in Märchenfarben. Von Onkel Hermann, da ich doch dabei bin, noch dies: Max in Bern bereitet seine Reise zu unserem Bruder vor, Elsbeth wird mit dabei sein. Es war mein grosser Wunsch, und dass er erfüllt wurde, zum Besten meines Bruders, ihr habt die Bahn frei gemacht. Ihr habts gezeigt: so wirds gemacht, und Bruder Max wird euer Werk fortsetzen!\n\nNun kommt das grosse, weite Meer. Wir hüten den Stationenplan als einen kostbaren Schatz und hoffen, euch nie zu enttäuschen, wenn ihr das Postschiff kommen seht. Immer wieder wird er an dasselbe Plätzchen in der Dokumentenschachtel versorgt, so kann es nicht fehlen! — Und heute kam noch ein lieber Brief von Mutter Powell, der uns sagt, wie sehr sie sich auf Brigitte freuen „und dass sie von ganzem Herzen hoffen, dass sie sich genau so wohl bei ihnen fühlen werde, wie sich Kit bei uns gefühlt hat.“ Schöner kannst Du nicht begrüsst und erwartet werden, liebes Brigittchen, und ich glaube fest, dass es so sein wird. Bleibt wie ihr seid, ihr beiden Lieben, dann kommt alles recht!\n\nMeine lieben Kinder, ich darf nicht mehr schreiben, die Zeit drängt! In der Stube höre ich Uelis Geige und Renatchens Klavier. Lieber Kit, lache nicht — kannst wohl in der Schiffskabine fern von weltlichen Ohren und auch ohne Stativ, ich wollte sagen Notenständer, ein wenig Kammermusik machen oder vorweg erfinden — und Brigitte holt noch die Flöte hervor und spielt: „Der Mond ist aufgegangen.“ Oder habt ihr sie nicht im Reisegepäck? Das wäre schade.— Am 2. Dezember, der nur ein Samstag ist, werden wir auf Kitchens grossen Tag anstossen, wir haben noch Teufener im Keller. Müetti will meine Sprüche auch noch lesen, dann zur Post! Lebt wohl, beide Lieben, Sonne und der Hauch des Meeres mögen euch beglücken! Auf gute Fahrt. Vati.",{"_key":30282,"_type":13,"marks":30283,"text":4878},"b7f98fa67f27",[],[],{"_key":30286,"_type":9,"children":30287,"image":4,"markDefs":30291,"style":18},"ef909d1e67b2",[30288],{"_key":30289,"_type":13,"marks":30290,"text":25},"490ee76987d9",[],[],{"_key":30293,"_type":9,"children":30294,"image":4,"markDefs":30299,"style":18},"4f0fd22215c5",[30295],{"_key":30296,"_type":13,"marks":30297,"text":30298},"c554374bc645",[],"Four days later came first stop: Las Palmas, Canary Islands. This would be our only really foreign port. It was full of Arabian looking wares from the African continent nearby. I felt I must show Brigitte how one bargained at the market — from my experience of Singapore, Colombo and Aden on the way north! We hadn’t gone far when someone offered us a “pouffe”, or rather the leather casing of such a big round cushion. “£10” he said. I said “£5”. He: “£8” … and so on coming down in tiny steps. I stuck to my £5 although I really didn’t need the object at all, after all, I was just showing how it was done! Finally we walked away but the man ran after us: “OK, £5” he said tucking it under my arm. “You’ll have to buy it now,” said Brigitte. And so we went on with one large pouffe and £5 poorer.\n\n",[],{"_key":30301,"_type":9,"children":30302,"image":4,"markDefs":30307,"style":634},"11586dc7c021",[30303],{"_key":30304,"_type":13,"marks":30305,"text":30306},"d446c6ed4b3d",[],"6.12. 67: ",[],{"_key":30309,"_type":9,"children":30310,"image":4,"markDefs":30315,"style":634},"4c4b0fc7d34d",[30311],{"_key":30312,"_type":13,"marks":30313,"text":30314},"142c581f4d41",[73],"Temp. 24°! Wasser 20°!! Dazu Samichlaustag! Doch davon weiss hier niemand was.\n\nGestern, wie Ihr wisst, haben wir uns durch Las Palmas geschlagen: viele hässliche Hotels, viel Schmutz, Lärm, einige Palme, auch verdreckt, überfüllte Strände mit Sonnenschirmen und Sonnenhüten. Dort haben wir auch mit hartnäckigen Verkäufern umgeschlagen, “gemärtet” und gefeilscht (Kit kann dies gut!) und ehe wir uns versalen standen wir da beladen mit Puff, Kleid, eine T asche aus Stroh und eine Flasche Wein auf der Strasse, …",[],{"_key":30317,"_type":500,"caption":30318,"image":30319,"markDefs":4},"64e01ff236c6","Voyage: Southhampton — Las Palmas",{"caption":4,"id":30320,"meta":30321,"parentID":4,"parentType":3456,"url":30322},"34ca6be863a3e1be1424839100fe7d9f3b6273a6",{"_type":506,"aspectRatio":17885,"height":2585,"width":17886},"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F34ca6be863a3e1be1424839100fe7d9f3b6273a6-595x842.jpg",{"_key":30324,"_type":9,"children":30325,"image":4,"markDefs":30330,"style":18},"718e26a7688f",[30326],{"_key":30327,"_type":13,"marks":30328,"text":30329},"3425d1e59782",[],"\n\n6. 12. 67:  (Brigitte to Family)",[],{"_key":30332,"_type":9,"children":30333,"image":4,"markDefs":30338,"style":18},"3d675e9d06e2",[30334],{"_key":30335,"_type":13,"marks":30336,"text":30337},"cfcfad9ad8d8",[],"Temp. 24°! Water 20°!! And St Nicholas’s Day too! But nobody here knows anything of that. ",[],{"_key":30340,"_type":9,"children":30341,"image":4,"markDefs":30346,"style":18},"fce243d187af",[30342],{"_key":30343,"_type":13,"marks":30344,"text":30345},"49e782e0e833",[],"Yesterday as you know we were in Las Palmas: lots of ugly hotels, lots of dirt, noise, a few palms, also dirty, over-filled beaches with sun shades and changing boxes. We battled with persistent salesmen, haggled and bargained (Kit can do this well!) and before we’d finished we stood on the street laden with a pouffe, a dress, a straw bag and a bottle of wine …",[],{"_key":30348,"_type":9,"children":30349,"image":4,"markDefs":30353,"style":18},"8ef33a22d4a4",[30350],{"_key":30351,"_type":13,"marks":30352,"text":25},"cbe487a66343",[],[],{"_key":30355,"_type":500,"caption":30356,"image":30357,"markDefs":4},"683c6120643e","Voyage: Las Palmas — Cape Town",{"caption":4,"id":30358,"meta":30359,"parentID":4,"parentType":3456,"url":30360},"9bd4f8968ca2df735368c3fe56657e46e4f5d24b",{"_type":506,"aspectRatio":17885,"height":2585,"width":17886},"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F9bd4f8968ca2df735368c3fe56657e46e4f5d24b-595x842.jpg",{"_key":30362,"_type":9,"children":30363,"image":4,"markDefs":30368,"style":634},"cdacc0d1ff23",[30364],{"_key":30365,"_type":13,"marks":30366,"text":30367},"18e3d260cf45",[],"\n\n06.12.67 ",[],{"_key":30370,"_type":9,"children":30371,"image":4,"markDefs":30376,"style":634},"d0210716e7c3",[30372],{"_key":30373,"_type":13,"marks":30374,"text":30375},"fcafd5436a59",[73],"Man wird weiter und weiter mit den besten Dingen nur so voll gestopft, man isst und frisst und schläft und liest, vielleicht, falls man ein ruhiges Plätzlein findet, dies bis der Gong wieder tönt: 1. Suppe 2. Fisch als Vorspeise 3. Hauptgang mit Fleisch, Kartoffeln und Gemüse 4. Käse 5. Torte und Icecream 6. Kaffee oder Tee . . . !!! Dies zweimal im Tag! Unvorstellbar. Und man ist ja gar nicht hungrig, da die Bewegung zu kurz kommt. Heute haben sie wohl den Swimming Pool aufgetan (leider sehr klein), und wir werden, falls es nicht gespickt voll ist, bald unser Taucher-Glück versuchen. Glücklicherweise verschlafen wir das Frühstück meistens (von 7 – 9 am), weil das Kabinchen sooo dunkel ist! ",[],{"_key":30378,"_type":9,"children":30379,"image":4,"markDefs":30384,"style":634},"f5d0436c1c86",[30380],{"_key":30381,"_type":13,"marks":30382,"text":30383},"79fdda75d364",[73],"Und darf ich schnell ein bisschen stöhnen??? Ihr könnt Euch unmöglich vorstellen, was für eine Quantität von hässlichen, dicken und dünnen, armseligen, geistlosen, primitiven . . . unmöglichen Gestalten sich auf der „Fairsky“ aufgetürmt hat. Ungezogene, schmutzige Kinder schreien und lärmen und brüllen ständig, die langweiligen Gesichter sitzen herum, vermissen die Television, probieren den neu erstandenen zollfreien Radio aus und warten auf die nächste Mahlzeit . . . Wir tun uns beide oft gar ein bisschen leid, Kitchen und ich, weil es einfach schwer ist, irgendwo ein gutes Winkelchen ohne Schmutz, Gestank, Geschrei, Rauch oder „Musik“ zu finden! Und all diese Gestalten emigrieren nach Australien, all diese hoffnungslosen Existenzen hoffen, dort das Glück zu finden! Was muss das für eine unmögliche Bevölkerung sein, die ja sonst schon wegen der vielen ausgesetzten Gefangenen und Verbrecher berühmt genug ist . . . ! Ich bin froh, dass Neuseeland sehr wählerisch ist in der Aufnahme neuer Leute. Ich kann nun verstehen, wie wichtig dies ist. ",[],{"_key":30386,"_type":9,"children":30387,"image":4,"markDefs":30392,"style":634},"26445ea01d82",[30388],{"_key":30389,"_type":13,"marks":30390,"text":30391},"7fce2a9d9fd8",[73],"Hei, und wisst ihr, was wir gerade jetzt, 16.50 Uhr, ganz ganz schwach am Horizont sehen können? Die Westküste Afrikas! Wirklich ein Stücklein von Afrika. Am liebsten möchten wir hinüberschwimmen und schauen, wie es dort aussieht!",[],{"_key":30394,"_type":9,"children":30395,"image":4,"markDefs":30400,"style":634},"91f7401f3377",[30396],{"_key":30397,"_type":13,"marks":30398,"text":30399},"b2e015175835",[73],"Etwas vom schönsten sind die Nächte auf dem Schiff. Da flimmert und strahlt der dunkle Himmel in allen Sternenfarben, es ist ganz ruhig draussen, die flachen Gesichter sitzen alle drinnen, trinken, tanzen, rauchen oder besehen sich schlechte Filme, und das Meer mit seinem Rauschen, der Himmel mit seinen Sternen, der Kühle Nachtwind . . . alle gehören sie uns für ein Weilchen und machen uns froh. ",[],{"_key":30402,"_type":9,"children":30403,"image":4,"markDefs":30407,"style":18},"265c8176a336",[30404],{"_key":30405,"_type":13,"marks":30406,"text":25},"4baac3fb25d4",[],[],{"_key":30409,"_type":9,"children":30410,"image":4,"markDefs":30415,"style":634},"c46ba8600a84",[30411],{"_key":30412,"_type":13,"marks":30413,"text":30414},"16a414f03975",[73],"Ich werde nun noch ein bisschen in die unteren Kabinen-Regionen tauchen und vielleicht etwas Wäsche halten. Aufgehängt wird die dann auf einem speziellen Wäschedeck, dort braust und flattert es wild und bunt, doch ob man später die Wäsche wieder findet, ist eine andere Frage. Die Leute lassen manchmal „versehentlich“ etwas mit laufen. So haben sie sich auch schon an 2 – 3 meiner farbenfrohen Unterhosen vergriffen. Well, that’s life!\n",[],{"_key":30417,"_type":9,"children":30418,"image":4,"markDefs":30423,"style":18},"a53b71bd07ba",[30419],{"_key":30420,"_type":13,"marks":30421,"text":30422},"ec393dbb3191",[],"\n\n06.12.67  (Brigitte to Family)",[],{"_key":30425,"_type":9,"children":30426,"image":4,"markDefs":30431,"style":18},"73177249e1bf",[30427],{"_key":30428,"_type":13,"marks":30429,"text":30430},"ef40727d7a09",[],"One is constantly stuffed full with the best stuff, one eats and gorges and sleeps and reads, that is if one can find a quiet place, but just until the dinner gong sounds again: 1. soup 2. fish as entrée 3. main course with meat, potatoes and vegetables 4. cheese 5. cake and icecream 6. coffee or tea … ! All this twice a day! Unimaginable. And we are never hungry because we don‘t get enough exercise. Today they opened the swimming pool (unfortunately very small), and if it‘s not jammed full we will certainly soon test our diing luck. Fortunately we usually sleep in and miss breakfast (from 7 – 9 am), because the cabin is so dark! ",[],{"_key":30433,"_type":9,"children":30434,"image":4,"markDefs":30439,"style":18},"d94e8c213397",[30435],{"_key":30436,"_type":13,"marks":30437,"text":30438},"b8d291b635a8",[],"And may I just complain a little? You can‘t possibly imagine how many ugly, fat and thin, squalid, unimaginative, primitiven, … impossible creatures have piled themselves into the „Fairsky“. Ill-mannered, dirty children constantly screaming and fussing and bawling, the bored faces just sitting around, missing their television, testing their newly aquired duty-free radio and waiting for the next meal … We often feel rather sorry for ourselves, Kit and I, because it is so difficult to find a little corner free of dirt, of stink, of bawling, of smoke or of „music“! And all these objects are emmigrating to Australia, all these hopeless existences are hoping to find happiness there! What is that for an impossible folk which is already famous enough for its abandoned prisoners and criminals …! I‘m pleased that New Zealand is very choosy about the new people it accepts. I can now understand how important this is. ",[],{"_key":30441,"_type":9,"children":30442,"image":4,"markDefs":30447,"style":18},"7f0fbfc73d78",[30443],{"_key":30444,"_type":13,"marks":30445,"text":30446},"40a7f038c81e",[],"Hei, and do you know what we can see, just now (4:50 pm), very very faintly on the horizon? The west coast of Africa! Really a little bit of Africa. We would just love to swim over there and see what it looks like.\n",[],{"_key":30449,"_type":9,"children":30450,"image":4,"markDefs":30455,"style":18},"80eab4f25b3e",[30451],{"_key":30452,"_type":13,"marks":30453,"text":30454},"e213e29ce52a",[],"One of the most beautiful things are the nights on the ship. The sky flimmers and shines with all star colours and outside everything is quite still, the flat faces are all sitting inside drinking, dancing, smoking or watching bad films and the sea with its swishing, the sky with its stars, the cool night air … all belong to us for a moment and make us happy. ",[],{"_key":30457,"_type":9,"children":30458,"image":4,"markDefs":30463,"style":18},"d1b17f367ad6",[30459],{"_key":30460,"_type":13,"marks":30461,"text":30462},"f7f2113c0b3b",[],"Now for a wee while I shall dive down into the lower cabin region and perhaps do some washing. It is hung up on a special washing-deck, there it roars and flutters wild and gay, but it another question, whether you can find it again later. Sometimes people „inadvertently“ take the wrong washing. I have already lost 2 – 3 of my colourful underpants. Well, that‘s life!\n",[],{"_key":30465,"_type":9,"children":30466,"image":4,"markDefs":30470,"style":634},"199567dcbfeb",[30467],{"_key":30468,"_type":13,"marks":30469,"text":25},"891c47956611",[],[],{"_key":30472,"_type":9,"children":30473,"image":4,"markDefs":30478,"style":634},"badca7bcf680",[30474],{"_key":30475,"_type":13,"marks":30476,"text":30477},"7f60e8affae5",[],"11.12.67 (Montag) ",[],{"_key":30480,"_type":9,"children":30481,"image":4,"markDefs":30486,"style":634},"42a074241e70",[30482],{"_key":30483,"_type":13,"marks":30484,"text":30485},"4d04b07b7c08",[],"Vorgestern Nacht, um 03.30 Uhr, haben wir den Äquator passiert, und gestern wurde dies dann auch mit dem grässlichsten Schabernack und mit einem besonders guten Essen: Danish Turkey, vorher Lobster (Crawfish!! Hummer?) und dann Alaska Cake gefeiert: Plötzlich wurde es dunkel, und herein marschierten lauter kleine Flämmchen, darunter die Torten, nochmals darunter die lustigen italienischen Kellner. Die Torten bestanden aus Eis und Meringues und Bisquit. Der Käse wurde zur Feier des Tages vergessen! ",[],{"_key":30488,"_type":9,"children":30489,"image":4,"markDefs":30494,"style":634},"d277f2867fa6",[30490],{"_key":30491,"_type":13,"marks":30492,"text":30493},"4c1613b7b138",[],"Über die „Crossing the Line Ceremony“ mag ich gar nicht erzählen, war es doch wirklich etwas scheusslich: King Neptun bestrafte einige, und den armen Wesen wurden Eier nachgeschmissen, sie mussten sich auf Eier setzen, und dann wurden sie auch mit Spaghetti und Schokolade oder sonst unmöglich klebrigem Zeug beworfen und bestrichen, nachher Dusche . . . dies war die „Taufe“. Ich kriegte dann, wie alle anderen auch, später eine Urkunde zur Bestätigung, dass ich den Äquator passiert habe.\n\n",[],{"_key":30496,"_type":9,"children":30497,"image":4,"markDefs":30502,"style":18},"0320c6c5604a",[30498],{"_key":30499,"_type":13,"marks":30500,"text":30501},"ecc9ef83c0a5",[],"11.12.67 (Monday: Brigitte to Family) ",[],{"_key":30504,"_type":9,"children":30505,"image":4,"markDefs":30510,"style":18},"02bbc96dd992",[30506],{"_key":30507,"_type":13,"marks":30508,"text":30509},"ba4d901ace52",[],"Last night at 3:30 am we crossed the equator and yesterday this was celebrated with the ugliest nonsense and with a specially good meal: Danish Turkey, preceded by lobster (crayfish!!) and followed by Alaska Cake. Suddenly the whole dining room was dark and in marched lots of little flames and under them cakes and under the cakes the funny Italian waiters. The cakes were made of icecream and meringue and biscuits. In honour of the occasion they forgot the cheese course! ",[],{"_key":30512,"_type":9,"children":30513,"image":4,"markDefs":30518,"style":18},"f6523ca0fffd",[30514],{"_key":30515,"_type":13,"marks":30516,"text":30517},"09e7fae28334",[],"I really don‘t want to tell you about the „Crossing the Line Ceremony“, it was really abominable: King Neptune punished some people and the poor things had eggs thrown at them, they had to sit on eggs, and then they were pelted and slathered with spaghetti and chocolate and other sticky stuff and then put under a shower … this was the „baptism“. Then I (and everybody else too) received a certificate to confirm that I had crossed the equator.\n\n",[],{"_key":30520,"_type":9,"children":30521,"image":4,"markDefs":30526,"style":634},"8ba4199644d8",[30522],{"_key":30523,"_type":13,"marks":30524,"text":30525},"7b3b8d428618",[],"15.12.67 ",[],{"_key":30528,"_type":9,"children":30529,"image":4,"markDefs":30534,"style":634},"9fd8528cca33",[30530],{"_key":30531,"_type":13,"marks":30532,"text":30533},"3a1d8fb68845",[],"Gestern haben wir mit weissem Chianti so ein wenig den 14. Dezember gefeiert und etwas wehmütig zurück gedacht an unseren Hochzeitstag vom letzten Jahr mit wilden weissen Schneeflöcklein, Rehpfeffer und Knöpfli . . . und dann zu guter Letzt Paris. \n\n",[],{"_key":30536,"_type":9,"children":30537,"image":4,"markDefs":30542,"style":18},"c1859f06cdab",[30538],{"_key":30539,"_type":13,"marks":30540,"text":30541},"e34a8b1f9312",[],"15.12.67 (Brigitte to Family)",[],{"_key":30544,"_type":9,"children":30545,"image":4,"markDefs":30550,"style":18},"312bf8214469",[30546],{"_key":30547,"_type":13,"marks":30548,"text":30549},"8c71c5352278",[],"Yesterday we celebrated the 14th of December and thought back longingly to our wedding day of last year, with wild white snow flakes, venison and Knöpfli (tiny dumplings) … and, in the end, to Paris.\n",[],{"_key":30552,"_type":500,"caption":30553,"image":30554,"markDefs":4},"f554d1cfcd87","Cape Town with Table Mountain in the background",{"caption":4,"id":30555,"meta":30556,"parentID":4,"parentType":3456,"url":30560},"c491d8eb9bafabe195a120d73844d49d4e02e594",{"_type":506,"aspectRatio":30557,"height":30558,"width":30559},1.5204081632653061,294,447,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fc491d8eb9bafabe195a120d73844d49d4e02e594-447x294.jpg",{"_key":30562,"_type":9,"children":30563,"image":4,"markDefs":30568,"style":634},"26261a95e81e",[30564],{"_key":30565,"_type":13,"marks":30566,"text":30567},"3bb899a0d178",[],"\n16.12.67 (Postkarte) ",[],{"_key":30570,"_type":9,"children":30571,"image":4,"markDefs":30576,"style":634},"ee87ae9da422",[30572],{"_key":30573,"_type":13,"marks":30574,"text":30575},"a18212f68e81",[73],"Capetown – Hitze – viele wunderschöne Blumen . . . Genau so (siehe Bild) wurden wir vor ca. 5 Stunden in die Docks von Capetown gezogen und gestossen . . . Genau so dick und schwarz war der Rauch der kleinen „tugs“ . . . und dort, wo der Punkt ist auf der Karte, dort sind wir eben gewesen: Table Mountain, mittels Luftseilbahn. Die Aussicht war zauberhaft.",[],{"_key":30578,"_type":9,"children":30579,"image":4,"markDefs":30583,"style":634},"c1d1457dcd0f",[30580],{"_key":30581,"_type":13,"marks":30582,"text":25},"f4047b668f38",[],[],{"_key":30585,"_type":9,"children":30586,"image":4,"markDefs":30591,"style":18},"bc9cac07a0b1",[30587],{"_key":30588,"_type":13,"marks":30589,"text":30590},"7407ba1b9824",[],"16.12.67 (post card) ",[],{"_key":30593,"_type":9,"children":30594,"image":4,"markDefs":30599,"style":18},"d101e3aff656",[30595],{"_key":30596,"_type":13,"marks":30597,"text":30598},"af3862ad55d8",[],"Capetown – heat – lots of gorgeous flowers … 5 hours ago, exactly as above (see picture) we were pulled and pushed into the docks of Capetown … the smoke of the tiny tugs was exactly so black … and there where the spot on the card is, that‘s where we went: Table Mountain, by cable car. The view was magical.",[],{"_key":30601,"_type":9,"children":30602,"image":4,"markDefs":30607,"style":634},"d6e23b2cc7fd",[30603],{"_key":30604,"_type":13,"marks":30605,"text":30606},"9307acac27ba",[],"\n\n21.12.67 ",[],{"_key":30609,"_type":9,"children":30610,"image":4,"markDefs":30615,"style":634},"d86c566b4a97",[30611],{"_key":30612,"_type":13,"marks":30613,"text":30614},"c6ecbf483970",[],"Und schon wieder 5 Tage lang Wasser, Wellen und Himmel, ein lärmiges Schiff mit 1600 Menschen. Wir machten und machen ziemlich unangenehme Phasen von Übelkeit, Kopfweh, Erbrechen, Erkältung . . . durch, von Tag zu Tag werden wir müder und fauler, schlafen lange und länger, um dem lauten Treiben etwas auszuweichen. Sonst tun wir gar nichts, weil es unmöglich ist.\n\nDoch Capetown war ein Lichtblick. In Capetown war es schön! Zu viert, zusammen mit den beiden Dänen Lisbeth und Erik, bestiegen wir nach einem heissen Spaziergang, vorbei an Schiffen aus allen Weltteilen, einen Taxi, gelblicher, geldgieriger Taxichauffeur, den wir vorsichtshalber vor der Fahrt um den Preis fragten, er wollte 2 Rand (über £1), doch wir bestanden darauf, ihm nicht mehr als £1 zu geben! Und er brachte uns auch schlussendlich, gelb-süss lächelnd, an Ort und Stelle für diesen Preis und konnte uns sogar noch etwas Geld mehr englisches Geld in Rands umwandeln für späteren Gebrauch. Er warnte uns auch mehrere Male ausdrücklich vor Taschendieben, wahrscheinlich weil er selber einer war!\n\nDas Seilbähnchen ratterte uns dann wirklich in 5 Minuten fast senkrecht auf den Table Mountain, der uns dann eine unvergessliche, zauberhafte Aussicht auf Meer und Felsen und viele Häuser bot (Capetown hat bald eine Million Einwohner, weisse, gelbe (Malaien) und schwarze, mit strenger Rassentrennung). Das Meer leuchtete ganz golden in der Abendsonne, sodass wir vor Staunen fast den Atem verloren. Nach Glacé und Zitronensaft brachte uns das Bähnchen wieder zurück, und statt teurem Taxi trugen uns unsere eigenen Füsse durch Föhrenwäldchen, über holperige Wege, vorbei an Blumen und kleinen Käfern, wieder in die Stadt zurück. Wie genossen wir es doch, auf wirklicher, ruhiger Erde zu wandern, und nicht auf dem wankenden, hölzernen Schiff! Wir atmeten ganz tief, denn es musste ausreichen für 13 Tage (5 sind schon vorbei!). Einige Föhrenzweiglein kamen dann auch mit. Die sollten uns etwas Weihnachten und gute Luft ins Kabinchen bringen. Föhrenzweige mit Föhrenzapfen dran! Dann wanderten wir noch etwas durch die Nacht, die im kitschigsten, unvorstellbaren Weihnachtsschmuck prangte. Lichter drehten sich in allen Farben. Mehr Jahrmarkt als Weihnachten. Die Läden waren fast alle geschlossen, sodass wir uns glücklicherweise keine solchen Schnitzer wie in Las Palmas leisten konnten – denn nach vielen Tagen auf dem Schiff ist man zu allem fähig! Dafür lud der gute Erik uns nachher zu einem köstlichen Essen ein: Rump Steaks von einer Grösse, die Ihr Euch nicht träumen könnt. Jeder kriegte eine ovale Platte mit dem Fleischungetüm darauf. Vier Personen hätten sich an einem einzigen satt essen können. Doch wir assen tüchtig, verzweifelt und froh, weil es so gut war, einmal wieder wo anders zu sitzen, wo anders zu essen, und dick und rund rollten wir gegen Mitternacht teils per Bus, teils per Taxi, wieder zum Hafen zurück, zur „Fairsky“ mit dem gelben Kamin, und etwas widerwillig stolperten wir über den hölzernen Steg in den riesigen Schiffsbauch zurück, wenn nicht eine Hoffnung gewesen wäre: Briefe! Vielleicht sind Briefe dort! (Wir kriegten die Briefe immer erst am Ende unserer Ausflüge). Und wirklich, heissa, ca. 10 Stück für die Powells!",[],{"_key":30617,"_type":9,"children":30618,"image":4,"markDefs":30623,"style":634},"9411cc60b4a5",[30619],{"_key":30620,"_type":13,"marks":30621,"text":30622},"dc07432edd02",[],"Heute sprangen lustige kleine Delphine durchs Wasser. Gestern und vorgestern besuchten uns zwei riesige weisse Vögel, die wie zwei ganz grosse Möwen aussehen. Fliegende Fische konnten wir bis jetzt im Indischen Ozean keine sehen. Wetter wieder kühler, in langen Hosen und Pullovern wandern wir herum.\n",[],{"_key":30625,"_type":9,"children":30626,"image":4,"markDefs":30631,"style":18},"f6320e00175a",[30627],{"_key":30628,"_type":13,"marks":30629,"text":30630},"1fd84c441836",[],"\n21.12.67 (Brigitte to Family) ",[],{"_key":30633,"_type":9,"children":30634,"image":4,"markDefs":30639,"style":18},"06f409630e83",[30635],{"_key":30636,"_type":13,"marks":30637,"text":30638},"9bc2bd134d7d",[],"And again already 5 days long of water, waves and sky, a noisey ship with 1600 people. We‘ve had and are having rather unpleasant phases of feeling sick, being sick, headaches, colds … from day to day we get tireder and lazier, sleep longer and longer so as to avoid some of the commotion. Otherwise we do nothing, because it‘s impossible to do anything. ",[],{"_key":30641,"_type":9,"children":30642,"image":4,"markDefs":30647,"style":18},"ef98a11285d8",[30643],{"_key":30644,"_type":13,"marks":30645,"text":30646},"a00ad366d903",[],"But Capetown was a bright spot. Capetown was beautiful. After a hot walk past ships from all corners of the earth together with the two Danes Lisbeth and Erik, all four of us climbed into a taxi driven by a yellowish money hungry driver from whom (to be on the safe side) we first asked how much the trip would cost: he wanted 2 rand (more than £1), but we insisted we would give him any more than £1. And finally he brought us, yellow sweet smiling to the correct place for the correct price and could even change some of our English money into rands for later use, He warned us explicitly several times to beware of pickpockets, probably because he was one himself. ",[],{"_key":30649,"_type":9,"children":30650,"image":4,"markDefs":30655,"style":18},"a3cf42fae03e",[30651],{"_key":30652,"_type":13,"marks":30653,"text":30654},"7108e6523d7f",[],"The cable car rattled us vertically up Table Mountain in just 5 minutes and offered us an unforgetable magical view of sea and cliffs and many houses (Capetown has almost a million inhabitants, white, yellow (Malayan) and black, with strick racial segregation). The sea glowed all golden in the evening sun so that our amazement almost took our breath away. After icecream and lemonade the cable car brought us down again and instead of an expensive taxi our feet carried us though pine forests over bumpy paths, past flowers and little beetles back into the city again. We enjoyed it to be walking on really stable earth and not on a wobbly wooden ship! We breathed very deeply because this had to last for 13 days (5 are already passed!). A few pine twigs accompanied us back on board. They should give us a bit of Christmas and good air in our cabin. Pine twigs with pine cones on them! Then we wandered a bit further through the night which was resplendent with the most unimaginably kitschy Christmas decorations with lights an all possible colours. More like an annual fair than Christmas. Fortunately almost all the shops were shut so that we that we couldn‘t perform any blunders as we did in Las Palmas — because after so many days on board ship one is ready for anything! Instead good Erik invited us afterwards to a delicious meal: rump steaks bigger than you could ever dream of. Each of us got an oval plate with the meat monster on it. Four people could have filled themselves on one of them. But we ate diligently, desperately and joyfully because it was so good to be able to sit down somewhere else, to eat something else and fat and round at about midnight we rolled, partly by bus, partly by taxi back to the port again, to the „Fairsky“ with the yellow funnel, and stumbled up over the wooden stairway back into the huge ship‘s tummy rather reluctantly if it were not for a special hope: Letters! Perhaps ther are letters there (we always get mail at the end of our day trips). And yes, hurray, about 10 pieces for Powells!\n\nToday frolicking dolphins were leaping through the water. Yesterday and the day before two huge white birds visited us which looked like two very big seagulls. There are no flying fish to be seen now in the Indian Ocean. Weather cooler again, we wander around in long pants and pullovers.\n",[],{"_key":30657,"_type":500,"caption":30658,"image":30659,"markDefs":4},"75962b7f7914","Voyage: Capetown — Freemantle",{"caption":4,"id":30660,"meta":30661,"parentID":4,"parentType":3456,"url":30665},"778262e7a6b7f9cafa1391c76f8c40a2362cd842",{"_type":506,"aspectRatio":30662,"height":30663,"width":30664},3.5149700598802394,167,587,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F778262e7a6b7f9cafa1391c76f8c40a2362cd842-587x167.jpg",{"_key":30667,"_type":9,"children":30668,"image":4,"markDefs":30673,"style":634},"12c66c293a3d",[30669],{"_key":30670,"_type":13,"marks":30671,"text":30672},"3e6b33f92a75",[],"\n23.12.67 ",[],{"_key":30675,"_type":9,"children":30676,"image":4,"markDefs":30681,"style":634},"4f5c1e4148e1",[30677],{"_key":30678,"_type":13,"marks":30679,"text":30680},"0a07fc7ff894",[],"Heute haben sie überall ganz eigenartige „Christbäume“ aufgestellt: Künstliche Bäume, künstlicher Schnee darauf und natürlich künstliche Kerzen. Die Bäume sind irgendwie zusammen gesetzte Holzstücke, mit grünem Zeug bezogen, und dann eben von Watte bedeckt. Die Farben“pracht“ ist enorm. Ich kann mich nicht so gut daran gewöhnen. Dafür haben wir ein prächtiges eigenes „Bäumlein“ in der Kabine, heute haben wir nämlich ein Strohsternlein und ein rotes Kügelein, Lametta und Föhrenzapfen daran gehängt – darunter eine Kerze – es sieht schön aus.\n\n",[],{"_key":30683,"_type":9,"children":30684,"image":4,"markDefs":30689,"style":18},"95411a77535c",[30685],{"_key":30686,"_type":13,"marks":30687,"text":30688},"50842fe80ffa",[],"23.12.67 (Brigitte to Family)",[],{"_key":30691,"_type":9,"children":30692,"image":4,"markDefs":30697,"style":18},"e4ff4fec06c4",[30693],{"_key":30694,"_type":13,"marks":30695,"text":30696},"8ca8ba03398d",[],"Today they have set up everywhere strange looking „Christmas Trees“. Artificial trees, with artificial snow on them and of course artificial candles. The trees are somehow put together out of pieces of wood, covered with green stuff and then decorated with cotton wool. The colour „grandeur“ is huge. I can‘t get used to it very well. We have a glorious little „tree“ of our own in the cabin and today we hung a straw star, a little red globe, tinsel and a pine cone on it — underneath a candle — it looks beautiful.",[],{"_key":30699,"_type":9,"children":30700,"image":4,"markDefs":30704,"style":18},"159524333bc4",[30701],{"_key":30702,"_type":13,"marks":30703,"text":25},"9d66f67bef18",[],[],{"_key":30706,"_type":9,"children":30707,"image":4,"markDefs":30712,"style":634},"2e86b0fcbad6",[30708],{"_key":30709,"_type":13,"marks":30710,"text":30711},"fc747b1bda880",[],"27.12.67 ",[],{"_key":30714,"_type":9,"children":30715,"image":4,"markDefs":30720,"style":634},"66d648186b1f",[30716],{"_key":30717,"_type":13,"marks":30718,"text":30719},"90b3faf5d989",[],"Auch Weihnachten ist vorbei geschaukelt mit Chrstmas Cards, Christmas Pudding und Merry Christmas Cake, mit Turkey und süssem Wein. Noch stehen die zusammenklappbaren Weihnachtsbäume aufgeklappt in den Räumen und blinken bunte rot-gelb-grüne Lichter. Den Heiligen Abend haben wir richtig nett mit Lisbeth und Erik auf dänisch gefeiert. Es gab Wein, Schokolädchen, Ananas und Orangen, sogar auch ein Stückchen dänische Weihnachtsgeschichte. Oben wurde indessen getanzt und gelärmt und gekracht!\n\nAm 25. dann war der grosse Weihnachtsfrass mit dem besagten Turkey und Konsorten, Tenue „formal dress“. Die meisten Damen rauschten lang daher. Kitchen gefallen die langen Kleider nicht, zum Glück, da ich ja keines habe. Anschliessend grosser Christmas Ball. Wir hatten keine Lust und sangen im Kabinchen bei Kerzenschein ein paar Quempas-Liedlein.",[],{"_key":30722,"_type":9,"children":30723,"image":4,"markDefs":30727,"style":18},"270534f772c8",[30724],{"_key":30725,"_type":13,"marks":30726,"text":25},"ff6f04f3be510",[],[],{"_key":30729,"_type":9,"children":30730,"image":4,"markDefs":30735,"style":18},"c2be1303a66a",[30731],{"_key":30732,"_type":13,"marks":30733,"text":30734},"3cf7c56bf310",[],"27.12.67 (Brigitte to Family)",[],{"_key":30737,"_type":9,"children":30738,"image":4,"markDefs":30743,"style":18},"1cf2f9585fd7",[30739],{"_key":30740,"_type":13,"marks":30741,"text":30742},"e1f5d447a726",[],"Christmas has rocked past now too with Christmas Cards, Christmas Pudding and Merry Christmas Cake, with turkey and sweet wine. The folding Christmas Trees are still standing in the rooms unfolded and the coloured flashing red-yellow-green lights. We had a lovely Danish Christmas Eve celebration with Lisbeth and Erik. There was wine, chocolates, pineapple and oranges, even a tiny Danish Christmas Story. During this, above us people danced and kicked up a terrible racket!\n\nOn the 25th then there was a big Christmas feed-up with the said turkey and accompaniment, dress: Formal. Most ladies whooshed in in long dresses. Kit doesn‘t like these dresses, luckily, because I haven‘t got one. Finally a big Christmas Ball. We didn‘t go, we stayed in our cabin by candle light and sang some German Christmas songs.",[],{"_key":30745,"_type":9,"children":30746,"image":4,"markDefs":30750,"style":18},"2fd6b7fcdcf0",[30747],{"_key":30748,"_type":13,"marks":30749,"text":25},"8cc10f1301710",[],[],{"_key":30752,"_type":9,"children":30753,"image":4,"markDefs":30758,"style":634},"7fba4e52d426",[30754],{"_key":30755,"_type":13,"marks":30756,"text":30757},"2c9cc517445b",[],"28.12.67 ",[],{"_key":30760,"_type":9,"children":30761,"image":4,"markDefs":30766,"style":634},"c7bbab84b830",[30762],{"_key":30763,"_type":13,"marks":30764,"text":30765},"c442a4d7d5ef",[],"Doch manchmal sind wir auch froh, besonders, wenn wir die eleganten Flüge der riesengrossen, schwarzweissen Seevögel (Albatros) bewundern können, oder wenn die silbrigen Fische über die Wellen fliegen (sie fliegen wirklich!!), oder wenn die glitschigen Delphine so froh und lustig in Schiffsnähe spielen. Vor ein paar Tagen weckte uns der Wecker sehr früh, um einem kleinen Stücklein Land, den Amsterdam Islands, zuzuwinken (der Captain hatte uns per Lautsprecher darüber informiert). Ca. eine Stunde lang starrten wir schlottern in unseren Windjacken auf diese Insel mitten im Indischen Ozean, weil es einfach gut tat, Land zu sehen.\n\n",[],{"_key":30768,"_type":9,"children":30769,"image":4,"markDefs":30774,"style":18},"4d66f3dcd598",[30770],{"_key":30771,"_type":13,"marks":30772,"text":30773},"ea5879c15b69",[],"28.12.67 (Brigitte to Family)",[],{"_key":30776,"_type":9,"children":30777,"image":4,"markDefs":30782,"style":18},"491efbfc44cd",[30778],{"_key":30779,"_type":13,"marks":30780,"text":30781},"17c3a95989fb",[],"But sometimes we are really happy, especially when we can admire the elegant flight of the huge black and white sea birds (albatros) or when the silvery fish fly over the waves (they really do fly!) or when the glittering dolphins are so gay and frolicky and play near the ship. A few days ago the alarm clock woke us very early so that we could wave to a tiny bit of land, the Amsterdam Islands (the captain had informed us about it over the loudspeaker). About an hour long we shivvered in our wind jackets and starred at these islands in the middle of the Indian Ocean, just because it was so good to see land.",[],{"_key":30784,"_type":9,"children":30785,"image":4,"markDefs":30789,"style":18},"7665b8ad4670",[30786],{"_key":30787,"_type":13,"marks":30788,"text":25},"449dc781e6700",[],[],{"_key":30791,"_type":9,"children":30792,"image":4,"markDefs":30797,"style":634},"6ef3ca6380ff",[30793],{"_key":30794,"_type":13,"marks":30795,"text":30796},"0f643948f4b3",[],"1.1.68 ",[],{"_key":30799,"_type":9,"children":30800,"image":4,"markDefs":30805,"style":634},"d602f453e305",[30801],{"_key":30802,"_type":13,"marks":30803,"text":30804},"89a744a3fa2d",[],"A very happy New Year to you all !!!!!!!! Fast das ganze Schiff war betrunken gestern Nacht und heute früh: Grosser New Year’s Eve Ball. Dem Gekreische, Gelärme und Getöse, Alkohol und Zigaretten . . . sind wir dann ziemlich bald entflogen. Mit Chianti feierten wir um Mitternacht ein bisschen in unserem Kabinchen, zusammen mit den Dänen. Heute Abend soll’s noch ein grosser New Year Dinner geben.\n\nDurch ganz riesengrosse Wellen sind wir vom 1967 ins 1968 gerollt und befinden uns immer noch im berühmt-berüchtigten „bite“ von Australien, Strecke Perth-Melbourne (berühmt und berüchtigt wegen unruhiger See!). Menschen balancieren mühsam über die Holzböden, Arme und Beine schwingend, Gläser klirren, zerbrechen, Stühle fallen um: ein richtig wilder, oft amüsanter, auch etwas gefährlicher Tanz über die Wellen. Ab Melbourne soll’s dann besser werden. Kitchen hat euch das schöne Bildchen gezeichnet. Seht ihr die „Fairsky“ dort mitten im „bite“ (Biss) sich durch Wellenberge pflügen?\n\nWie’s in Freemantle war, mögt Ihr fragen? Ausserhalb des Hafens bei der Pilotstation hat uns das Postschiff zum ersten Mal besucht. Das war spannend und aufregend. Viele Lichtlein sahen wir übers Wasser kommen, und bei jedem dachten wir, dies ist’s vielleicht. Das Boot mit dem kleinsten Licht kam dann auch wirklich nah und näher, und bald wurde mit Ahoi, begleitet vom Gebrüll und Gepfeife der zuschauenden Passagiere, der Postsack durch eine kleine Öffnung in den Schiffsbauch geschmissen – und das kleine gute Bot verschwand wieder im Dunkeln.\n\nNach der Landung hat uns kleines Züglein mit offenen Fenstern in halbstündiger Fahrt nach Perth gerattert. Dort sind wir ein bisschen durch grosse, heisse Strassen geschlendert, tranken Milch (!) und Fruchtsäfte in Hülle und Fülle (auf dem Schiff gibt es eben nur künstliche ungeniessbare Trockenmilch), kauften Aprikosen, Pfirsiche und Äpfel (nur wenig frische Früchte on the boat!), spazierten dann auch etwas im berühmten King’s Park unter riesigen, exotischen Bäumen, lustige Vögel lachten in den Zweigen und ein Papageienpärchen leuchtete bunt.\n\nUnd bald mussten wir leider leider wieder das Züglein besteigen und zurück rollen, vorbei an kleinen seltsamen Holzhäuslein, denn um 2 Uhr wollte die „Fairsky“ losziehen. Wir kauften uns nochmals ein Fläschchen Milch, das mit uns in die Kabine kam und jetzt als Vase für einen prächtigen rosaroten Blütenzweig aus dem King’s Park dient. Schlussendlich hupte die „Fairsky“ dann doch erst um 15 Uhr zum Aufbruch, und dann hatten wir wieder so viele Briefe und Karten und Ding zum Lesen, dass wir kaum spürten, wie das Schiff aus den Docks bugsiert wurde.\n\nBeim Lesen von Vatis Noten-Stativ-Witz kugelten wir uns vor Lachen (siehe rechts).\n",[],{"_key":30807,"_type":9,"children":30808,"image":4,"markDefs":30813,"style":18},"7032b629657c",[30809],{"_key":30810,"_type":13,"marks":30811,"text":30812},"c82410a754720",[],"\n1.1.68 (Brigitte to Family)",[],{"_key":30815,"_type":9,"children":30816,"image":4,"markDefs":30821,"style":18},"23811af25188",[30817],{"_key":30818,"_type":13,"marks":30819,"text":30820},"dec3aeb112b2",[],"A very happy New Year to you all !!!!!!! Practically the whole ship was drunk last night and early this morning: Grand New Year‘s Ball. All that screaming and racket and bellowing we fled fairly early. At midnight and with Chianti we celebrated a bit together with the Danes in our wee cabin. This evening there is again to be a big New Year‘s dinner.\n\nWe rolled through enormous waves from 1967 into 1968 and we are still in the famous-infamous great Australian Bite, the stretch from Perth-Melbourne (well-known and notorious for its turbulent sea!). People balance themselves precariously on the decks, arms and legs swinging, glasses clinking, breaking, chairs topple: a really wild. often amusing, also dangerous dance over the waves. After Melbourne it should get better. Kit drew you a nice picture. Do you see the „Fairsky“ there in the middle of the „bite“ ploughing through mountains of waves?\n\nHow it was in Freemantle, you might ask? Outside the harbour by the pilot station we had for the first time a visit from a post boat. That was tense and exciting. We saw lots of little lights coming over the water and by each one we thought: thisis it perhaps. The boat with the smallest light came nearer and nearer, and then with an Ahoi accompanied from cheers and whistles from the onlooking passengers, the postbag was hurled through a little opening in the ship‘s belly — and the good little boat disappeared again into the darkness.\n\nAfter the landing a little train with open windows rattled us over a half hour journey to Perth. There we strolled briefly through wide hot streets, drank milk and fruit-juice galore (on the ship there is only artificial nasty tasting milk powder), bought apricots, peaches and apples (ver little fresh fruit on board the ship), wandered through the famous King‘s Park under enormous exotic trees, funny birds laughed from the branches and a pair of parrots shone colourfully.\n\nAnd soon unfortunately we had to take the train again and roll back past curious little wooden houses, as the „Fairsky“ wanted to leave at 2 pm. Again we bought a bottle of milk to have in our cabin which is now serving as a vase for the magnificent pink twig of blossoms from King‘s Park. Finally however the ship‘s horn sounded the departure only at 3 pm and then we had so many letters and cards and things to read that we hasrdly noticed how the ship was tugged out of the docks.\n\nWhile reading Vati‘s music-tripod-joke we were doubled up with laughter\n",[],{"_key":30823,"_type":500,"caption":30824,"image":30825,"markDefs":4},"62e58526b468","In the \"Great Australian Bight",{"caption":4,"id":30826,"meta":30827,"parentID":4,"parentType":3456,"url":30831},"e10c1c3cb7227d894291beacf67c1415ca96ad8c",{"_type":506,"aspectRatio":30828,"height":30829,"width":30830},2.054054054054054,370,760,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fe10c1c3cb7227d894291beacf67c1415ca96ad8c-760x370.jpg",{"_key":30833,"_type":9,"children":30834,"image":4,"markDefs":30839,"style":634},"817fa93b6056",[30835],{"_key":30836,"_type":13,"marks":30837,"text":30838},"26e079fe6ab0",[],"\n02.01.68 ",[],{"_key":30841,"_type":9,"children":30842,"image":4,"markDefs":30847,"style":634},"b5143ddefc95",[30843],{"_key":30844,"_type":13,"marks":30845,"text":30846},"dc3b7fba7692",[],"Noch 12 Stunden bis Melbourne. Etwas ruhiger ist die See momentan. Die Leute stehen statt auf einem meistens wieder auf zwei Beinen, Tische und Stühle tanzen nicht mehr so heftig, Löffel, Gabeln und Messer sausen seltener über die Tische und auf den Boden, noch keine zerbrochenen Gläser haben wir gesehen heute. Gestern „überfiel“ mich buchstäblich eine ältliche English Lady, die infolge beinaher Senkrechtlage der „Fairsky“ in enormer Geschwindigkeit samt umgekipptem blauem Stuhl, zerbrochenen Gläsern und Handtasche in mich hinein putschte. Hei, wir mussten ganz fest lachen. Auch die Lady lächelte bald wieder.\n\n",[],{"_key":30849,"_type":9,"children":30850,"image":4,"markDefs":30855,"style":18},"feda3decb627",[30851],{"_key":30852,"_type":13,"marks":30853,"text":30854},"5003474786e0",[],"02.01.68 ",[],{"_key":30857,"_type":9,"children":30858,"image":4,"markDefs":30863,"style":18},"ce3791149131",[30859],{"_key":30860,"_type":13,"marks":30861,"text":30862},"7b93c0eed9b0",[],"Still 12 hours to Melbourne. The sea is much calmer at the moment. Instead of on one leg most people are standing on two again, tables and chair are not dancing so violently, spoons, forks and knives shoot less over the tables and onto the floor, still no broken glasses have we seen today. Yesterday an eldery English lady literally fell over me (German „überfallen“ — literally „over-fall“ means „to attack“) who because of the almost vertical position of the „Fairsky“ crashed into me at great speed together with a tipped-over blue chair, broken glasses and a handbag. Hei, we had to laugh. Also the lady smiled again soon.\n\n",[],{"_key":30865,"_type":9,"children":30866,"image":4,"markDefs":30871,"style":634},"9f19c3d2a311",[30867],{"_key":30868,"_type":13,"marks":30869,"text":30870},"84eefb7fdf83",[],"03.01.68 ",[],{"_key":30873,"_type":9,"children":30874,"image":4,"markDefs":30879,"style":634},"47d471591c6d",[30875],{"_key":30876,"_type":13,"marks":30877,"text":30878},"94843593dc40",[],"Das war ein ganz prächtiger Spaziergang durch die „Botanical Gardens“ von Melbourne, und, wisst Ihr was, sogar neuseeländische grüne dicke Bäume begrüssten mich zum erstenmal – vor allem aber entzckten uns reizende winzige Vögelchen mit blauen Köpfchen und steilen Schwänzlein.",[],{"_key":30881,"_type":9,"children":30882,"image":4,"markDefs":30886,"style":18},"26e91b173352",[30883],{"_key":30884,"_type":13,"marks":30885,"text":25},"fa00041a6a8c",[],[],{"_key":30888,"_type":9,"children":30889,"image":4,"markDefs":30894,"style":18},"1e15729e80f6",[30890],{"_key":30891,"_type":13,"marks":30892,"text":30893},"fe8160e74893",[],"03.01.68 (Brigitte to Family)",[],{"_key":30896,"_type":9,"children":30897,"image":4,"markDefs":30902,"style":18},"18c2c6b40c24",[30898],{"_key":30899,"_type":13,"marks":30900,"text":30901},"41a662f79480",[],"That was a really magnificent walk through the Melbourne „Botanical Gardens“, and do you know what greeted us for the first time there: thick green New Zealand trees — above all however, we were delighted with tiny attractive birds with blue heads and perpendicular tails.",[],{"_key":30904,"_type":9,"children":30905,"image":4,"markDefs":30909,"style":18},"91e937064bc8",[30906],{"_key":30907,"_type":13,"marks":30908,"text":25},"4281eb3488a0",[],[],{"_key":30911,"_type":9,"children":30912,"image":4,"markDefs":30916,"style":18},"a2c2328039e3",[30913],{"_key":30914,"_type":13,"marks":30915,"text":25},"e5991469b433",[],[],{"_key":30918,"_type":500,"image":30919,"markDefs":4},"439c338d3d49",{"caption":4,"id":30920,"meta":30921,"parentID":4,"parentType":3456,"url":30925},"27ad6dc479fc5a81ead17a1a53cb7e22454318b6",{"_type":506,"aspectRatio":30922,"height":30923,"width":30924},0.8042436687200547,1461,1175,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F27ad6dc479fc5a81ead17a1a53cb7e22454318b6-1175x1461.jpg",{"_key":30927,"_type":9,"children":30928,"image":4,"markDefs":30933,"style":634},"cb773baf75ea",[30929],{"_key":30930,"_type":13,"marks":30931,"text":30932},"7abc8d6ebefb0",[],"Das nachgelieferte Stativ! Deswegen muss ich wohl meiner Lebtag geneckt werden, wenn nicht gar gefoppt. Aber, lieber Kit,\n\n1) ist ein Stativ, nach meinem Fremdwörterbuch, einfach „ein dreibeiniges Gestell zum Aufstellen von Geräten“, somit auch der Notenständer – ein Stativ!\n\n2) Habe ich Dich mehr am Notenständer gesehen als vor dem Photo-Stativ, weil Du Deine Aufnahmen eher im Fluge als am Ort stehend machtest – usw. – Mach aber fleissig und vergnügt Musik auf dem Schiff, auch ohne – Notenstativ!!\n",[],{"_key":30935,"_type":9,"children":30936,"image":4,"markDefs":30941,"style":18},"0522dac88140",[30937],{"_key":30938,"_type":13,"marks":30939,"text":30940},"05360ecabf3a",[],"\n\n (Brigitte's father to us): The delivered tripod! Because of this I will probably be teased my life-long, perhaps even plagued. However, dear Kit,\n\n1) a tripod, according to my dictionary of foreign words, is simply a three-legged stand for holding devices“, consequently a music stand is – a tripod!\n\n2) I have seen you more often with a music stand than behind a camera tripod, because you took photos rather from the flying position than standing fixed to a spot – etc. – but make music busily and happily on the ship – even without a music-tripod!!\n",[],{"_key":30943,"_type":9,"children":30944,"image":4,"markDefs":30949,"style":634},"fd242202761f",[30945],{"_key":30946,"_type":13,"marks":30947,"text":30948},"c34cd441bd2f",[],"\n4.1.68 ",[],{"_key":30951,"_type":9,"children":30952,"image":4,"markDefs":30957,"style":634},"59ac1735c666",[30953],{"_key":30954,"_type":13,"marks":30955,"text":30956},"6cf43fa06791",[],"Gestern konnten wir uns von morgens 7 Uhr bis abends 17 Uhr Melbournes erfreuen, mit einem grossen Spaziergang durch den Botanischen Garten, und in der winzigen Art Gallery fanden wir sogar einige Impressionisten, zwischenhinein stärkten wir uns mit enormen Milkshakes, im Museum nahe der Art Gallery fanden wir dann viele ausgestopfte australische Tiere, Vögel und Schmetterlinge – und in einer Abteilung, die vom Leben der Aboriginals mit Bildern und seltsamen Dingen berichtet, wurde uns ob der Grausamkeiten und unglaublichsten Bräuche (Menschenfresser u.a.) ganz übel – und zurück brachte uns das kleine Hafenzüglein bald. Vor der „Fairsky“ konnten wir uns im Sand am Strand noch herrlich wärmen und wappnen für kühlere Seewinde. Um 17 Uhr kam wieder der grosse Abschied, hunderte von Menschen unten, die winkten (ca. 400 neue Gäste, ebenso viele haben das Schiff verlassen), hunderte von winkenden, brüllenden und schreienden Menschen oben – Papierschlangen, Lachen und Weinen, dazu laute Musik in den Schiffslautsprechern. Doch es ist etwas ruhiger geworden hier, weil die meisten der schreienden und kreischenden Kinder bereits gegangen sind, die neuen Gäste, die via Panama nach Europa reisen, sind meistens kinderlos und auch sonst ruhiger und weniger zerfahren. In Sydney wird es nochmals einen ganz enormen Wechsel geben. So gefällt es uns: Ein Stopp alle 2 – 3 – 4 Tage! Dies macht das Leben viel angenehmer, und es geht uns beiden wirklich viel besser. Kit liest deutsche Kurzgeschichten momentan (Penguin Paralleltext), Autoren wie Böll, Gaiser, Borchert, Aichinger . . . figurieren darin. Ich habe mir die „Dubliners“ von James Joyce angeschafft gestern. In Melbourne wühlten wir übrigens begeistert in den riesigen Bookshops, wobei wir in Perth unglücklicherweise keinen einzigen finden konnten!\n\n",[],{"_key":30959,"_type":9,"children":30960,"image":4,"markDefs":30965,"style":18},"69a1b898a124",[30961],{"_key":30962,"_type":13,"marks":30963,"text":30964},"f9aea6068518",[],"4.1.68 (Brigitte to Family)",[],{"_key":30967,"_type":9,"children":30968,"image":4,"markDefs":30973,"style":18},"4ffac63b92e3",[30969],{"_key":30970,"_type":13,"marks":30971,"text":30972},"f5502212ba5a",[],"Yesterday we could enjoy Melbourne from 7 am until 5 pm with a big walk through the Botanical Garden, and in a tiny Art Gallery we even found some impressionists, in between we reinforced ourselves with milk shakes, in the museum near the Art Gallery we found lots of stuffed Australian animals, birds and butterflies — and in one department which was about the life of the Aboriginals they showed pictures and recounted curious things, so that I felt quite sick from the atrocities and unbelievable customs (cannibalism, among other things) and then we returned in a small train to the port and warmed ourselves in the sand on the beach and prepared ourselves for cooler sea-winds. At 5 pm came the big departure again, hundreds of people below who were waving (about 400 new passengers, about the same number have left the ship), hundreds of waving, weeping and crying people above — paper-streamers, laughing and crying and loud music from the ship‘s loudspeakers. But it is much calmer on board because most of the screaming and bawling children have gone and the new guests who are travelling via Panama to Europe are mostly without children and otherwise quieter and less scatterbrained. There will be another big change in Sydney. This is how we like it: a stop every 2 - 3 - 4 days! It makes life much more pleasant and we both feel so much better. Kit is reading short stories at the moment (Penguin Parallel Text),, authors like Böll, Gaiser, Borchert, Aichinger … are included. Yesterday I bought for myself the „Dubliners“ by James Joyce. In Melbourne, by the way, we were delighted to be able to rummage in huge bookshops, whereas in Perth unfortunately we couldn‘t find a single one!\n\n",[],{"_key":30975,"_type":500,"caption":30976,"image":30977,"markDefs":4},"82f68acd4b56","Sydney with Harbour Bridge",{"caption":4,"id":30978,"meta":30979,"parentID":4,"parentType":3456,"url":30982},"d6caf50cc6faccb1bb9349b00233404c2439ff1e",{"_type":506,"aspectRatio":30980,"height":7434,"width":30981},1.391025641025641,1085,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fd6caf50cc6faccb1bb9349b00233404c2439ff1e-1085x780.jpg",{"_key":30984,"_type":9,"children":30985,"image":4,"markDefs":30990,"style":18},"e321f79f9436",[30986],{"_key":30987,"_type":13,"marks":30988,"text":30989},"c0e3882c2fa4",[],"06.01.68 (Postkarte) Our ship came right inside under this famous bridge (the largest single-span bridge in the world, I think). Behind the bridge and just in front of those tall buildings are the ferry wharves. We took a ferry from there to the zoo, where we saw 13 giraffes. On the way across the harbour we had a marvellous view of the new Opera House which you can see looking like a group of mussels just above the left end of the bridge. We liked this especially.\n\n",[],{"_key":30992,"_type":9,"children":30993,"image":4,"markDefs":30998,"style":634},"fd7fe83caeaa",[30994],{"_key":30995,"_type":13,"marks":30996,"text":30997},"bdb1b831578d",[],"06.01.68",[],{"_key":31000,"_type":9,"children":31001,"image":4,"markDefs":31006,"style":634},"402b1503fba9",[31002],{"_key":31003,"_type":13,"marks":31004,"text":31005},"425ee7cfdb31",[],"Sydney ist eine gute Stadt, in der man sogar leben könnte! Die erste australische Stadt, die uns gefiel. Der Hafen ist grossartig und seltsam, doch interessant mutete das muschelförmige, sich noch im Bau befindende Opera House an. Im Sydney Zoo sah Kit endlich zum allerersten Mal richtig lebendige Giraffen, ca. 13 aufs Mal, und wurde ganz glücklich. Viele australische Tierchen, Schlangen, Affen, Bären und die unglaublichsten Fisch-Sorten konnten wir bestaunen – und ich sah auch meine ersten Haie. Zwar war ich etwas enttäuscht. Ich hatte mir diese wilden Tiere so viel wilder und grösser vorgestellt. Friedlich segelten sie durch ihren Teich, dessen Grund nur so schimmerte und flimmerte von goldenen und silbernen Geldstücken. Kit hatte wieder einmal so einen Photographier-Tag, knipste und knipste in den sonderlichsten Stellungen, besonders die stolz und bedächtig schreitenden Giraffen animierten ihn dazu. So gegen den Schluss mussten wir dann merken, dass der Film nicht funktionierte!! Dies war sehr ärgerlich, doch nichts desto trotz knipste er froh nach Filmwechsel weiter! Also zurück ging’s per Fähre durch strömenden Regen bald wieder in die City und in grosse Warenhäuser. Dort bestaunten, betasteten und bewunderten wir viele schöne japanische Dinge, um am Schluss, haltet Euch fest, mit sechs braunen Moccatässchen, einem kleinen hohen Häfelchen und Zuckerdöschen den Laden zu verlassen!! Jetzt fehlt nur noch der gute Kaffee.\n\nErik und Lisbeth waren natürlich wie immer auch dabei. Ich glaube, ich habe Euch gar nie erzählt, was die beiden jungen Dänen (Erik 25, Lisbeth 22, schon 2 ½ Jahre verheiratet) in Neuseeland zu tun gedenken? Erik ist Fischer von Beruf, wird also statt dänische für ein Weilchen neuseeländische Fische fischen … Lisbeth gedenkt nach einem Weilchen eine Coiffeuse-Stelle anzutreten. Die beiden sind sehr nett, unkompliziert und froh, und es ist gut, mit ihnen zusammen zu sein.\n\nHei, die Schiffsbesetzung hat sich seit Sydney fast völlig geändert. Nur noch wenig bekannte Gesichter. Viele neue Wesen, die wie gesagt wieder Southhampton zusegeln. Es ist wirklich soo viel ruhiger und gemütlicher geworden, seit die kreischenden Auswanderer-Familien ausgewandert sind. Trotzdem können wir den nächsten Donnerstag mit der Befreiung kaum erwarten. Schon 13 Kit-Türchen habe ich geöffnet an meinem Advent-NZ-Kalender. Noch 5 bleiben!",[],{"_key":31008,"_type":9,"children":31009,"image":4,"markDefs":31014,"style":634},"e1b728dd1ff7",[31010],{"_key":31011,"_type":13,"marks":31012,"text":31013},"aedeb28aa2bf0",[],"In Brisbane war das Schiff nur kurzer Zeit: 6 am bis 12 Mittag, keine Zeit zum Aussteigen. Wir standen auf Deck, als das Schiff den Brisbane River hinauf gezogen wurde, sahen die Stadt von weitem, das war alles. Dies sind meine letzten australischen Grüsse – die nächsten werden bereits aus Wellington sein. Könnt Ihr Euch das vorstellen? Ich nicht! Alle, ich glaube 41 Bücherpakete sollen bereits glücklich in Wellington gelandet sein. Als am Anfang die Zollbehörden so überwältigt waren, als zuerst 6, und dann ein Weilchen später 18 Pakete aufs Mal ankamen, wurde Betty amtlich vorgeladen: Man ahnte Schmuggel mit „Pornographic Literature“. Es wurde dann feierlich ein Paket in Anwesenheit von Kits Mutter geöffnet, doch, zum Leidwesen der Zollbehörde, war nichts Ausserordentliches drin. Alle weiteren Pakete wurden dann anstandslos geliefert. Heute haben wir zur Abwechslung bereits wieder ein bisschen gepackt und werden auch am Montag und Dienstag und Mittwoch weiter packen, da der „Baggage Room“ jeweils nur eine Stunde pro Tag den Passagieren offen steht.\n\n",[],{"_key":31016,"_type":9,"children":31017,"image":4,"markDefs":31022,"style":18},"5a0c51c5c6b4",[31018],{"_key":31019,"_type":13,"marks":31020,"text":31021},"ee2c629b497e",[],"06.01.68 (Brigitte to Family)\n\nSydney is a good city, one in which one could even live! The first Australian city which we liked. The harbour is magnificent and strange, but interesting is the mussel shaped Opera House which is being built there. At the Sydney Zoo Kit finally saw for the first time real living giraffes, about 13 of them, and was completely happy. We could admire many Australian animals, snakes, monkeys, bears and the most unbelievable sorts of fish — and I also saw my first sharks.\n\nAlthough I was slightly disappointed. I had imagined these wild animals to be much wilder and bigger. They sailed so peacefully through their pond whose bottom flimmered and sparkled from gold and silver coins. Kit had a photography day again, snapped and shot in the most remarkable positions, he was especially animated to record the proud and thoughtfully striding giraffes. And then towards the end we noticed that the film hadn‘t functioned! This was very annoying but in spite of everything he changed films and went on snapping. Then by ferry and in pouring rain we were soon back in the city and went into the big shops. There we marvelled at and handled and admired many Japanese things and in the end, hold on to yourselves tightly, we left the shop with six brown coffee cups, a tiny tallish jug and a sugar bowl!! All it needs now is some good coffee.\n\nErik and Lisbeth were of course also with us. I don‘t think I ever told you what these two young Danes (Erik 25, Lisbeth 22, already married for 2 ½ years) are planning to do in New Zealand? Erik is a fisherman by trade and for a while, instead of Danish fish, he will fish for New Zealand fish … Lisbeth is considering taking a job as a hairdresser for a while. Both are very friendly, uncomplicated and happy people and it is good being together with them.\n\nHei, since Sydney the ship‘s crew is almost completely new. Only a few familiar faces left. Many new passengers, who as I said are sailing to Southampton. It is really soo much calmer and more comfortable since all the screaming emmigrant families have emmigrated. But in spite of this we can‘t wait till next Thursday with its liberation. Already 13 Kit-windows on my Advent-NZ Calendar* have I opened. Only 5 to go.\n\n* German speaking children often have „Advent“ calendars in which they open a tiny paper door or window each day as a count down to Christmas.\n\nIn Brisbane the ship stopped only briefly: 6 am until 12 noon, no time to go out. We stood on deck as it was pulled up the Brisbane river and saw the city in the distance, that was all. These are my last Australian greetings — the next will be from Wellington. Can you imagine that? I can‘t! All of the 41 (I think) book parcels have already landed in Wellington, At the beginning as the first 6 arrived, and then 18 more parcels all at once, the customs officers were so alarmed that Betty was officially summoned: one suspected smuggling of „pornographic literature“. Then in the presence of Kit‘s mother one parcel was ceremonially opened, and to the customs officer‘s chagrin there was nothing special in it. After that all parcels were delivered without further objection. Today for a change we already did some packing and will do so again on Monday and Tuesday and Wednesday because the „Baggage Room“ is open for passengers for just one hour per day.\n\n",[],{"_key":31024,"_type":9,"children":31025,"image":4,"markDefs":31030,"style":634},"301599c879c8",[31026],{"_key":31027,"_type":13,"marks":31028,"text":31029},"f4a6f413c61e",[],"10.1.68 ",[],{"_key":31032,"_type":9,"children":31033,"image":4,"markDefs":31038,"style":634},"2abc23ebb1ac",[31034],{"_key":31035,"_type":13,"marks":31036,"text":31037},"09458eb1b368",[],"Noch eine Nacht bis Wellington! Ankunft Pilot Station 5.30 am, Docking 7.30 am. Und dann? Dann müsst Ihr mir alle Daumen und Zehen drücken, da ich doch etwas aufgeregt bin. Mit frisch gewaschenen Häuptern und frisch geschnittenen Haaren (die gute Coiffeuse Lisbeth hat uns aus Räubern in sehr salonfähige Zivilisten verwandelt!) sitzen wir wieder in der blau bestuhlten Verandah Bar, (zum letzten Mal!) und die Musik kann uns heute gar nicht mehr so ärgern (weil eben zum letzten Mal!). Wir erholen uns wieder einmal von Pack-Strapazen, denn um 15 Uhr nachmittags hatten alle Koffer vor den Kabinen zu stehen, und wieder einmal hoffen wir, dass diese am Ziel problemlos durch Zoll und andere Unannehmlichkeiten geschleust werden, besonders auch wegen der momentan in Grossbritannien immer noch wütenden Maul- und Klauenseuche.\n",[],{"_key":31040,"_type":9,"children":31041,"image":4,"markDefs":31046,"style":18},"cbbc35db3559",[31042],{"_key":31043,"_type":13,"marks":31044,"text":31045},"14d9929b35c20",[],"10.1.68 (Brigitte to Family)",[],{"_key":31048,"_type":9,"children":31049,"image":4,"markDefs":31054,"style":18},"f69c330d2be1",[31050],{"_key":31051,"_type":13,"marks":31052,"text":31053},"119d4c487149",[],"Just one more night to Wellington! Arrival at the pilot station at 5.30 am, docking at 7.30 am. And then? Then you must cross all fingers and toes for me, because I‘m rather anxious. With freshly washed heads and freshly cut hair (the kind hair-dresser Lisbeth has turned us from robbers into socially acceptable civilians!) we are again sitting in the blue-chaired Verandah Bar and the music cannot annoy us any more (because it‘s for the last time). We are recovering again from gruelling packing, because at 3 pm. all luggage has to be standing in front of our cabin door, and again we hope that this can be swished through the customs without any unpleasantness, especially as at the moment in Great Britain an epidemic of foot and mouth disease is raging.\n\n",[],{"_key":31056,"_type":9,"children":31057,"image":4,"markDefs":31062,"style":634},"928a50895cca",[31058],{"_key":31059,"_type":13,"marks":31060,"text":31061},"62a2438046e7",[],"12.01.68 ",[],{"_key":31064,"_type":9,"children":31065,"image":4,"markDefs":31070,"style":634},"19ce59f2417a",[31066],{"_key":31067,"_type":13,"marks":31068,"text":31069},"e654537f501c",[],"Ngaio Unsere Liebsten, Nun kommen die ersten Grüsse aus Neuseeland, erste Grüsse aus Wellington, erste Grüsse aus Ngaio, erste Grüsse aus der neuer Heimat, erste Grüsse vom wundervollen, malerischen Hafen, erste Grüsse von grünen, dicken, immergrünen Bäumen; von Vögeln mit fächerartigen Schwänzen und von vielen blühenden Bäumen, besonders vom neuseeländischen Christmas Tree . . . erste Grüsse auch von meinen andern Eltern, von Betty und Hu, die wirklich ganz lieb und reizend zu mir sind: Nun geht es uns wieder gut, die stinkende „Fairsky“ segelt allein rauchend und wackelnd anderen Küsten zu, wir haben wirklich festen Grund und Boden unter unseren Füssen, und überall riecht es ganz besonders. Wir haben in einem Zimmer mit richtigen Fenstern geschlafen, mit Fenstern und frischer Luft. Wie herrlich ist dies nach 6 Wochen in jenem dunklen, stockdunklen kleinen Loch mit eiskalter „air conditioned“ Luft, die oben zur Decke hereinströmte und Kits Nase ständig belästigte. Doch jetzt ist dies alles vorbei. Auch der Zoll ging rasch und reibungslos von Statten, und da wären wir also mit unseren 9 Koffern und 3 Taschen, alles haben wir glücklich über die verschiedenen Meere geschafft, und bis jetzt scheint auch alles heil und ganz zu sein. Isn’t that good? Noch ein kleines Stücklein weiter müssen wir es schaffen, ein kleines Stücklein mehr Wasser, dies Ende Monat nach Christchurch. 41 Bücherpakete und zwei Bilderrollen müssen auch befördert werden.\n\nWisst Ihr auch, dass ich den Grossen Bären nicht mehr sehen kann, sondern das Southern Cross (besteht aus vier Sternen, sieht genau wie ein Papierdrachen ohne Schwanz aus)? Und wisst Ihr auch, dass der Mond auf dieser Seite umgekehrt steht? Man kann also bei zunehmendem Mond kein Z mehr formen, bei abnehmendem kein A mehr. Orion ist noch da, nur vollkommen auf dem Kopf. Auch ich stehe auf dem Kopf, und das gefällt mir.\n\n",[],{"_key":31072,"_type":9,"children":31073,"image":4,"markDefs":31078,"style":18},"ab770a0b1681",[31074],{"_key":31075,"_type":13,"marks":31076,"text":31077},"adfd2b99346e",[],"12.01.68 (Brigitte to Family)",[],{"_key":31080,"_type":9,"children":31081,"image":4,"markDefs":31086,"style":18},"b0ab95fe87f2",[31082],{"_key":31083,"_type":13,"marks":31084,"text":31085},"e91962f92809",[],"Ngaio Dear Everybody Here come the first greetings from New Zealand, the first greetings from Wellington, the first greetings from Ngaio, the first greetings from my new homeland, the first greetings from the wonderful picturesque harbour, the first greetings from the thick, green evergreen trees, from birds with fan-like tails and from many blossoming trees, especially from the New Zealand Christmas Tree … the first greetings too from my other parents, from Betty and Hu, who are really so loving and kind to me: Now everything is good again, the stinking „Fairsky“ is sailing alone, smoking and wobbling towards other coasts, we really have stable ground under our feet and everywhere it smells so special. We could sleep in a room with real windows, with windows and fresh air. How magnificent this is after 6 weeks in a dark, pitch dark hole with ice cold „air conditioned“ air, which streams in from the ceiling and constantly attacks Kit‘s nose. But that is all past now. Even the customs went quickly and smoothly and there we stood with our 9 suitcases and 3 bags, everything which we have brought over the various seas seems to be well and complete. Isn‘t that good? Just a tiny bit further do we have to take it, a tiny bit more water at the end of this month to Christchurch. 41 book parcels and two picture rolls have to be sent too.\n\nDid you know that the Great Bear cannot be seen from here, instead the Southern Cross (made up of four stars, looks just like a paper kite without a tail)? And did you also know that the moon is upside down on this side? And therefore one can no longer make a Z from a waxing moon or an A from a waning one. Orion is here but standing on his head. I stand on my head too and I like it like 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of a Special Year\n\nBrigitte & Kit\n\n„On ne voit bien qu‘avec le cœur. L‘essentiel est invisible pour les yeux.“ — Le Petit Prince, chap. XXI\n\nAntoine de Saint-Exupéry (1900-1944)\n\n\n\n1. January: On the “Fair Sky”\n\n\nA well known New Zealand disease is: “going overseas”, “doing the big trip” or as it was still called in the 60s “visiting the old country” or even “going home” (to Britain). It is a direct consequence of being planted on a couple of islands as remote as is possible from everywhere else in the world. The nearest neighbour, Australia, was in those days to all but the very rich, at least two days sailing away and if you went to the trouble to save enough to “go overseas” then rather a bit more for a bit further and rather not to a country with exactly the same culture and problems as New Zealand.\n\nAfter four years of teaching mathematics at Linwood High School, I had saved enough to be able to “do the big trip”, but in my case I was determined not to do what everybody else was doing. My aim was to learn more about my main passion: Composition. Although I could have done this very well in “the old country”, I was quite sure I wanted to do it somewhere else — anywhere else, where the culture would be different from everything I knew so far. My mother, Betty, had already done such a trip, a three months course of study at the University for Foreigners (L’Università per stranieri) in Perugia. She had returned from there a few years earlier and had started teaching Italian at Victoria University (in Wellington) and in so doing she was fulfilling a life long dream of involvement in an academic life. As I left the university with my science degree she had started her arts course and her enthusiasm for Italian language and culture had not only given her a first class degree, it had inspired me to learn the language too. \n\nIn the middle of December 1965 therefore, I boarded the “Fair Sky” with four hundred pounds in my pocket and a ticket to Italy where I would first extend my basic knowledge of the Italian language and then find an Italian composition teacher. My first choice of teacher was Luciano Berio in Milan, but Berio had already left for foreign shores and was working in America. The fact that I really didn’t know another name in Italy didn’t bother me too much, I was quite sure I would find someone.\n\nOn the wharf to see me off were my parents and a few friends:\n\nBut yes, it was awful, the departure from Wellington cos a ship goes away much more slowly than a plane. I left it till the very last moment to go on board. All went well and after a while I lost sight of the family and group of friends who were there all together in the middle of the enormous crowd. Then all of a sudden I saw Betty — she was waving her coat or something large. It was very funny and then very sad. I had to cry.\n\nTwo days later we reached Sydney and for one day we were allowed to roam the city. I found out that in fact Australia was quite different from New Zealand. It was bigger and hotter and had many more flies and the centre of Sydney was blessed with a most interesting modern architecture — tall buildings on slender supports, something I hadn’t seen in earthquake prone New Zealand. \n\nA few days later we sailed up the Brisbane river and stopped again for a whole day. This time I visited a sort of open zoo and saw my first kangaroos, emus and koalas. The hot dry eucalyptus smell was certainly not like New Zealand bush.\n\nFrom here the ship travelled further north between the mainland and the Great Barrier Reef, rounded the corner at the top of Australia and headed through tropical waters towards Singapore. I was delighted with shipboard life, we celebrated Christmas, New Year and Crossing the Equator all in quick succession. I found lots of interesting people to talk to, to eat and dance with. Dancing on board was particularly amusing, because if the ship rolled a little all the dancers could find themselves suddenly in a pile on one side of the dance floor.\n\nSince it was an Italian ship there were Italian lessons offered which I was delighted to take part in and I also tried to overhear what the crew members were talking about together. I was bitterly disappointed; I understood not one word. Later I heard that most of the crew were Sicilians and therefore had been speaking their dialect. I also got to know Jenny and Peter Murray who were on their way to Britain to further their studies, Peter as an English doctoral student with special interest in Jonathon Swift and Jenny a historian.\n\nSingapore was the first really foreign port. Everything was different: the climate (unbearably hot and damp), the Chinesey faces, the busy clean look. I joined a tour which took us to the botanic gardens where we were suddenly surprised by monkeys which descended on us out of the trees like trapeze acrobats. These were rhesus monkeys we were told and it was here in Singapore that the original work on blood groups was done with monkeys of this species, which gave its name to the Rh factor.\n\nFrom Singapore there was now another long sail to Colombo (where I was shocked to see a taxi driver lean out of his car and spit blood red onto the pavement — not knowing it was betel nut, I thought he had some terrible disease!) and a further even longer stretch to Aden, the largest city of Yemen at the foot of the Saudi peninsular. Here we were warned not to go ashore but I was too curious to stay on the ship the whole day. I was fascinated with this poor dry country where people often had their beds on the street and were anxious to sell us the little that they had. There was a very strong military presence and people and cars were often stopped and searched. I returned to the ship in the evening thankful to be still in one piece but delighted with these new experiences. As we sailed away into the Red Sea I looked back on the city with its backdrop of a stone mountain riddled with holes and completely void of green. Here was a culture much older than anything I had seen before but apparently without the barest essentials (vegetation and water) that a culture needed.\n\nThe Red Sea although no different in colour from the other seas was comforting in that land was always in sight. It can be very disturbing sailing for weeks without being able to see land and one wonders how our forefathers managed with this problem, who travelled from the “old country” in sailing vessels which took about three times as long as modern ships. No doubt the strict discipline of shipboard life, cleaning, preparing food and taking part in the church services three times a day would have helped to distract them from the psychological stress of the endless ocean.\n\nBefore we reached the Suez Canal we were informed that those who wished to visit Cairo could leave the ship at the Port of Suez, travel by bus to Cairo, visit the Pyramids, Sphinx and Cairo Museum and then go on by bus to Port Said to pick up the boat again after its passage through the Canal. It was a difficult decision because, attractive as the trip was, it meant forgoing the experience of the Canal itself. But I decided on Cairo and set out in a full bus through the dry treeless landscape. Next to me sat a girl who after an hour or so confided in me that she needed to go to the lavatory. It was obviously quite urgent or she would never have spoken of such a thing. I offered to go to the driver and ask him to stop. She looked out again at the desert on all sides and it was painfully clear that there was not the slightest shelter for her to relieve herself without being in full view of everyone in the bus. She refused my offer. After that she spoke very little and tried as best she could to bare the pain. Before we arrived in the city, tears were rolling down her cheeks.\n\nAlthough very commercial the Pyramids were most impressive. The pictures we had seen at school of slaves pulling these massive blocks of stone, rolling them over tree trunks, up slopes of earth that would later be removed, had given me no real idea of the enormity of the task. And about how the blocks were cut in the first place nobody had ever spoken. We were taken as a group into the bowels of one of these World Wonders, a long dark passage with even longer staircases to reach the burial chamber of some long forgotten and long plundered pharaoh. Leaving this chamber and returning down the stairs was (for me at least) a more difficult operation since it had obviously been constructed for much smaller people (which makes the miracle of its construction even greater). There was almost no light and one had to grope as best one could, holding a railing with one hand and feeling for the steps with the feet and at the same time doubled over forwards because of the low ceiling. In this rather uncomfortable attitude I heard something drop very close to me and immediately after noticed something soft on the step I was about to place my foot on. I bent down and picked up the object. It was my own passport which I had fondly imagined to be very safely stored in the inside pocket of my jacket. But because of my bent-over stance it had been free to drop out and lose itself in an Egyptian pyramid had I not by chance felt it with my foot.\n\nAfter a camel ride we drove off to the city centre to visit the Cairo Museum. At this time it was very difficult to assess what this place had to offer. It promised to offer very much, but it was so badly exhibited that it was almost impossible to see the wood for the trees. If a tenth of the objects had been well set out, one would have come away with a much more positive feeling of having learnt something about ancient Egypt. So we left the museum rather despondently and gathered in a street café where the locals were drinking coffee. One elderly gentleman addressed us in beautiful English and asked where we came from. We were all New Zealanders. “Ah”, he said, “you’re pakeha” (pakeha = non-Maori). To hear this Maori word outside New Zealand was very unexpected. But he went on to explain. The Maori battalion had been stationed in Cairo during the war. From there they left to fight the Germans under the legendary General Rommel, the “Desert Fox”. The Maoris obviously had had the sympathy of the Egyptian people. The elderly man went on to defend them, even although nothing had been levelled against them. We assumed that sometimes their behaviour had been a bit rough, a bit too boisterous for guests in a foreign country. “But if you knew” he went on, “that you may not return from the next battle, you would also want to enjoy your last sure moment of freedom”. We all sat there, admiring his wisdom and being proud to be from the same country as this famous battalion.\n\nBefore we left Cairo we were told that the plans had been changed. Since our ship was still waiting in a queue to enter the Suez Canal and we would therefore return to Suez and be on board for the trip through the canal.\n\nI was very excited and was up before dawn keeping watch over every movement the ship made. It was so big and the canal so narrow it was hard to imagine that it could possibly fit. Of course it did, but there was no room for passing or overtaking. For this there were “parking bays” something that looked totally surrealistic: a ship parked in the desert. Alongside the canal there was a narrow strip of green and beyond as far as the eye could see sand and more sand. And then like an apparition with its under parts covered by sand dunes, a waiting ship. The passage took a full day so I was eventually forced to go to bed and when I awoke next morning there were the happy painted cascades of coloured buildings in Port Said. We had entered the Mediterranean.\n\nAnd we had also entered winter, not bitterly cold but it was the end of the swimming pool on board and the beginning of pullovers and jackets. The ship sailed northwest towards the Straits of Messina and just before Naples there was one last surprise: Stromboli was active: This island volcano was glowing in the night with a stream of lava from the tip down to the sea.\n\nI packed away my few possessions, said goodbye to Jenny and Peter Murray who would disembark in London and arranged to meet them again in Italy. Told the cabin steward that I was not prepared to carry his hubble-bubble through the customs for him and descended onto Italian soil.\n\n\n\n2. February, Italy and Michelangelo\n\nOn a cold sunny morning in early February I waved goodbye to my friends on board and set out on my own to discover Naples. The city was lively and friendly but it was ugly and poor and the scares of the war were still visible after more than twenty years. Rather than “dying for the sight of Naples” one was reminded of the corruption of this saying that came from the air force bombers of the second world war: “See Naples and dive”. There was hardly a block of the city near the harbour that didn’t still have a ruined building, a bombed out house. But it was the people who caught most of my attention, fishermen for instance who stood at the street corners with big gong shaped dishes of frutta di mare: shellfish, sardines, scampi, whatever was portable and could be kept alive for a few hours in a bowl of water. I was watching such a man standing alongside his wares, talking and gesticulating to a second man and then as I watched he bent down casually and picked up a shrimp and popped it into his own mouth. I had completely overlooked the fact that someone like myself, a fascinated, even a mildly shocked observer, was at least as interesting to him being observed as he was for me. He had seen me and he beckoned me with his finger. As I approached he dipped into his aquarium again and pulled out another shrimp which as I came closer, I could see struggling between his fingers. He motioned to me that I should eat it, and I knew I would have to try. I took it, felt its frightened movement in my mouth, chewed it and swallowed it as quickly as possible. I thanked him and left before he could offer anything else. Both men laughed uproariously and I pondered on having tried my first live scampo but on having absolutely no idea of how it had tasted.\n\nOne didn’t need to speak to be spoken to — everywhere I went people approached me and offered help even if it wasn’t required. A man in the vegetable market tried to teach me Italian: arrancia, limone — words I already knew, but he was not to be put off by such a minor detail. During this Italian lesson, I heard a loud noise, which sounded like a carnival and so I left the lesson politely and walked in the direction of these very shrill sounds. Soon I saw a parade of people blowing whistles and shouting. I asked someone what this was: “Oggi è scioppero”, he said. I didn’t know this word scioppero so I looked it up quickly in my dictionary: Strike: “Today is strike”. How curious, almost like saying “today is market day”, something that happens every week — a strike every week?. This was in fact, sadly for Italy, not far from the truth. The word scioppero would be a frequently used part of my Italian vocabulary. What they were striking about I didn’t find out, instead I decided it was urgent for me to deposit my cases somewhere if I was to be able to see any more of the city. I asked a young man where the Youth Hostel was and he replied that he would take me there. This was something that happened a number of times when I asked directions in Naples. People seemed to have time to go on long walks. In this case it was a very long walk because the Youth Hostel was some kilometers away on a headland overlooking the sea and somewhat outside the city centre. We walked and talked, he helped carry my bags and at the end I looked for a coin to give him but this was evidently not what had motivated him to help me. I was later to be stolen from and cheated but there were many more Italians who were kindly just because they enjoyed company and this was evidently one of those. The Youth Hostel was almost empty, in fact I was lucky that it was open at all in mid winter. It was clean and comfortable and so I stayed there a couple of nights.\n\nThere were two cultural things I knew to look out for in Naples, one was the city art gallery on Capodimonte (which hill was visible from most parts of the city) and the other was the opera house San Carlo. I decided to look for this. I walked to the place where it should have been and found only a busy looking shopping area. I asked someone: “Dov’è San Carlo?”, “è lì!” he said and pointed into the middle of the busiest throng. I walked to where he had pointed and saw that it was indeed the entrance to the theatre. I enquired what was on today: “Lucrezia Borgia” by Donizetti. I’d never heard of this work although I did know that this lady was the daughter of one of the most infamous popes in the Renaissance. I bought a ticket for a seat in a loggia for that afternoon.\n\nEach loggia had about five or six seats and the loggias themselves formed a large curving wall opposite the stage. This meant that not only the stage was well visible but also the people sitting in the loggias on the other side. I have long since forgotten anything about the action or the music on stage but the action in my loggia was unforgettable. The audience reminded me of a football audience at home. Everything that took place on the stage was followed and commented on with the same precision and passion of a rugby fan in New Zealand. Every aria was greeted with load applause and with shouts of “bravo!” (for male singers), “brava!” (for females) or for groups “bravi!” or even “brave!”. The man sitting next to me was especially excited and especially loud and kept me informed about all his opinions (although I understood very little of what he said). Suddenly after a particularly enthusiastic applause and vocal appraisal he jumped up, left the loggia and was gone for some minutes. When he returned he explained: Someone in a loggia on the other side had called out: “cane!” (dog!) which didn’t agree at all with his assessment of the last aria and so he’d gone to have a private argument — all part of the Neapolitan opera game.\n\nThe next station was the art museum Capodimonte. When I now read the catalogue of works from this museum I am struck by what I did not see. But looking at pictures is more difficult than just opening the eyes in front of a picture. In general one sees only what one already knows. What one doesn’t know is therefore invisible. This is the only explanation I have for why I missed seeing works there by Masaccio and Caravaggio, two painters I was later to learn to appreciate greatly. I have had no formal training in art history, but my interest in music history had already widened to include painting and sculpture and before leaving New Zealand I had read Irving Stone’s book about Michelangelo “The Agony and the Ecstacy” which not only made me want to see as much as possible of Michelangelo but also gave me a strong interest in renaissance painting in general. I knew enough before going to this Neapolitan gallery that there would be no Michelangelo here, but I was hoping to see earlier renaissance painters, and of course I did. In fact one picture dominated my visit: It wasn’t even an Italian work, it was Breugel’s “Parable of the Blind Leading the Blind”. Why this should have had such an impact I still don’t know. It is a very fine picture, but there were certainly other good pictures there too. Curious is, that I didn’t know Breugel very well at all and yet I saw it! I did however know the biblical story which is so brilliantly portrayed and this must have helped me to see this work. Another important fact is that the picture is very un-Italian. It must have been very striking by contrast with all the other pictures — its pale sombre colours, its North European landscape and the figures themselves (frighteningly demented faces) are not Italian. Whatever the reason, this picture has remained with me, and all others have faded into obscurity.\n\nThe strong association with this picture was strengthened by a copy we had on our dining room wall in Christchurch in the 70s. I still like it very much, even although I now see (having seen much more Breugel in the mean time) that it is quite atypical of his work in general. Here the figures are large and in the foreground, the background of church and fields is relatively unimportant. Although his other more famous works do often have figures in the foreground (the musicians in the “Peasant Wedding” or the ploughman in “Icarus”) they are not the main object of the picture. Here, however, the figures are the picture and they are painted with a remarkable attention to detail giving us a social portrait of the poor people of thepainter’s day. Most have a scull cap as well as a “normal” hat, the men seem to be carrying all their possessions attached to their clothes — one can look into the picture and see more and more. In fact it fulfils one of the main criteria for good art in that one can always find something new in it, one can never know it totally, one can always be surprised by it.\n\nBefore leaving Naples I decided to make a trip to Ischia. I had heard of this island in the Bay of Naples because I knew that the English composer Sir William Walton had a villa there. Just before leaving New Zealand I had met the New Zealand composer and harpist Dorothia Franchi who had talked to me about Walton. In the previous year Walton had visited New Zealand to conduct a performance of his “Belshazzar’s Feast”. Dorothia, who had played in the orchestra which he conducted, had given him a copy of the record “Six Carols for Christmas” which contained a work of hers and of mine. I thought, if he has a recording of a work of mine, then surely he would be pleased if I visited him! At the wharf in Ischia I looked around for a taxi, which would take me to Walton’s villa. All I could find was a furgoncino (also called ape = bee), a cross between a motorbike and a delivery van. I squeezed into the only seat alongside the driver whose steering wheel was the handlebar of the motorbike part of this tiny vehicle. We bounced over narrow roads in this precipitous landscape to the side of the island most remote from the harbour. When we arrived at the villa I was surprised to hear the sounds of loud Italian pop music coming out of the garden. I rang the bell at the gate and after a minute a young man with a cultivated British accent opened the gate and greeted me. I knew well enough what Sir William looked like to know that this was not him. He explained that the composer had fallen ill and was in a hospital in London. As the noise from the gardener’s radio continued, he looked apologetically at me and said: These sounds would never be heard if the master were here. And so I climbed back into the furgoncino and wondered if it was not, in fact, a good thing that Sir William and I had not met. What would I have said to him, or asked him? I really hadn’t thought very clearly about what I had hoped to achieve by this visit and I (and he!) had been spared an embarrassing moment.\n\nMy next station was Rome, the Eternal City. I was excited to make my first real contact with Michelangelo. I booked into the youth hostel and early next morningset out for the Vatican City. However the first thing was to go the Central Post Office for mail from home. Betty had agreed to write to me here c\u002Fo posta restante. But Rome is enormous and a simple operation like going to the post office can take hours. To be sure I was moving in the right direction, I asked a boy on the street and, as I had experienced in Naples, instead of giving me instructions, he said he would show me the way. We walked and walked and I tried to talk to him as best I could. It seemed strange to me that a child of this age would be on the street at all at this time. I asked him why he wasn’t at school: Ho marinato la scuola (literally: I have marinated the school = I’ve wagged school). Like seeing only that which one has learnt to see, one hears only that which one has learnt to hear. No doubt much of what he spoke to me I didn’t hear, but once in my Italian lessons I had come across this curious expression which I was delighted to understand at this moment. Unfortunately I didn’t know enough Italian to ask why, or for how long, that would have to wait until later. He left me at the Post Office where I was rewarded with several letters from home.\n\nFrom here I found my own way to the Vatican. I knew what I wanted to see most and I was not disappointed: Michelangelo’s “Pietà”. It was a very emotional meeting — the first real contact with a work which I already knew so well from reading and from pictures. It was like finding a long lost friend — tears rolled down my face.\n\nBut there was more Michelangelo to be seen — the Sistine Chapel. This was much more difficult to see and consequently a less emotional meeting than with the “Pietà” — all the frescos were so far away. Those on the ceiling were not only very distant, you had to crane your neck backwards to be able to see them at all.\n\nThere were mirrors, which solved the neck problem, but then one was seeing a reflection (reversed image) and not the real thing. Some people had binoculars and lay on the pews gazing upwards. The “Last Judgement”, on the wall behind the altar was also wonderful (one single picture instead of a collection of scenes as the ceiling is) and could be seen without lying down or bending over backwards.\n\nI was especially interested by the figure of “Minos” in the bottom right corner and by Bartholomew holding the the skin of Michelangelo. Twenty five years later we visited this chapel again with our children. What a different experience! There were now so many visitors that it was no longer quiet. In fact there was a priest on duty at the front whose sole job was to try to make people be quiet. In order to do this he had to make a louder noise, after which the crowd-noise subdued but then grew louder again until he was forced to call again: priest shouts, quietness and then crescendo, priest shouts again, quietness and then crescendo, and so on.\n\nThe following morning I went to see “Moses” in San Pietro in Vincoli. This Michelangelo sculpture shows Moses sitting, with horns like a devil, receiving the Commandments. Apparently the Hebrew was wrongly translated and the description of rays of light (divine inspiration?) that shone onto his head were translated as horns. Throughout the Renaissance he was always portrayed with horns. This is a huge piece and Moses looks truely authoratative, and quite capable of destroying any group of religious extremists being silly enough to worship a golden calf.\n\nI went on to the Galleria Borghese, not being quite sure what to expect. There was a wonderful Caravaggio chiaroscuro of St Jerome whose bald head on one side of the picture is nicely balanced by an inspirational skull on the other.\n\nThis was the start of my interest in that controversial of all painters, Caravaggio. Unfortunately I didn’t realise that the works of his I would later admire most (“The Calling of Matthew”, “The Conversion of Paul”) were also here in Rome, so I missed them. The other work here in the Galleria Borghese which I have never forgotten is Bernini’s “David”. I had prepared myself for Michelangelo’s “David” (about to throw the stone) and Donatello’s “David” (standing triumphantly over the severed head of Goliath) in Florence but here in Rome Bernini is showing us a David in full action just after the stone has been set in flight — body twisted round, the hand with the sling behind his right leg which is thrust forward and most memorable of all, his face is grim with tension and concentration and he is biting his lower lip.\n\nThe next day I kept away from galleries. I walked to the Coliseum and I walked to the Forum Romanum and I walked to the Pantheon and I was exhausted. About three o’clock I found myself near the Tiber and the Castello Sant’Angelo looking for somewhere to sit down. There was of course nowhere, but then I heard a voice, an American voice, asking if I spoke English. It came from a small Italian car that had pulled up not far away. I wandered over to the car and the man explained his problem: he needed someone who spoke English and Italian — Could I speak Italian? I said I could and he suggested I might like to sit in the back of the car and act as interpreter for him. Never was I so pleased to sit down! He wanted to goto General Motors and he was being driven by an Italian who didn’t understand English — could I tell the driver where he wanted to go? I tried something like Generali Motori and immediately the driver understood and we set off through the winding narrow streets for Generali Motori. We arrived somewhere — I had no idea where — and the American got out of the car and disappeared into the crowd on the footpath. As soon as he was gone the Italian started to explain to me how he came from a town on the coast and every day he went to Fumicino Airport with his tiny car to try to get work as a private taxi driver. In this case he had had the misfortune to be hired by a man he couldn’t understand (all this in good Italian). After about 10 minutes the American returned and said that the General Motors Office was shut and he hadn’t been able to get the money he had hoped to. The problem was that he had been on a trip to South Africa buying diamonds. The plane had stopped in Italy and his diamonds had been confiscated by the authorities and he required about $1000 to get them back. I didn’t really understand all this but then it didn’t concern me, I was just the translator, so I tried to tell the Italian as best I could what the other had said. He was very interested. The American went on to say that fortunately he had three large diamonds on his person, which he had managed to smuggle out and he wondered if the Italian would be interested in giving him the money he needed — he could pay him with these diamonds which were much more valuable. Again I translated and the Italian grew even more interested. The only trouble was that he would have to travel all the way back to the coast and then back to Fumicino by which time the American’s flight would already have left. Then the American turned to me and said that perhaps I could help, did I have any money? If I was prepared to help just until this evening, I could keep the diamonds as security, and the Italian would arrange to meet me later tonight with the money. I didn’t care much about helping the American but the Italian seemed a very nice man and if he was so keen to have these diamonds, I decided I would help him. The American scribbled away on a small block of paper converting pounds to lire to dollars until it seemed in the end that my contribution, together with the little he had himself, would be enough to save the situation. They took me to a bank where I changed NZ£200.- in travellers’ cheques (half my total fortune) into Italian lire. In those days Italian paper money was enormous, one really had the feeling of having a lot of money and I came out and exchanged it for the three large diamonds wrapped loosely in soft paper. The Italian and I agreed to meet between 7 and 8 pm in a nearby restaurant and off the two went waving almost too friendlily. \n\nAlthough I was far less tired than before, a new discomfort was descending on me, so I walked to the railway station and hired a cabin to take a shower. There in front of the mirror I took out my new diamonds and tested them. I knew that real diamonds were harder than glass and so very discretely I made a tiny scratch on the side of the mirror. The test worked positively. Nevertheless a nagging doubt remained. At 7pm I returned to the meeting place and waited. How long I waited I can’t remember, probably until 9pm but no nice Italian ever showed his face there and so I returned to the Youth Hostel and the next day I left Rome for Florence.\n\nI’ve often thought about this story and about what it should have taught me. There’s no doubt I’m a little more careful now than I was then but in spite of losing half my savings I still believe in people and I still believe in trusting them. What it told me was, that trusting people is important, one cannot do the simplest of operations in our society without trust, but from time to time this trust will be taken advantage of and this will cost me something. But to worry about always being taken advantage of was certainly not what I was going to do, there are many more good people than bad in this world, but curiously it’s the bad that often make it interesting.\n\nAt the Rome railway station I met Patrick. He was Chinese but spoke English with an Australian accent. He had trained for the priesthood but had left before taking the final binding vows. Now he was like me, travelling around in the origins of his culture. Although he had rejected much of Catholicism he was steeped in it and was also interested in its impact on the visual and aural arts. I explained that I wanted to study music in Italy but that I would first attend a language course at Perugia University for Foreigners. Since the train to Florence took us past Perugia we stopped and walked up to this lovely ancient town although I knew that the University didn’t open until the beginning of April. It was bitterly cold and even a little unfriendly so we returned to the railway station and continued our journey to Florence.\n\nIn many ways Florence was the goal of my travels. Florence for me was the centre of our culture — especially as far as painting and sculpture was concerned, Florence was the city of Michelangelo, the seat of the Medici Family, the home of Masaccio, Donatello, Brunelleschi and Ghiberti, it was the very cradle of the Renaissance. It was however a very different Florence that met my eyes — and nose. There was a strike (ancora uno scioppero!) of the garbage collectors and on every street corner rubbish was piled several metres high. It was fortunate that it was still cold which reduced the danger of infection and contained the evil smell which would otherwisehave been unbearable.\n\nPatrick and I signed into the Florentine Youth Hostel (a rundown Villa from better days) and started discovering the treasures of Florence together. One really has to discover (or uncover) them, with the exception of the fabulous Duomo or the Palazzo Vecchio they do not leap out at you. I was determined to see as much as possible of Michelangelo and so we visited the Accademia (“David” and the magnificent unfinished “Captives”), the Bargello (“Bacchus” and “Brutus”), the Casa Buonarotti (early works including a newly rediscovered wooden crucifix and the “Madonna of the Stairs”), the Uffizzi (the “Tondo”) and the “Pietà” in the Duomo (later moved to the Museo del Duomo).\n\nOn the way we discovered unexpected treasures: like Pisano’s delightful hexagonal relief sculptures on the Giotto Campanile and in the Uffizzi Simone Martini’s Annunciation. Here Patrick was ready to make fun of things which during his earlier life as a young priest would have been sacrosanct: Maria is listening very coyly to the message of the archangel telling her that she has been chosen to be Mother of God, to which she seems to be saying incredulously (we decided), “Who? Me!”: \n\nAnd no visit to Florence would be complete without a visit to Ghiberti’s fabulous Baptistery doors which Michelangelo called la Porta del Paradiso. These works took the artist half a lifetime to complete and the originals were still placed on the Babtistary doors alongside the Duomo (later moved to the Museo del Duomo).  \n\nIn reading about Michelangelo I had learned of another artist who had influenced him profoundly, Masaccio (1400-1427). In his very short life he made the decisive leap out of the gothic style and with just a few pictures created a new direction which was to be studied by many of the great names of the Renaissance. Most of Masaccio’s work is concentrated in the Brancacci Chapel of a little church, Santa Maria del Carmine, on the “other” side of the river Arno. To get there you cross the Ponte Vecchio and take a right turn down through narrow streets lined with tiny carpentry, upholstery and other one-man businesses until you reach a godforsaken piazza packed with cars and with a very uninteresting looking church on one side of it. Even the inside of the church of Santa Maria del Carmine is no different from thousands of other small churches throughout Italy, only the Brancacci Chapel makes it special and here you can see Masaccio’s “Tribute Money” fresco as Michelangelo and Raphael also saw it over five hundred years ago. It tells the little known story of a visit Jesus and his disciples made to a town where they were asked by a “customs officer” for the tribute money before entering the town. Apparently they had no money because Jesus directs Peter to go to the edge of the nearby lake where a fish will swim up with a coin in its mouth. The painting is like a comic with three episodes in one picture: we see Jesus in the middle surrounded by the apostles and talking to the tribute collector and to Peter. Peter is also on the left removing the coin from the fish’s mouth and again on the right giving it to the collector. Described like this it sounds quaint and certainly not world shattering but the experience of the real thing does “shatter”. All the faces are “real” – obviously Masaccio has had real models. He does bow to tradition with the hallos but these are unobtrusive, and, most remarkable, the (renaissance) building in the background has been drawn in perfect perspective (we know that Masaccio’s friend Filipo Brunneleschi had just discovered the use of a vanishing point in drawing perspective).\n\nJust before leaving New Zealand I had been present at an excellent talk at the Dante Society in which not only the enthusiasm of the speaker for the Brancacci Chappel had impressed me but also the names of the artists: there was Nasty Tom (Masaccio: Tommaso shortened to Maso and then lengthened with the negative suffix -accio) and Nice Little Tom (Masolino). Having seen the work of both Toms I now think that Masolino’s pictures would probably never have been specially noticed had he not had the extraordinary luck to be able to exhibit them alongside Nasty Tom’s frescos. It obviously needed an inspired, clever and determined character (i.e. a rather uncomfortable, “nasty” person) to break with tradition and give the painting world a brand new direction.\n\n\n\nAfter three or four days in Florence I sent a telegram to my friend Luke in Leysin, Switzerland, saying that I would be taking a train the following day to visit him. I said goodbye to Patrick, copied his address into my book, and set off early in the morning on the journey north. Uppermost in my mind was the fact that there was another important Michelangelo which I specially wanted to see in Milan: the last, the “Rondanini Pietà”, an extraordinary work, done when he was very old and still experimenting. This unfinished work is in the Castello Sforzesco and shows the dead body of Christ in greatly elongated (almost El Greco) proportions. \n\n\n\nI had worked out that I could leave the train at the Milan Main Station, take a quick look at the façade of the Cathedral, jump onto a tram for the da Vinci “Last Supper” at Santa Maria delle Grazie and onto another for the Castello Sforzesco and the Michelangelo sculpture and then be back at the railway station for the second half of my trip to Switzerland. It is one of the rare times when such a ridiculous schedule actually worked. I saw all three things: the Cathedral rather fleetingly, the da Vinci rather sadly (he had evidently experimented with the colours and the medium is now being attacked by a fungus which seems impossible to halt), and the Michelangelo, not with tears as I had had with his Roman “Pietà” but with quiet fulfilment, with the feeling of having come  another step closer to the master. \n\n3. March, Swiss Mountains\n\nTrain journeys in Italy are always entertaining, Italians enjoy talking to their neighbours and don’t seem to worry at all if the neighbour’s Italian isn’t very good. Interesting is that the same train which is so friendly and chaotic in Italy can change abruptly as soon as it crosses the border. Some years later I was to read on a train seat, written in indelible ink by a frustrated Italian travelling in the opposite direction: Perché, che questo treno che funzione nella Svizzera normalmente, appena attraverso la frontiera diventa un treno di merda? (Why is it, that this train, which functions normally in Switzerland, scarcely has it crossed the border, becomes a train of shit?) My train emerged from the Simplon Tunnel into the clean and polished landscape of the Rhone valley and started its well ordered but less friendly journey through Switzerland. It was not far to Aigle where I descended and lugged my suitcases across to the train for Leysin which, in comparison to what I had just left, looked as if made for a model railway. This little train set off, more like a tram, through the streets of Aigle and then halted at the bottom of a slope. There it made a jolt and a clatter and then continued in loud but slow motion. Only then did I realise that it was a rack and pinion system and that the rack had now engaged with the pinion to be able to scale the steep slope up to Leysin.\n\n\nAlthough the distance was comparatively short the train took a whole hour to arrive at its destination. At the top I looked out expectantly, descended with my bags and looked around further, but no Luke. I knew that he lived in Club Vagabond which even with my bad French pronunciation was clear enough for someone to tell me the direction to walk in — in fact I soon found that Leysin had such an international clientele in the skiing season (which was still in full swing) that I could easily have used English — or even Italian.\nClub Vagabond was a cheap hotel for young skiers. Like many buildings in Leysin it had been a Cure Resort for TB patients in the 1930s and had been put out of business by the invention of penicillin. Now it looked somewhat sad and neglected and smelled strongly of heating oil as one entered. However the magnificent view of the mountains on all sides more than made up for the hotel’s run-down look.\n\n\n\nI asked at the desk for Luke and in a moment he was there and fell on my neck and made me very welcome. I thought that perhaps he hadn’t received my telegram — he had, I just hadn’t said exactly with which train I would be coming!\n\n\nI had met Luke first on the Wellington wharves in the late 50s as I was working as a tractor driver during my university holidays and he was also doing a summer job as a tally clerk before the winter when he would return to the mountains as a ski instructor. One day he had greeted me (he later confessed he had mistaken me for someone else whom he didn’t even like very much!) and I had seen him carrying some long playing records (the latest in high fidelity then!) and had asked him what was on them. He was fascinated because most “wharfies” if they asked such a question at all would ask: What’s the rock ‘n roll? He had had among other things Pergolesi’s Stabat Mater, of which I’d never heard. So he lent it to me and, during that summer, many other records of music quite new to me so that through him my knowledge of music advanced rapidly. If it rained, then work on the waterfront stopped, and so we could go to his flat near Oriental Bay and listen to music. There I heard Mahler for the first time, a composer who was seldom to be heard on concert programs in New Zealand in the 50s. Luke was a Dutchman (of whom there were many in New Zealand immediately after the war) and had come with a self-paid ticket and not as most had come as assisted immigrants who were being offered a new start in life after the horrors of the Second World War. He was kept in music by record parcels sent to him by his mother, and although this music was his life blood, he could just as easily sell it before the winter to buy new skis and skins (for ski-mountaineering) only to do the same procedure in the other direction before the summer.\n\n\nOne rainy day when I had turned up at his place to talk music with him he tried to explain to me “the other reason” that he had left Europe. To do this he asked me to read a passage in a book by André Gide — something which taxed my school French beyond its limits. But the word for homosexuality is very similar in French and although as an 18 year old I was very ignorant about exactly what this was, I understood enough to realise that he preferred men to women. However, I still didn’t understand why this should have led to his coming to New Zealand, which at that time was every bit as restrictive in its laws against homosexuality as any European country. Curiously I wasn’t in the slightest perturbed that he might have been hoping to seduce me, and this trust was rewarded by a long friendship in which both of us respected the other’s sexuality.\n\n\nNow ten years later, sitting in his plant filled room in Club Vagabond, we were able to pick up the threads of conversation as if it had been only a few weeks since we last talked together. There was, however, a difference, he now seemed much freer than he had ever been in Wellington. He no longer needed to hide his homosexuality and obviously felt at home in this multilingual environment. Here he would chat to his colleagues and owners of the club (Canadians) in English, to the locals (including the gendarmerie with whom he got on very well) in French, and to his latest boy friend, Horst, in German. He arranged for a small room for me for the month of March, showed me where I could eat and fitted me out with skis and boots —something which filled me with great apprehension, but he assured me he would have me skiing in next to no time.\n\n\nThe following morning he took me out with this uncomfortable equipment and we went by cable car up to the Berneuse. I was taught to brake and to stem-turn and that was all. We started our descent to Leysin. The weather and view were superb but compensated in no way for the agony I went through. My muscles were not ready for this new exercise and certainly not for this degree of exertion. Later that day in the bar of the Vagabond when people heard what I had done they said: “What, Luke made you ski down from the Berneuse on your very first day on skis? The bastard!” But Luke remained sure that his methods were best and so day after day I went out (usually alone) and subjected myself to this torture. After a week or so a new friend of Luke’s arrived, Bragi (g = gutteral ch), a young Dutchman who had emigrated to the USA only to have been grabbed by the military and did service in Vietnam. Bragi had also never skied before, so we were sent out together to teach each other. I suppose this teaching did work, although I suspect that normal lessons would probably have had the same result much more quickly.\n\n\nBragi left after two weeks and in my last week Luke took me on a couple of ski tours in other regions, one to Verbier and an unforgettable visit to Les Diablerets. The plan was to go to the top of the mountain plateau by cable car and then to spend the whole day skiing down again in easy stages. The first stage was, however, quite steep. We stood at the top of the slope where more experienced skiers were zigzagging down and vanishing as tiny points in the distance. Up till this time my technique for negotiating such a slope was to ski along a “zig”, stop, turn round by swinging one ski after the other around my head, and then to ski along the “zag”. Luke decided it was the right moment for me to learn to do a moving turn. He demonstrated it a few times, repeated the rule: “Keep the weight on the lower ski”, (which is not so easy since this very operation requires that one changes which ski is the lower one). But, if he thought I could do it (I reasoned), then I would try. It didn’t work. My weight finished up on neither the left nor the right ski but on my tummy and I was flying down the slope head first. The movement reminded me of Newton’s First Law of Motion: “Every body continues in its state of rest or of uniform motion in a straight line unless acted on by some external force” — but there was no external force except gravity and the reaction of the slope and so I continued on my tummy and along my straight line. I had time to wonder where I was going and why I couldn’t stop and also to think that it was not at all unpleasant, it didn’t hurt, the only problem was the uncertainty of it. After a very long time my uniform motion in a straight line did stop and as I looked up I saw Luke ski up alongside me. He had been collecting my belongings which I had unknowingly left lying in the snow: glasses, camera, cap — my skis were no longer on my boots but the straps had prevented them from leaving my legs. Luke didn’t say much but we continued somewhat more cautiously — he had obviously been forced to accept that my innate lack of coordination had to be taken much more seriously. Shortly before lunch he stopped to talk in French to a colleague and later I heard the following: This colleague had been teaching a rather nervous young woman to ski. Both had seen my fall and both had been aware of something of which I was completely unaware, namely that I had stopped only a few metres away from a precipice. The woman he had been teaching was so shocked she had given up and gone home.\n\n\nMy clumsiness on skis caused another minor accident. While I was out alone one day, I fell forward so that one ski actually drove over my left wrist, cutting it dangerously near to the artery. As soon as I got home Luke sent me off to his doctor who fixed it with two stitches. I had never considered having medical insurance. New Zealanders never needed such a thing in those days, it was all paid for by the “wellfare state”. I never received a bill and didn’t even think to ask Luke what it had cost. Only years later after learning how the Swiss health system works did I realise he must have paid for it himself without ever telling me.\n\n\nLuke had long been interested in drugs and had read Aldous Huxley’s “The Doors of Perception” in which Huxley describes heightened perception and awareness under the influence of the drug “mescaline”. Luke had discussed this with a member of the club who had promised to bring him some LSD (a similar drug) on his next visit. This he did and for some weeks this sugar cube with impregnated LSD lay open on a saucer in Luke’s room. Not long afterwards he had a visit from the gendarmerie who were concerned that drugs might be coming into Leysin and they asked for his help in reporting anything suspicious to them. Luke was able to tell them that he had indeed heard that LSD was sometimes smuggled in the form of cube sugar and he picked up the piece that lay nearby: “… just like this one”, he said. They thanked him and left oblivious of the fact that they had had some LSD under their very noses.\n\n\nLuke was anxious that I should sit with him when he tried the drug. He knew enough about LSD to know that it could be dangerous. On his free afternoon I came to his room and sat down opposite him. He swallowed the lump of sugar and set in motion a reel tape recorder, which he had borrowed for the occasion. In the half hour before the drug started to take effect, we talked about all sorts of things: His early life in Indonesia, where his father had been head of a museum and seldom at home. How his education had been largely from his mother with whom he still had a much closer relationship. When the second World War broke out and the land was taken over by the Japanese, he was put in a prisoner of war camp for men and the mother and older sister in a similar one for women. These six years as an adolescent in a society of only men must have been a major reason for his homosexuality, either in forming it or in furthering something that was already latent.\n\n\n\nDuring all this conversation his ability to think straight was not apparently affected but his perception of the world was. Gradually colours became more intense and he had the feeling of being able to fly, that he could have stepped up to the window and walked out. Obviously though, his mental faculties were able to restrain him, because he never left his chair. Before he finally went to sleep he repeated: “This could be very dangerous. This could be very dangerous…” After this he was satisfied that he knew from first hand what LSD was like and as far as I know he had no desire to try it again or indeed any other drugs. Although I had made a small start as a skier, the most memorable times of my visit were the hours of talking with Luke about music, his colourful life and our general philosophising. These conversations didn’t always move very quickly, the problem not being with him who was using a foreign language but with me who often got bogged down searching for the right word only to be helped out by him who seemed to have my language as well as several others at his finger tips. I had told him that after studying music in Italy I wanted to go to Darmstadt, which was the centre for the very latest in New Music — and that meant learning German too. He said jokingly: “I don’t know how you’re going to learn all these languages, you’re not even fluent in English.” He was right — I wasn’t even fluent enough to be able to respond to that challenge, but I think fluency and having something to say are two different things.\n\n\n             *****************************************************\n\n\nI left for Italy some days before the first of April (the starting date of the new trimestre in Perugia) because I had an appointment with Signorina Monti in Florence. Helena Monti had visited us in New Zealand. She was the closest family member of Betty’s Italian teacher, Dr Sorani at the university in Wellington. She had arrived on Sorani’s doorstep and he had no idea what to do with her. This “piccolo uomo” as Betty used to call him had buried himself in his ivory tower in Wellington and, apart from his few students and the people he met at the Società Dante Alighieri, he knew nobody. His aunt Helena Monti was however quite different. She loved people, she loved travelling and talking and experiencing all things and so when he introduced her to Betty all problems were solved: his and hers and ours, since we now had a contact in our favourite European city. Betty showed her around in New Zealand and then stayed with her in 1963 when she was at Perugia and had now arranged that I could visit her. She lived in the very centre of Florence, just a stone’s throw from the Palazzo Vecchio whose tower you could see from one of her windows. A shaky little lift, like a cage for two people, brought one to her third floor apartment. The floors were marble and were decorated with sculptures, especially of sleeping angels, lying like exhausted babies on it. I assume many of these “artworks” were inherited, because her taste in art and music was excellent — and she seemed to know all the important “art people” in Florence. She knew I was in Italy to learn the language so that I could study composition and so the first thing she told me was how she had attended a recent concert at which Stockhausen had spoken (in Italian!) about his own works. She went on to say that she knew Luigi Dallapiccola and if I wished she would accompany me to visit him and I could show him an example of my work. I was in awe: the thought of visiting the great pupil of Arnold Schönberg and one of Italy’s most prestigious composers was rather frightening! What would I show him? And what would I ask him? I wasn’t prepared for such a meeting so soon.\n\n\nThe next morning we set out on foot, Signorina Monti with her tiny hand holding on to my arm. The impression I had had that she knew everybody was confirmed as we walked along, time and time again she was greeted by people on the street or in shops near her home. She said: Mi vogliano bene (They like me). As we walked past a flower shop she explained to me that it would be appropriate if I were to buy her a flower for her button hole, which of course I was delighted to do but dreadfully ashamed that the thought of doing so had not occurred to me.\n\n\nFinally we arrived at our destination — where it was I don’t remember, I assume it was the local conservatory. Dallapiccola was a little man with short grey hair and a friendly look. Throughout the whole time I had been with Signorina Monti I had spoken Italian — she knew that it was more important for me to practise my Italian than for her to improve her English. But I had barely managed to stutter to Dallapiccola “piacere …”, when he burst into English and so we stayed in that language. He looked at the score I had brought with me, my “Concerto for Violin and Orchestra” which had been played at the Cambridge Music School in New Zealand a year before. He said nothing for a couple of minutes and then he closed the score and turned to me and said: “In Ibsen’s famous play, Peer Gynt makes a journey to Egypt to ask advice from the Sphynx. Its advice to him was: Know yourself!” and the same advice he was now offering me. I was speechless. Like any young artist I had been doing the only thing possible, studying the most recent models I had. In my case it had been Alban Berg’s Violin Concerto, although I doubt whether that was possible to read from my score. I can only assume that Dallapiccola had seen that the score didn’t show him anything he hadn’t seen before, and he responded with a piece of advice which he had given many times before. Whatever the reason, the advice was by no means bad, and whether or not I have achieved this self knowledge I will probably never know, but I have never forgotten the man who gave it. We parted cordially and he and Helena Monti talked briefly together in Italian, but I was in such a numb state that I couldn’t follow what they said.\n\n\nThe following day I left for Perugia.\n\n\n\n4. April: Perugia 1\n\n\nWhat a new look Perugia had! The sleepy cold city of a few months ago was warm, alive and bustling, even welcoming. I went straight to the foyer of the University for Foreigners where there was a group of people arranging accommodation for new students. I had already decided I wanted to live with an Italian family and I wanted full board. I accepted the very first offer: Signora Tosti in Corso Garibaldi. How grand it sounded, one could just picture the triumphant leader of the resurgimento with his band of followers parading into the city along this “Corso”. But the wide avenue I had imagined was so narrow you could almost put out both hands and touch the tall buildings on either side. I was soon to learn that there were Corsi and Vie Garibaldi, Manzoni, Cavour, etc in every city of Italy, roads the heroes of the 19th century probably never saw.\n\n\nCorso Garibaldi was just round the corner from the university and led up a steep hill to a lovely little ancient roman temple, built in the round for some pagan god or gods until it was taken over by the Christians. Half way up this alley (as it would certainly have been called in an English speaking country) was the Casa Tosti. The Signora was very friendly, offered me a tiny room upstairs (almost on the roof) with a fabulous view out over the roofs of Perugia to Assisi in the far distance. Here I was to spend the next three months of my life and I was free to decorate it as I wished: details of Caravaggio’s Calling of Matthew which I pinned to the ceiling so that I could enjoy them lying in bed, and a small goldfish which I bought complete with bowl on a trip to Orvieto some time later. The Signora spoke a good clear Italian and so I was confident I could learn a lot from her. I didn’t realise, however, that I was only one of five foreign students who would all be wanting the same: there was Cambis from Iran, Renato from Brazil and Annemarie and Bernard from Switzerland.\n\n\nAfter unpacking my things I went back to the university for my first classes. I was in the Corso Medio (second year because I already knew some Italian) and this in turn was divided into language groups — Sezione Francese, Tedesca, Mista and mine, the Sezione Inglese. We had the same Professoressa which Betty had had some years earlier: Amalia Viscardi. In general we spent the first part of the mornings with her learning grammar and vocabulary and then went to Professore Proscuti for Italian Literature (a huge class for the whole corso medio) and in the afternoons (after the siesta) two other big classes: Italian History and Italian Art. This last also organised guided tours to historical centres within reach of Perugia, such as: Assisi, Spoleto, Orvieto and Rome in the south and to Siena, Florence and Arezzo in the north, and many more.\n\n\nA normal day for me started with prima colazione; caffe latte and fresh bread rolls which the Signora had already bought before we had stirred. There was also a Signor Tosti whom we saw only occasionally. He was reputed to be a bath-maker by trade, an instrument which the Casa Tosti also possessed but which was always filled with flowers as if a signal warning us away from this tub. There was no shower nor even warm water but I was to learn that one can clean oneself very well with soap and cold water from the hand basin. After breakfast I performed these cool ablutions, gathered up my books (including a huge dictionary which I carried everywhere) and wandered down the Corso Garibaldi to the Università. The English class was a group of about 20 students and we sat in a tiered baroque class room with the Professoressa behind a large box-like desk on a raised platform in front of us. I sat as close to her as possible, not only to hear everything with optimal clarity but also to be able to see every movement of her face and her body language.\n\n\nThis last had fascinated me from the very beginning of my time in Italy. I had been under the mistaken impression that body language was universal but quite early I realised that the Italian body gestures were just as foreign to me as the spoken language. While eating, for example, someone would smile and put his index finger to his cheek and rotate the hand back and forth, which meant, I decided: It tastes good.\n\n\nSoon after I started my course I met an elderly English woman by chance in the bar of the University. She asked me how old I was. I was 28. “Good”, she said, “still young enough to be able to make the necessary mouth changes.” Up till then I had never realised that every language had its characteristic mouth shape, that in fact all sounds which seemed to be the same as those in one’s own language were slightly different and to be able to pronounce these new sounds as they were in the new language, it was only possible by forcing one’s mouth into the shape used by the speakers of that language. Months later, in Siena, this was made even more clear to me when I was in a class containing Italians, a Frenchman and two Englishmen. When an Italian was looking for a word he would say: “eh”, the Frenchman, “öh” and the Englishman, “ah”. I decided that these sounds probably corresponded the mouth shape of these languages in its “rest position”. Now, here in Perugia, in my Italian class I could see, for instance, how the lips of Amalia Viscardi were thrust forward for the Italian “u” and then stretched almost to a smile for the “e”, both sounds which don’t exist in English.\n\nProfessor Prosciuti’s literature class was always interesting and always full. The course started with Dante and Marco Polo and over the months I was there, continued through the centuries touching on Machiavelli, Lorenzo il Magnifico, Michelangelo, and so on up to the present day. He managed to make the subject very moving often through the connections he could draw with other languages and other cultures and also by sometimes inviting good Italian speakers to read; I still hear the lady who read from Jacopone da Todi’s Donna de Paradiso:\n\n\n\n\nBefore leaving for pranzo there was time to go and check the mail and often there was a letter from home hanging on the wall. Why I never kept these, nor why Betty apparently never kept mine to her, I don’t know. It would have made these lines much easier to write!\n\nThe midday meal was always preceded by the call: “gli spaghetti sono pronti!” (The spaghetti are ready!). Spaghetti con sugo was followed by a main course of meat and vegetables, the latter usually lukewarm and swimming in oil — one ate well and copiously at the Casa Tosti. All the other students would be present and talk animatedly about their morning at the Università: Cambis, the Iranian, who should have been at both the Sezione Mista and at the Italian Literature had gone to neither. He spent most of his days playing billiards in the bar. At the end of his stay in Perugia he spoke Italian fluently but ungrammatically. By contrast, I knew what was grammatically correct because I used to spend the siesta time every day doing my home work, but I was not fluent. After some time I realised that I was not making as much progress as I should have been and so I decided to help the signora with the washing up so that I could chat with her. This helped considerably, but I was still not as fluent as Cambis!\n\n\nAfter the siesta (until 4pm) there were generally two classes, political history and art history. Both of these had very good lecturers and were therefore well attended. In the first I learnt about the Ostrigoths and Visigoths, the dark ages and then the beginnings of the renaissance through the power of money — people like Cosimo de Medici, who, by collecting papal money and lending it before delivering it, was able to become so rich that he could start a dynasty that was to rule Florence. The lecturer took great delight in explaining how these first bankers were so named because they laid their money out on banks or benches and if one of them was unlucky or stupid enough to lose his money, a state employee would come along with a big axe (and this he mimed with exaggerated movements) and cut the bank in half: hence the word bancorotto (bankrupt).\n\n\nThe art class was taken by Professore Scarpellini, whose special interest was the painter Signorelli and was, in general, an authority on renaissance painting and sculpture. His course also organised the weekly trips to see the original works which he talked about and illustrated with slides in class. Smaller trips were also made on foot on Wednesday afternoons (which were normally free of classes). These trips would be, for example, to see what was in Perugia itself, like the Fontana Maggiore, whose relief sculpture would occupy Scarpellini for an hour or more.\n\n\n\nBetween the end of the last class (6pm) and the evening meal with the Tostis (7:30) there was time to go shopping or to visit an early concert. Perugia had the support of a benefactor who enabled a series of very attractive concerts with world class artists. In the few months I was there, I heard more interesting music than I did at any other time in that year: Bartók string quartets by the Vegh Quartet, Bartók’s Sonata for Two Pianos and Percussion, the Berg Violin Concerto, to name but a few works.\n\n\nCena at the Casa Tosti was also a cooked meal but without spaghetti. It was always punctually served which was good, because there was often another concert at 8:30 or 9 pm. How much I paid for my board and keep I don’t remember, although I do remember thinking it was rather more than other students were paying. But I was happy with the Tostis and later I was to realise that there were other good reasons for staying here. During that first month I had a visit from Luke’s friend Bragi. I introduced him to the Signora and she immediately offered him a bed for the night. The following day we wanted to travel to Sardinia. Although we set out very early there were already two lunches ready to take with us.\n\n\nThe same thing happened one other time and I was never expected to pay more than my normal rate. I started to see and love the Italians for their generosity — they would happily steal from you with one hand and pay it back with the other.\n\n\nThe five students at the Casa Tosti got on well together, although we met only at meal times since we were in different groups at the university. One evening we decided to have a party in my room where we all sat on the floor eating snacks and drinking chianti. The evening went very well, even quietly, until Annemarie, who wanted to leave and go to bed, stood up suddenly. Unfortunately someone had been sitting on her rather full skirt and when she stood up, the skirt stayed on the floor. The poor girl was mortified and snatched up her lost skirt and what remained of her self esteem and left as quickly as possible.\n\n\n\nThe other Swiss, Bernard (from the Suisse romande), told me one day about a film he had seen which impressed him greatly: A young man had trained himself to be a pickpocket. It involved a heightened awareness of every part of his body, knowing at every moment what all his muscles were doing, being conscious of all sounds and smells and above all of everything that he touched or that touched him. Bernard told me how for days after seeing the film he went round trying to feel like the pickpocket and was convinced that he was living more intensively. His description was so graphic that I began to feel like the pickpocket myself and with a concentrated effort I could heighten my own sensitivity.\n\n\nProfessore Prosciuti asked me to a party. Why he should have invited me I don’t know. I was just one of about 100 students who attended his class and I had never even spoken a word to him. I can only think it was because I sat near the front (watching his face as he spoke!) that he asked me. It took place in his garden where he had arranged to have a pig roasted on a spit — porchetta, a speciality of Perugia. The sight of the poor animal being cooked is not beautiful but the taste of the meat, flavoured with rosemary and other herbs is absolutely superb.\n\n\n\n5. May: Perugia 2\n\n\nThe Bamfords arrived. They came in their Dormobile, a vehicle which had not only taken them round much of Europe giving them beds for the night, it also had cooking facilities and a lavatory. It was a home on wheels, a part of their family and it was called “Dormouse”. They planned to spend one month in Perugia (attending the Corso Preparatorio) and so for that time they would put the Dormouse out to graze during the week, live in a normal house except at weekends when it could take them visiting the surrounding cities and countryside. And of course I was allowed to travel with them.\n\n\nIt was in the Dormouse that we visited Orvieto, where I bought my gold fish. Art professor Scarpellini had organised a tour of the Cathedral where he showed us Signorelli’s “Resurrection of the Flesh”: \n\n\n\n\nThe idea of the perfect naked bodies of the blessed souls being called into heaven from trumpeters on the Last Judgement Day struck me as rather curious to say the least: The Judgement seemed already to have taken place, so there would be no parading of souls before God, no standing before Him and hearing His accusations and His decision to keep them in heaven or send them to hell, because here in this picture (as also in Michelangelo’s) only the blessed are moving up and the trumpeters, which I had thought were announcing the beginning of the Judgement were in fact signalling its end! And yet the remarkable thing was that I was criticising something in this picture (which owes everything to Michelangelo — the subject and the glorification of the human body), which I had never dreamt of questioning in Michelangelo’s case. Is it possible that the quality of the latter’s work is so overwhelming, that one accepts its message unconditionally, whereas in a second rate painter like Signorelli (being second rate to Michelangelo is surely no disgrace!) one looks at the content much more critically? Perhaps if I had listened more carefully to Scarpellini I would know. As it was he had already started his discourse when we arrived and I was at the back of the crowd of students with no chance of moving forw— a work of art worthy of Michelangelo himself. It was the story of the creation: God had made Adam from a lump of clay and with an incision in his side, had extracted a rib which had miraculously turned into Eve. Here the story is even more far fetched — why should God go to all the trouble of removing a rib and transforming it into a woman when he’s capable of making a person out of a lump of clay? But such questions are totally irrelevant when the work is good — and this one is, outstandingly so!\n\n\nTravelling in the Dormouse I saw a new side of Italy. There were, for instance, numerous level crossings where the road crossed the railway and was controlled by a barrier. We soon learned that to be on the safe side, the barrier was let down at least ten minutes before the train was expected. This meant that we had ample time to make and drink a cup of tea (brewed in the kitchen of the Dormouse) before the train came. Coming home from Orvieto and just after a nice cup of tea at a level crossing, we noticed dramatic storm clouds gathering. Quite soon we saw lightning but were surprised to notice only brilliant flashes among the clouds on the horizon but no sounds of thunder. This “sheet lightning” is of course a common phenomenon in Europe, but for us New Zealanders it was something quite new and we lay down on the beds of the Dormouse and peered out its windows watching this beautiful spectacle.\n\n\nOne day a student asked if I would take part in a scene from Shakespeare’s “Midsummer Night’s Dream” to be presented outside at a school festival. I was to be the chink in the wall for Pyramus and Thisbe to talk through. This involved my making a circle with the finger and thumb of one hand while the two actors brought their mouths and ears as near to it as possible and acted out this wonderful Shakespearian burlesque. All this was part of a gala to celebrate the birthday of a school, which had invited representatives of the many different cultures who were studying Italian at the University for Foreigners. While we three (Pyramus, Thisbe and I, wall) enjoyed our performance fully, it is doubtful if anyone else did. English was not widely spoken in Italy in those days and Shakespearian English would have been totally foreign. We were followed by a group of black people, colourfully dressed and doing an African dance, which was much more enthusiastically accepted and applauded.\n\n\nMy progress in the Italian language was not brilliant but satisfactory. I could make myself understood and in general I felt I understood most of what people spoke to me. What I have already said about seeing and hearing only that which one is trained to see or hear, also applies to languages. One searches for parallels within one’s own language, which are however often not there or, if there, not idiomatically used. Instead of saying that he likes something, the Italian says that it pleases him (mi piace). Also the simple past tense, which is used constantly in spoken and written English and which would correspond to the Italian passato remoto, would be completely out of place since this is used only in the written language. These things are not difficult to learn, they are made clear in most language courses. What is more difficult to deal with are missing words or what I call “holes” in the language: the verb “to wear”, for example, is missing from many European languages, instead they say “to carry” (portare) and so if someone is “carrying a hat” you need to work out from the context if it’s on his head or in his hand. English has many “holes”, some well known and some not. The verb “to dwell”, for example, has all but disappeared leaving a hole which has been replaced with “to live”. When we learn a foreign language therefore, we have to be careful, is it abitare or vivere? Not quite a “hole” but equally problematic is the positive answer to a negative question: “Didn’t you see that?” “Yes I did!” “Non l’hai visto?” “Ma sì!”. (But yes). English has this (for foreigners enormously complicated) process, whereby the person replying must notice which auxilliary verb was used in the question and incorporate it into his answer: “Have you never seen it?” “Yes I have.” Fortunately Italian does not require this: “Non l’hai mai visto?” “Ma sì!”\n\n\nOne of the problems of “hearing only what you already know”, is that from the huge palette of human voice sounds each language chooses just a small selection to work with. We hear these sounds as soon as we are born (or even before!) and we learn to know which sounds are important for communicating. When we hear a foreign language, it seems at first unclear, lacking in the sharp differences of sounds which characterise our mother language. This is because we have not yet learnt to know which sounds are important in the new language and have not yet trained our ears to separate these important sounds from one another. After a while studying a new language it gains contours for our ears, but it never reaches the “sharpness” of the mother tongue. As an example, consider the English words “bad” and “bed”. For an English speaker there is no problem hearing the difference, we can even tell if it’s a British or an American speaker who is using them, so acute is our hearing in this narrow frequency range. Another example came from the Signorina Monti: She wrote down the words “ship” and “sheep” and asked me to pronounce them. I did so and she said: “é lo stesso” (it’s the same). As English speakers, we learn to distinguish between long and short vowels so successfully, that confusion practically never happens. Imagine the “short vowel” versions of “sheet” or “can’t” and consider the terrible misunderstandings it could lead to.\n\n\nNot only do we separate long and short and closely related frequencies of the formants of our own language, we also have an intonation that is language specific and idiosyncratic. If someone has learnt all the right sounds in the correct order but pronounces them with the “wrong song” — perhaps with the intonation of his mother language — he is automatically difficult to understand. This “song” is what children learn first, in the so-called babbling stage. Children with two or more first languages, babble differently depending on which language they are imitating. Curiously, however, the intonation of the language is something which is seldom taught, and if at all, only if the student is prepared to immerse himself completely in the sounds of native speakers. The tragedy is, that the capacity to learn all these things well, diminishes sharply after adolescence and is only to be approached with long and strong discipline. I had therefore to resign myself to the fact that I could never speak this new language perfectly but I was anxious to do it as well as possible.\n\n\nThe Università was always concerned that we learn the best Italian, Tuscan dialect, the language of the great Dante Alighieri who made the first step away from Latin with such brilliance, with such an affinity for human feelings, that he established his dialect as the Italian language. But Italy still has hundreds of dialects, even Perugia (in Umbria) has a dialect although we were well protected from it. The further one travels away from Tuscany (where the “dialect” is the high language) the more difficult these languages are to understand. But even the high language has its “bad” words, although they were not on the curriculum we were studying. One such word, which one heard regularly on the street, was accidenti. According to my dictionary this means “damn” or “good heavens” but according to our professoressa it was molto brutto (very ugly) and not to be used. I was reminded of my own shock when I arrived in Leysin a few months before, where in Club Vagabond the lingua franca was English. The young Europeans who where working or staying there had learnt American slang perfectly and knew that “fuck”, for example, was quite a normal word to be included in any conversation as often as possible. It even sounded cultivated, although quaint, out of these mouths, not like it had sounded on the Wellington wharves where I had spent my summer holidays. It became clear to me that as a foreigner, it is much easier to copy words than to develop a feeling for their “weight”. Even for native speakers this is difficult since “weight” is not a fixed quantity, what was “brutto” yesterday can be acceptable today. But the bad words have a special attraction, and so when Cambis learnt them, he would pass them on to us: chiavare (to fuck) for example. Here my dictionary admits that this word is vulgare — how the professoressa would have reacted to it one dares not even guess. Its metaphoric origin is obvious: to insert a key (chiave) into a lock. In the English of electricity we have a similar expression which we use quite unembarrassedly when we talk about male and female plugs, but the metaphor has, to my knowledge, never been used for the sexual act.\n\n\nOne last example of a “weighty” phrase before I finish this month: Years later, now as a language teacher myself, a young woman came to my English class and made it clear that she already knew a lot of English and was keen to practise it. She talked about her time in London and of an occasion when it had been raining heavily: “It was pissing down” she said. I tried to explain that this expression was not used in normal polite society, that there were more appropriate expressions like “raining cats and dogs” for example. She contradicted me, she had often heard it, everybody used it. What could I say, except beg to disagree? It’s difficult as a teacher not to appear to be moralising, when in fact one only wants to try and make clear what sort of social background the phrase belongs to. The young woman never returned to my class, no doubt convinced that I was totally out of touch with modern English. In her defence, however, I realised much later that a similar expression in Swiss German had made that journey from the vulgar to normal usage. In the nineteenth century, when the chamber pot was commonly used, it became known in student slang as a Schiff by analogy with a ship as a vessel, and the act of using it was to schiffe. This remains as a moderate vulgarism in the modern language. Curiously, the same word, when used for a downpour, is widely used in normal conversation: es schiffet wie verruckt (literally: it’s pissing [down] like mad). Although most Swiss probably do not know the origin of this phrase, it is possible that the young woman did and was not surprised to find the same expression in English.\n\n\nAbout this time I was asked if I would like to sing in the church choir at the small church opposite the Università. The music was not specially interesting but it was nearly six months since I had had any contact with music making at all, so I agreed. The group consisted almost entirely of students (including the conductor) and it met once a week to prepare music for the visit of the archbishop, which would take place the following month. There was just a single work on the program, a rather conservative setting of the famous text by St. Francis of Assisi: Il Cantico delle Creature. Progress was very slow, most people were not experienced singers, but the contact with the wonderful Franciscan text made it all worthwhile.\n\n\nAt the Casa Tosti Bernard announced that he was about to have a birthday and that he had met a Swiss girl who had a birthday on exactly the same day. They had therefore decided to celebrate together — his friends and her friends — at the Mandorla on June the first.\n\n\n\n6. June, Perugia 3\n\n\nWhen I look back it’s remarkable how little I remember of the birthday party. All I can recall with any certainty is sitting at a table in the Mandorla and dancing on the tiny space in front of the tables. The one thing that has blotted out all the other memories is the picture of the Swiss girl who was sitting at the same table. Her name was Brigitte and she was from the Sezione Tedesca and she shared a room with Margrit, the other person whose birthday we were celebrating. We talked for a while (in Italian) and then we danced. And that’s all. I remember the feel of her body against mine — a feeling I wanted to continue for a long time. What we ate or drank I have no idea, it didn’t seem important. All I know is that it was suddenly midnight and the Mandorla was going to shut. There was a quick conference about where the party should go and without knowing the decision we were out on the street and following Bernard. What we didn’t know was where the others went who were following Margrit. We searched and called but to no avail. Finally we stopped at a children’s playground, Bernard, Brigitte and I. Bernard had with him a loaf of bread, a bottle of chianti and a big salami. So we had a midnight feast. We swang on the swings and ran after the lucciole (fireflies) and ate more salami until we had gobbled it all up. We were in a state of suspended animation.\n\n\nVorgestern wahnsinnig schönes Geburtstagsfest (Geburtstag von Margrit und noch einem lustigen Schweizer) in einem gemütlichen Lokal. Mein ganz stiller Schwarm der Uni (ganz riesengrosser Student aus New Zealand, Neu Seeland (come si scrive?) hat den ganzen Abend mit mir getanzt, geplaudert … etc., es war ein unvergesslicher Abend, und ich bin wieder einmal so ganz unwirklich froh gewesen.… Und morgen? Und übermorgen? Ich weiss es nicht. Es liegen so viele Überraschungen in diesem Land. Doch das gefällt mir. \n\nUnd jetzt, mezzanotte, meine Liebsten, gehe ich schlafen, da sonst trübe Gedanken kommen wollen, trübe, weil die ganz schönen Augenblicke so kurz sind, so kurz, dass ich nicht mehr daran glauben kann. Und trotzdem möchte ich sie nicht missen. Trotzdem sind sie schön. Vielleicht um so schöner.\n\n\nYesterday a really super birthday party (Margrit’s and an amusing Swiss boy’s birthday) in a cozy restaurant. My very silent crush from the university (a huge student from New Zealand, Neu Seeland — how does one write it?) danced and talked the whole evening with me, an unforgettable evening … And tomorrow? And the day after? I don’t know. There are so many surprises lying in this country. But I like that. \n\nAnd now, midnight, my dears, it’s off to bed otherwise dark thoughts will want to take over, dark because the beautiful moments are so short, so short, that I can’t believe them any more. But in spite of that I wouldn’t miss them. In spite of that they are beautiful. Perhaps even more beautiful.\n\n\nNow suddenly the arrangement with the Tostis which had suited me perfectly so far had become somewhat of an encumbrance. I would love to have been free to eat together with Brigitte but I had paid the Signora for full board until the end of the month. I would have to be a bit patient and make the most of the time in between.\n\n\nWe met again for two concerts during the week and then spent a happy afternoon sitting on a wall trying to understand and learn by heart Leopardi’s famous poem Infinito:\n\nI had already decided to take the examination at the end of the trimestre, something Brigitte had no intention of doing, but she was not at all opposed to helping me learn the material, especially the poetry which she loved:\n\n\nVorhin sind wir noch rasch auf einem Mäuerchen gesessen und haben Leopardis „Infinito“ auswendig zu lernen versucht, gegenüber etruskische Mauern und über uns die ewig kreisenden plaudernden Schwalben. Dann hat er mir ein violettes Gräslein geschenkt. Vorgestern eine weisse Rose und vor-vorgestern pflückte er Ginster an einem ganz gefährlichen steilen Hang. Ich hätte weinen können. Er heisst Christopher, man nennt ihn auch Kit. \n\nVerzeiht, wenn ich Euch all dies schreibe, lächelt über mich, wenn ihr mich in den Teenager-Stand zurückversetzt glaubt — doch, Ihr müsst einfach wissen, wie froh ich bin, manchmal …\n\n\nA while ago we were sitting on a little wall trying to learn Leopardi’s Infinito by heart, opposite the Etruscan wall and and around us the ever circling and chattering swallows. Then he presented me a tiny violet grass. The day before yesterday a white rose and the day before that he picked me some broom from a dangerously steep slope. I could have wept. His name is Christopher, but one also calls him Kit.\n\n\nForgive me when I write all this, smile about me if you think I’ve slipped back into the teenage stage — but you must know how happy I am, sometimes …\n\n\nBrigitte also joined the church choir. The rehearsals were in the church itself, behind the altar. I have often been surprised by how “unsacred” the practice of religion in Italy is. It was quite possible for us to practise singing while others were praying. Perhaps this is a good thing. Perhaps this underlines that religion is just a normal part of everyday living. And yet, one has the feeling that if a person is busy communicating with God, one may not interrupt. Not so in Italy. Years later we visited Perugia and the surroundings again with Margrit and Antonio (who also had sung in that choir). We were in Assisi visiting the famous Franciscan church and I asked Antonio a question which he couldn’t answer. Automatically he turned to the nearest person who would know, a man on his knees, deep in prayer, and asked him. Without any apology to poor God whom he had evidently left hanging, he (still on his knees) listened to Antonio, gave the answer and then returned to his conversation with God. Brigitte described something similar in a letter home:\n\n\nWisst Ihr, dass ich heute in Weihrauch und Kitsch einer hässlichen Kirche eine Messe sang, mit sang? Einige Uni-Studenten, meist Nicht-Katholiken, singen dort. Ich will jetzt auch mitmachen. Hinter der Orgel sind wir gestanden und haben geübt, 4-stimmig. Plötzlich ging ein Geklingel und Gemurmel los, vor uns, im Kirchenschiff, die Messe. Wir übten weiter, bis es dem Priester doch zu viel wurde, vielleicht, weil er seinen Wein nicht in Ruhe geniessen konnte? So zottelten wir weg; Kit und ich verliessen Weihrauch, Geklingel und Gemurmel aus Versehen nicht aus der Seitentür, sondern marschierten mitten in das Messvolk hinein, rasselnde Rosenkränze, hässliche Frauen und hässliche Kopftücher, alt . . . sie starrten mit müden Augen, hinter uns goldener Priester und roter Wein! Nie werde ich dieses Bild der „betenden“ Frauen vergessen können.\n\n\nDo you know that today amidst incense and kitsch in an ugly little church I took part in a mass, as a singer? A few university students, mostly non-catholics, sing there. I’ve decided to join them. We stood behind the organ and practiced in 4-parts. Suddenly there was a tinkling and a murmuring in front of us in the body of the church, the mass. We continued practising until it was apparently too much for the priest, perhaps because he couldn’t enjoy his wine in peace. So we ambled off. Kit and I left the incense, tinkling and murmuring by mistake not by the side door but marched right into the middle of the congregation, rattling rosaries, ugly women and ugly head scarves, old … they stared with tired eyes, behind us the golden priest and red wine! Never will I be able to forget this picture of “praying” women.\n\n\nAt the weekend there was a Scarpellini tour to Ravenna. Although we were both enrolled for the trip we entered the bus separately and I was near the front and Brigitte towards the rear. Just before we reached our destination there was a call from behind me asking the bus driver to stop: É una signorina ammallata (There’s a sick girl). Brigitte was hushed out of the bus into the fresh air where she could recover from the tortuous road over the Apennines. So it was that the inner workings of her body brought us together again.\nIn Ravenna we were quite overcome by the freshness and brilliance of the mosaics — as if we were looking at art works only just completed. Up till now we had studied paintings on which the scourges of time had often left indelible scares but here were works hundreds of years older than anything we had seen so far which were as lively and vibrant as on the day they were finished.\n\nAlthough religious images dominated we were constantly delighted by tiny details like the curious fish — the one that got away! — in the picture above.\n\n\nRavenna. Mosaik, Basiliken, hässliche Häuser, grässlicher Autocar, schreckliche Reisegesichter, Kameras und Reiseführer . . . doch ein wundervoller Begleiter: New Zealand, 1.95 m gross, schön, blond, Mathematiklehrer und Komponist . . . etc. etc. etc. Wieder einmal Stunden, die ich nie vergessen kann. Um Mitternacht sind wir auf einer Mondstrasse durchs Meer spaziert, Motive von Beethoven hat er gesummt, ich musste ihm ein Schweizerlied lernen: „Es Buurebüebli . . . “, im Sand auf einem weissen Schifflein sind wir dann gesessen und haben den Stimmen des Meeres gelauscht…\n\n\n…Meinen Fehlern an seht ihr, dass ich müde bin, vielleicht noch von Ravenna, denn die Tour war recht anstrengend, doch so vielseitig und interessant! Prof. Scarpellini gibt sich wirklich grosse Mühe, der etwas eigenartigen Studentenschaft etwas zu bieten. Von Dantes Grab bin ich etwas enttäuscht gewesen, dafür haben mich die unheimlich strahlenden Mosaike umso mehr fasziniert und bezaubert, grosse Augen und ganz einfache Linien. Neben dem kühlen runden Mausoleo des Teodorico lag ein feuerrotes Mohnblumenfeld, vor Staunen habe ich mich am Geländer festhalten müssen: Monets Bild ist nichts mehr dagegen!\n\n\nRavenna. Mosaics, Basilicas, ugly buildings, ugly busses, terrible tourist faces, cameras and tour-leaders . . . but a wonderful companion: New Zealander, 1.95 m tall, handsome, blond, mathematics teacher and composer . . . etc. etc. etc. Again moments I can never forget. At midnight we were strolling on a moon road through the sea, he singing Beethoven motives and I teaching him “Es Buurebüebli . . .” (Swiss folk song), then we sat on a little white boat in the sand and listened to the voices of the sea…\n\n\n…You can see from my mistakes that I am tired, perhaps still from Ravenna, because the trip was really strenuous, so much to take in and so interesting! Prof. Scarpellini really goes to a lot of trouble to offer something good to this rather curious group of students. Dante’s grave was disappointing but on the other hand the unbelievable brilliant mosaics fascinated and bewitched me with their huge eyes and very simple lines. Alongside the cool round Mausoleum di Theoderico was a fiery red poppy field, I was so astonished I had to hold the railing very tightly: Monet’s picture is nothing by comparison!\n\n\nThe high day at the church arrived: la visita del archivescovo (the visit of the archbishop). We were told that we should arrive an hour before the service was scheduled to start: per riscaldare delle voci (for warming up the voices). Although this was not something that was done in my earlier choral experience, in the German singing tradition das Einsingen (which we assumed this to mean) was something very important. But we had completely overlooked the alcoholic traditions of the Italian clergy. When we arrived, the three floors of the church hall adjacent to the church were clearly marked: first floor for clerics, second for choir and adult congregation, top floor for children. The two lower floors were already well supplied with bottles of the finest wines from the region. We were quick to adjust to this new custom and warmed our voices with gusto. Then with hot glowing throats we moved across to the church. The two buildings were connected by an underground passage which emerged at a tiny low door at the back of the church (This was the exit we should have taken after the interrupted practice described in Brigitte’s letter). We bent down to pass through the doorway and found ourselves in the familiar place behind the altar. Here we could be heard but not seen and therefore, in spite of the seriousness of the occasion, we had no special robes or fine clothes.\n\n\nAs an erstwhile choir and altar boy in the Anglican church, I was interested in the preparations which were taking place as we waited for the archbishop. I had often had to light candles but never such high ones as these. To solve this problem, the acolyte had threaded a wick through the end of a long bamboo pole. Now as he moved from high candle to high candle, the burning wick got shorter and shorter until suddenly I realised that the stick itself was alight. Although this alarmed me , he seemed unperturbed and the job was completed without serious conflagration and the service began.\n\n\nHow well we sang or the archbishop spoke I no longer remember, but one event remains indelibly in my memory: Part way through the service the tiny door from the underground passage opened and out came a huge man. From his stature and clothing he looked as if he might have been delivering coal and had gone through the wrong door. But he moved his colossal body straight towards the organ which at that very moment started the accompaniment of the Bach\u002FGounod Ave Maria. Then this “coalman” opened his mouth and what came out left us all speechless. It was a voice that could have filled the Scala in Milan but here it made the whole small church resonate. And it was not just a big sound, it was a beautifully rounded operatic tenor. The intense concentration and the summer heat brought drops of sweat to his dark low brow, but only we saw this, he like us, was invisible from the front. Then the work came to an end and without a moment’s hesitation, he returned to the tiny door, bent into its small space and disappeared. Looking back, it is clear that this performance was minutely rehearsed. He must have known very precisely when he was to appear and what was expected of him. Nevertheless, to have fulfilled this expectation with such bravura and for no applause is remarkable.\n\n\nBrigitte had a car, an Austin mini called Pü (short for Pylades, the faithful friend of Orestes). We met in front of the Università, from where she had promised to take me to Assisi. She offered me the keys. For the first time since leaving New Zealand I sat in the driver’s seat of a car. In spite of the fact that the steering wheel was on the “wrong” side, I drove instinctively to the left of the road. She (and no doubt the surrounding traffic) was shocked. I had to stop, take stock of the new situation, and then for the next few days, whenever I was allowed to direct Pü, tell myself “drive right”. Perugia is a very old city, a typical Etruscan city on the top of a hill, and its roads and buildings were built for pedestrians and horse traffic. I always maintained that whereas other countries widened streets, Italy made narrower cars, like the Fiat 500 for example, which was so common at this time. This is not entirely true, there were also large coach-type buses on these roads, which in Perugia often had to take two bites at a bend to negotiate a narrow corner. But Pü was ideal for this city and after I had drummed into my head the side of the road I was to drive on, we reached Assisi without further problems.\n\n\nThe first stop was at the church of Santa Chiara, the “girlfriend” of St. Francis, a building whose massive buttresses reach right out onto the main road through Assisi. Since both Francis and Chiara had been dead for about seven centuries, I was not expecting to see them, but Santa Chiara is still there, in a glass case, looking like a figure from a horror film. She is looked after by the sisters of the order she founded, women who swear an oath of silence and who are veiled and float around like ghosts of the past. We left this rather sinister place quickly and moved on to the famous Basilica di San Francesco, a church with two floors and dozens of large frescoes by (among others) Giotto and Simone Martini, and, best of all, no glass box with the body of the saint! The Giotto frescoes, although very satisfying, are not easy to see, they are so high up on the badly-lit walls. The other famous Giottos in Florence (Santa Croce) and in Padua (Scrovegni Chapel) are much nearer to the viewer and leave a more lasting impression. From here we took the mountain path up the hill towards the Rocca Maggiore and stopped at the tree where Francis preached to the birds. How moving to see this tree, which must be at least 700 years old and is held up by numerous iron bars. It made one realise what can be done to preserve a tree when it’s really important. At the same time one wonders why other trees can’t be treated with the same devotion.\n\n\n\nHitze. Blauer Himmel. Durst. Heute wieder einmal Assisi mit meinem grossen Freund. Und als ich da hoch oben von der Rocca aus auf das liebliche Städtlein hinunter sah, weit über das ganz flache umbrische Land, wurde ich ganz traurig. Diese Gegend ist mir zu lieb geworden. Werde ich sie wieder finden dort im bleichen hetzenden Zürich, dort in Häusern, Autos und leeren Herzen?\n\n\nInzwischen ist Kit mit langen Beinen Käfern, Schmetterlingen und Eidechsen nachgesprungen — natürlich auch dem roten Mohn. Doch diese Blumen lassen auch in Italien zu bald die roten Köpflein hangen.\n\n\nHeat. Blue sky. Thirst. In Assisi again with my tall friend. And as I looked down from high up near the Rocca (Fortress) to the lovely little town below, I became quite sad. This region has become so dear to me. Will I find it again there in the pale nervous Zurich, there in houses, cars and empty hearts?\n\n\nIn the meantime Kit with his long legs has run after beetles, butterflies and lizards — and of course also the red poppies. But in Italy too these flowers let their red heads hang down too soon.\n\n\nFrom time to time Brigitte complained about the unwished-for attention of young Italian males. She had even been stopped in the car by carabinieri whose only motive was to arrange a date. On this occasion, however, she had the active support of her idiosyncratic landlady:\n\n\nDie Signora Margheritelli ist leider, wie ja all meine Schlummermütter passate, auch etwas verrückt. Immer saust sie auf Blochlumpen durch Gang und Zimmer, über kalte Steinböden, immer auf Lumpen. Man hat sich so nach zwei Monaten an diesen Bloch-Zustand gewöhnt. Und sollte sie einmal ohne Lumpen erscheinen, dann fehlt etwas Wesentliches.\n\n\nHeute Morgen flüsterte die Signora zur Türe herein: „Es ist einer da. Un giovane. Si chiama Celestino. Was soll ich ihm sagen?“ Besagter Kerl also, den ich nicht mehr ausstehen kann. 60 km von Spoleto kam er angerollt. Und die Signora schwebte zur Türe: „La signorina è andata alla chiesa“. So ratterte der hellblaue Fiat wieder davon, und hinter den Fensterläden haben wir ihm frohlockend nachgeblickt, die Signora und ich.\n\n\nSignora Margheritelli is, like all my previous landladies, somewhat crazy. She tears over the stone floors with her feet on cleaning rags, through the corridor and rooms, always on rags. And if she ever appears without rags, then something essential is missing.\n\n\nThis morning the Signora whispered at the door: There’s someone here. A young man. Called Celestino. What shall I tell him?” It was that chap I can’t stand any more. He’d driven 60 km from Spoleto. The Signora floated back to the door: “The signorina has gone to church”. So the pale blue Fiat clattered away again, and we watched it joyfully from behind the shutters, the Signora and I.\n\n\nBrigitte often ran out of money and had to write to her father who had power of attorney over her bank account. Sending money from Switzerland to Italy was done either by cheque or by arrangement with an Italian bank. Both systems were slow which often meant anxious waiting for a week or more. Although I had lost half my money in Rome I seldom worried about money. I had paid for my board and lodgings in advance and needed very little for other expenses. Brigitte on the other hand had only prepaid lodgings and had correspondingly many more daily expenses including petrol for the car. But toward the end of my time in Perugia I too had to be careful:\n\n\nMargrit ist heute abend nicht da: „Traviata“. Kit und ich haben Geldsorgen. Wir mussten verzichten. Schlechteste Plätze mit Legi 700 Lire! Viel für arme „Studentchen“.\n\n\nMargrit is not here this evening: “Traviata”. Kit and I have money worries. We had to pass. The worst student-concession seats are 700 Lire! A lot for poor “students”.\n\n\nDon Giuseppe (at the mere mention of his name Signora Tosti would roll her eyes to heaven and throw up her arms in an act of despair, so many were the stories of his escapades and liaisons), the priest from “our” church, had promised the choir members a bus trip in recognition for our musical contribution to the visit of the archbishop.\n\n\nMorgen Fahrt nach Fabriano mit dem Studentenchor (Abschied), eingeladen von Don Giuseppe, dem lustigen Padre im flatternden Gewand, der irgendwo zwei Söhne haben soll, vor Lebensfreude fast platzt und ständig Abendmahl-Wein trinkt. Es ist einfach amüsant und komisch, ihm in dem Kirchen-Gemurmel, Mess-Geklingel, Rosenkranz-Klappern und Knie-Knacken von der Orgel aus zuzuhören, zuzusehen, manchmal mit dem Chor zu singen, zwischendurch in die riesigen geschnitzten Chor-Stühle zu sinken, zu träumen oder zu schlafen! Also, morgen werden wir mit Don Giuseppe eine Geldfabrik besichtigen, einige Kirchen werden sinngemäss dazu gehören, er wird uns zum Essen einladen! Ich freue mich. Auch Kit wird dabei sein. Ich hoffe, in der Geldfabrik etwas papierernes Glück zu finden.\n\n\nTomorrow is the bus trip to Fabriano with the student choir (farewell), the invitation of Don Giuseppe, the lively Padre with the flowing robes, who has two sons somewhere and who is bursting with vitality and always drinking the communion wine. It is really amusing and strange to watch him from beside the organ amidst the church murmurings, the mass tinklings, the rosary rattlings and knee clickings, sometimes singing with the choir and in between sinking into the huge carved choir pews, dreaming or even sleeping! So, tomorrow we will visit a money factory with Don Giuseppe, a few churches will logically also be included and he will invite us to dinner. I’m looking forward to it! Kit is coming too. I hope we can find some papery happiness in the money factory.\n\n\nThe first thing was to bless the bus: Don Giuseppe sailed down with fluttering cassock and said the magic words, so that God would protect us on our trip, and climbed into the bus where we were all waiting. No sooner was the bus in motion, he regaled us with jokes: “A monkey was given a peach, which it swallowed whole and had terrible trouble passing the stone. But it was a very clever monkey. The next time it had a peach, it broke it in half, took out the stone” — and here Don Giuseppe mimed the monkey poking the stone into his rear — “tested it for size, decided it would fit, put the peach back together and swallowed it whole.” Never were the sublime and the ridiculous so close together.\n\n\nTravelling by bus with an international group of students was always entertaining. Especially the Swiss students (and they were probably in the majority here) knew so many folk songs. Not just their own ones, also English, French, German and Italian ones. It made the time fly past very quickly. We arrived in Fabriano, which up till then I had only heard of in the name of the early Renaissance artist Gentile di Fabriano. Already in Gentile’s time (14th century) this tiny town was famous for its paper factory and now in the 20th century for its mint, which printed the bank notes of many different European countries. With so much money around the security was ever present. We were checked going in and coming out and allowed only to look, not to touch! That we were allowed in at all now seems rather remarkable.\n\n\nWe drove to a monastery where we were greeted with excellent cool white wine made by the monks and then sat down at an outside table for the promised meal. In the heat of the mid-afternoon that followed, Don Giuseppe tucked in his cassock, put on a cap made from a handkerchief with knotted corners and played football with some of the choir members while others dosed. During this siesta Brigitte and I climbed up a hillside to a field that was buzzing with life. The wild flowers were blooming and had attracted a multitude of insects, in particular beautiful butterflies. But the grasses were also ripe with pollen and suddenly I was struck by a sneezing fit. Although annoying, I had had this all my life and was not surprised by it, but Brigitte had never seen (or heard) such a reaction. Not until we had left this “idyllic” field and returned to the monastery did the sneezing stop.\n\n\nThe Perugia time was drawing to a close. Brigitte and I had met daily over the last few weeks and neither of us wanted this life to finish. She would have to return to Zurich and the Kinderspital (Children’s Hospital) and I had enrolled for a composition course in Siena. But both of these commitments were not until the middle of July. One day she said: “We could spend two weeks together touring Italy in Pü and at the end I could drop you off in Siena.” It seemed an excellent idea, it would put off the terrible moment we were both dreading. But before that there were the exams.\n\n\nAlthough Brigitte was not going to take the exams it was still an excuse for us to meet and for her to hear me my Dante, Leopardi, Ungaretti or the wonderful short poem by Salvatore Quasimodo (1901–1968):\n\n\nIt didn’t quite fit our situation — we were enjoying the “rays of sun” and were determined to put off “evening” for as long as possible — nevertheless the poem impressed us by its extreme compactness and tragically accurate description of human life.\n\n\n22. Juni 1966 \n\nLetzter, allerletzter Uni-Tag. Überall wehmütige traurige Gesichter, Koffer kommen zum Vorschein, Abschiedsszenen nahen . . . Es ist wirklich ganz grässlich, das liebe lustige leichte Perugia verlassen zu müssen!! Wenn ich nicht, haltet euch fest, nächste Woche mit Kit Richtung NAPOLI rollen würde, dann müsste ich bald notfallmässig den höchsten Turm suchen, um nachher … doch so verschiebe ich diese Szene auf Neapel: „Vedere Napoli e poi morire.“ Vedremo si è vero!! Ich freue mich ganz wahnsinnig und beneide mich momentan selber, so froh sein zu können! Voraussichtlich ziehen wir am nächsten Donnerstag los. Noch gar keine weiteren Pläne. Vor allem billig. Jugendherbergen, etc. Ihr werdet dann mittels Postkarten — Regen mitreisen können. — Mitte Juli dann werde ich Kit in Siena zurücklassen müssen, wo er einen 2-monatigen Musik-Kurs besucht. Ich werde mich dann Richtung Kispi durchkämpfen, um am 18. Juli die kalte, harte Schreibmaschine — unvorstellbar — zu begrüssen. Vorher, Vati, werde ich bestimmt in San Gimignano ein Grüsschen von Dir liegen lassen.\n\n\nWie geht es euch heute, meine Lieben? Heiss, heisser am heissesten? Meine Zimmerkollegin, die kleine Margrit, läuft seit gestern mit ganz traurigen blauen Augen herum. Liebeskummer. Ich kann nicht helfen. Man kann nicht. Es ist schlimm.\n\n\nIn einer Stunde vor der Uni. Noch einmal werden wir die Scrittori Italiani gemeinsam durchbüffeln, Kit und ich. Glücklicherweise macht er die Prüfung, was mich auch noch ein bisschen „studiare“ macht, ein bisschen das „dolce far niente“ vergessen lässt.\n\n\nJetzt gehe ich noch ins Centro, um Reproduktionen von Caravaggio, den ich liebe, zu erstehen. Darum, meine Liebsten, arrivederci. Brigitte.\n\n\n22. June 1966 \n\nThe last, the very last Uni-day. Everywhere lugubrious sad faces, suit cases appear, farewell scenes approach . . . it’s really terrible to have to leave this lovely happy light-hearted Perugia!! If it were not for the fact (hold on to yourselves tightly) that next week Kit and I are going to roll down towards NAPOLI, I would have been an emergency case looking for the highest tower to … but now I can move this scene to Naples: “See Naples and die”. We’ll see if this is true. I’m so looking forward to it that I even envy myself at being able to be so happy. We’re expecting to leave next Thursday. No further plans. The main thing is cheap. Youth hostels, etc. In the middle of July I’ll have to leave Kit in Siena where he’s attending a 2-month music course. I’ll battle on direction Children’s Hospital to greet the cold hard typewriter on 18th July — unimaginable. Vati, I’ll definitely leave a greeting from you in San Gimignano. (Father Bänninger had spent some time as a young man in this little town in the province of Siena, famous for its many towers.)\n\n\nHow are you all my dears today? Hot, hotter, hottest? My roommate, wee Margrit, is walking round since yesterday with very sad blue eyes. Lovesickness. I can’t help her. Nobody can. It’s bad.\n\n\nIn an hour in front of the Uni. Once more swotting Italian writers together with Kit. Luckily he’s doing the exam which makes me do it a bit too and makes me forget a bit the “dolce far niente”.\n\n\nNow I’m off to the centro to buy reproductions of Caravaggio whom I love. Therefore my dears, arrivederci. Brigitte\n\n\nThe exams were quite harmless. Nothing to write, just a conversation with my Professoressa Viscardi and Professore Prosciuti. The Professoressa had brought baci (kisses! — a chocolate speciality of Perugia) to sooth any nervous feelings. It was, curiously (since I had already spent ten years studying at universities in New Zealand), the first time I had sat an oral exam, but with such friendly examiners it was more of a chat than a test. It was this Amalia Viscardi who had made me aware of the Accademia Musicale Chigiana which was to be my next “school” in Siena, and she continued to take an interest in my life in Italy.\nNow the painful time of packing and saying goodbye to all the friendly Perugians and fellow students was starting. Fortunately I wouldn’t have to farewell Brigitte and Bernard promised to visit me in Siena. Also I would leave a part of my luggage at the Casa Tosti, so saying addio to the Signora could wait till we returned from the south.\n\n\n28. Juni 1966.\n\n\nMeine Liebsten\nUnd wieder sitze ich ganz tief in Koffern und Taschen drin: letzter Tag in Perugia, letzte Nacht an der Via S. Siepi, zum letzten Mal habe ich mir an der Pizza die Zunge verbrannt, letztes Lächeln vom Pizza-Mann, zum letzten Mal Kaffee und Gelati mit Margrit in unserer kleinen Bar. Sono molto triste! – Und jetzt sollte ich packen. Ich mag nicht! Ich werde auf unsere Napoli-Meeres-Spritztour nur ganz wenig mitnehmen. Der Koffer bleibt in Perugia. Wir werden noch einmal ganz schnell hier vorbei kommen, auf der Rückreise.\n\n\nIch freue mich! Doch ich habe auch Angst, weil alles zu schön ist. Kit ist ein besonderer lieber junger Mann. Stundenlang kann er sich mit Käfern oder Schmetterlingen abgeben, stundenlang aber auch über Lichtwellen und Sternenentfernungen rätseln, dass mir nachher der Kopf vor Anstrengung nur so dröhnt, stundenlang auch philosophieren über Gott und andere Themen. Und all dies auf englisch oder italienisch. Und all dies soll in kleinen 14 Tagen vorbei sein? Darf ich dann stöhnen zu Hause, sag, Mütterchen? Weißt Du, so durchs Telefon!\n\n\nDoch jetzt muss ich wirklich packen. In einer Stunde treffen wir uns noch einmal vor der Uni: Einkaufen. Notvorrat. Mit Orangen- und Zitronensaft soll der kleine Pü gefüllt werden. Hitze. Kit hat immer Durst.\n\n\nWenn ich bloss wüsste, was ich einpacken soll. Da sitze ich verzweifelt in einem billigen, roten, neu erstandenen Leibchen mitten in Hosen, Pullovern, Schlafsäcken und Taschen, und niemand hilft. Aiuto! Niemand kommt. Ich werde weiter rufen und weiter auf Lösungen der ewigen Mitnehm-Probleme hoffen.\n\n\nViele fremde Gesichter sind aufgetaucht und tauchen weiter auf. Viele bekannte Gesichter sind bereits verschwunden. Perugia ist mit all den Fremdkörpern plötzlich anders und wehmütig geworden. So viele sind gegangen, so viele gehen.\n\n\nJetzt bin ich schon beim Nägelkauen angelangt. Ganz schlimm. Doch packen ohne Nägelkauen geht gar nicht.\n\n\nNägelkauend also endet der letzte Brief aus Perugia. Noch nie hat mir das Abschiednehmen aus einer Stadt so weh getan!\n\n\nMy Dears\nAnd again I’m sitting deep in suitcases and bags: last day in Perugia, last night at Via Serafina Siepi, for the last time I burnt my tongue on a pizza, last smile from the pizza man, last coffee and ice cream with Margrit in our little bar. I’m very sad! — And now I should pack. I don’t want to. I’ll take very little for our Naples-Sea-Whirlwind-Tour. The suitcase will stay in Perugia. We’ll come back here briefly on the return journey.\n\n\nI’m looking forward to it! But I’m also afraid because it’s all so wonderful. Kit is a specially kind young man. He can spend hours observing beetles or butterflies, and hours too puzzling over light waves and star distances so that afterwards my head just buzzes from the effort, hours too philosophising about God and other things. And all this in English or Italian. And all this might be over in 14 little days. Can I complain then at home Mütterchen? You know, like I do on the phone?\n\n\nBut now I really must pack. In one hour we meet at the Uni to go shopping: Provisions. We’ll fill little Pü with orange and lemon juice. Heat. Kit is always thirsty.\n\n\nIf only I knew what I should pack. Here I am sitting desperately in a cheap new red T-shirt among trousers, pullovers, sleeping bags and other bags and nobody helps. Help! Nobody comes. I’ll call again and hope again for solutions to the eternal what-to-take problems.\n\n\nLots of foreign faces have turned up and continue to turn up. Many familiar faces have already disappeared. With all these foreign bodies Perugia looks suddenly different and melancholy. So many have gone, so many are going.\n\n\nNow I’m already at the fingernail-biting stage. Really bad. But packing without nail-biting is impossible.\n\n\nNail-biting therefore ends this letter from Perugia. Never has saying goodbye to a city hurt me so much.\n\n\nOn the morning of Thursday, 28th June, Brigitte said farewell to Signora Margheritelli and drove over to the Casa Tosti. Signora Tosti let her in and explained that “Cristofero” was in bed with a high temperature. She came up to my little room with its wonderful view over the Perugian rooftops to Assisi in the distance, its Caravaggio pictures of the “Calling of Matthew”* pinned to the ceiling and the clothes still there on the floor where I had walked out of them, saw me sweating in my bed and agreed that we would have to postpone our departure. She then drove back to Signora Margheritelli, explained the situation to her and was allowed to stay another night in the bed which had already been prepared for the next guest. Never a word from either Signora about paying for an extra night — that was all part of their generocity and their humanity.\n\n\nThe following day, as if by magic, the fever had vanished as fast as it had come. We set off in Pü southwards on the Autostrada del Sole, transfixed, as ever, by a ray of sun.\n\n\n\n7. July 1966: Naples, Orbetello, Siena\n\n\nWe went first to Sorrento. It was near the sea and it had a Youth Hostel. This latter had a strict segregation, separate dormitories for men and women, something we found tedious but not altogether unexpected in those days. We left Pü on the street overlooking the Bay of Naples and said goodbye till the morning. The next day was brilliantly sunny and we decided to take a boat trip to Capri. We sat on the edge of the deck right at the front of the tiny vessel and the waves splashed over our legs. Not just our legs, our bottoms were wet but we were gloriously happy. In Capri we swam in the deep blue clear water. The world was a perfect place.\n\n\nIn Perugia Brigitte had bought a book which had been discussed in the literature class: Cristo si è fermato a Eboli. The title suggests that Eboli was far enough from “civilisation” that Christ’s influence never reached it. Since Eboli was not far from Naples, we decided to go there. We arrived at the siesta time and everything was shut, everything except a small bar. We walked in and ordered a small glass of the local wine. There was a friendly lady behind the bar and two or three equally friendly men drinking on our side of the counter. We understood that they were friendly because they smiled broadly but they didn’t speak, instead they made gestures. We knew they could speak because they had been doing so as we came in. We assumed they had recognised that we were foreigners, and were sure that they would not understand our language. So we smiled back and said that they should speak to us in Italian because we understood that language. They continued with their sign language. In between they said something to the signora which we did not understand. Gradually it dawned on us, that they did not speak Tuscan Italian, they knew only their dialect. They had been entirely right with their initial assumption that we had no common language. When we left and wanted to pay for our drinks they made a clear sign that they would pay for them. We were so moved. They seemed so poor and they wanted to share the little they had with us.\n\n\nNot far from Eboli is Paestum. This rather Latin sounding name is in fact an ancient Greek colony and has some of the best preserved temples of those times. It was another perfect day, a ballerina girl was posing among the ruins and the wardens were walking around the surrounding fields gathering what looked like posies of tiny wild flowers. We asked what they were picking. Oregano! Per la vera pizza napolitana. So we learnt that there are true and (presumably) untrue Neapolitan pizzas.\n\n\n\nWe returned to Naples, that is for me it was a return, for Brigitte it was the first time. It was lively and bustling but nevertheless a poor city. The ruins from the Second World War which I had seen six months earlier had not changed, but now in this hottest of months the whole population was out on the streets. And among these, many many children. Normally one would be so pleased to see children, but these children were different. We had already heard in Perugia, that many Neapolitan children are sent out onto the streets in the morning and told to come back with full tummies in the evening. Even if this is not true, it is certain that many children are used by criminal bands. When one walked along the street, children would come begging, not in an abject way but very aggressively. They never let go. The more one shooed them away the more obstinately they stayed. This feeling of being dogged was very unpleasant. They could see at a glance that we were foreigners and foreigners had money and they would stay as long as it took till they got some. They had all day if necessary. What happened then was described by Brigitte in a letter home:\n\n\n4. Juli 1966 „Vedi Napoli e poi muori“! Sie haben uns wirklich den Wagen vollkommen ausgeräumt, die berühmten „Ladri“ aus Napoli: Und nun? Trotzdem sind wir ans Meer gefahren, so ohne Gepäck . . . so ganz arm:\n\n\nVorgestern kamen wir in Neapel an. Parkierten den lieben Pü in der Nähe vom Bahnhof, spazierten von dort aus zu Fuss, um uns ein bisschen umzusehen. Wir wurden sofort von hartnäckigen, bettelnden Buben verfolgt, die wir nicht loswerden konnten. Ein mühsamer Zustand, bis sich ein verständnisvoller älterer Herr unser erbarmte und von den Bettlern erlöste. Einige Worte, die wir nicht verstanden, genügten, und die Kerlchen verschwanden so plötzlich wie sie aufgetaucht waren. Freundlich lächelnd verschwand der Retter in der Not ebenfalls, nachdem wir ihm ein dankbares „grazie molto“ zugeworfen hatten.\n\n\nWir schlenderten noch ein bisschen weiter, fühlten uns aber irgendwie nicht ganz wohl, sodass wir früher als geplant den geduldig wartenden Pü wieder aufsuchten. Aber wir kamen zu spät. Die berühmten Diebe hatten unseren Wagen bereits elegant aufgebrochen und beide Reisetaschen, Kamera, Kits Traveller Cheques, grössere Kleidungsstücke vom Hintersitz, etc., entwendet. Glücklicherweise fehlte ihnen die Zeit für den Kofferraum: die zwei Schlafsäcke lagen noch unberührt da, was unser grosses Glück war. Und auch an den zahlreich im Auto verstreuten Büchern zeigten sie kein Interesse.\n\n\nSo verbrachten wir anstatt „sightseeing“ recht aufgebracht und aufgeregt den Rest des Nachmittags in einem Polizei-Büro, wo mühsam eine grosse Liste der gestohlenen Habseligkeiten aufgestellt wurde. Mehrere Beamte kümmerten sich um uns, machten klar, dass es schwierig sein werde, die Täter zu finden. Dies sagten sie mit einem süffisanten Lächeln, als ob sie selber Teil solcher Banden wären. Sie notierten unsere Perugia- sowie Schweizer-Adresse und versprachen, uns gegebenenfalls zu kontaktieren. Erschöpft, schweissgebadet und hilflos verliessen wir nach mehreren verlorenen Stunden das Polizeirevier.\n\n\nUnd es gelang uns knapp vor Ladenschluss, noch einige notwendige Kleidungsstücke wie Unterhosen, T-Shirts, Badehosen, sowie einige Esswaren, zu kaufen und dann sofort aus Neapel zu flüchten. Einfach weg Richtung Meer.\n\n\n4th July 1966 „See Naples and die“! They really emptied our whole car, the famous „Ladri“ (thieves) of Naples: And now? We went on, in spite of everything, to the sea, without luggage . . . and quite impoverished:\n\n\nThe day before yesterday we arrived in Naples. Parked dear Pü close to the railway station and went on foot from there to have a look around. We were immediately followed by obstinate, begging boys whom we couldn’t get rid of. We were finally relieved from this exhausting situation by an understanding elderly man who had pity on us. A few words, which we didn’t understand, were enough and the little rascals disappeared as quickly as they had appeared. Smiling kindly our saviour also disappeared after we had thrown a thankful “grazie molto” to him.\n\n\nWe strolled a bit further but didn’t feel quite comfortable so returned earlier than we planned to patiently waiting Pü. But we came too late. The famous thieves had already elegantly broken in to our car and stolen both our travelling bags, camera, Kit’s travellers cheques, larger clothes from the back seat, etc. Fortunately they had no time for the boot: the two sleeping bags lay there untouched, which was very lucky. And they also had no interest in the numerous books left lying around in the car.\n\n\nSo instead of “sightseeing” we spent the rest of the afternoon enraged and agitated at the police station, where they tediously wrote a long list of all the stolen objects. Several officers dealt with us, making it clear that it would be difficult to find the culprits. They said this with a smug smile as if they themselves were members of such a band. They noted our Perugia and also our Swiss addresses and promised to contact us if they were successful. Exhausted, drenched in sweat and helpless after several lost hours we left the police station.\n\n\nAnd shortly before the shops closed we managed to buy a few necessary clothes like underpants, t-shirts, togs and also something to eat and then fled Naples immediately. Just cleared off towards the sea.\n\n\nWe drove north along the coast searching for a quiet place where we could camp and swim and relax, but in July the whole long Italian coast is completely covered with bodies and umbrellas, row upon row of sun hungry people, sometimes dozens of rows of them. We reached Rome and drove further, we searched the whole day for a quiet spot and found nothing. In the evening we changed our search for a sheltered place to sleep. It was already dark when we climbed into our sleeping bags and went to sleep under some trees, not at all sure where exactly we were and whether any man or animal might object. The darkness of the night made the starlight even brighter — an unforgettable spectacle. Next morning we were awakened by cows grazing nearby — fortunately friendly cows, who were not disturbed by our presence!\n\n\nWe continued our quest. But the coast north of Rome was exactly the same. I told Brigitte that what would interest me more than a beach was a rocky coast. If we bought flippers, masks and snorkels we could look underwater and see fish which of course preferred rocks and seaweed, they avoided beaches which people frequented, not only because of the people but because these were underwater deserts.\n\n\nWe kept on driving and searching but such rocky coasts were either very few or not within sight of the route we were driving on. We crossed the provincial border and entered Tuscany. We were now further north than when we had left Perugia. At Orbetello there is an island connected at three places to the mainland making it into a small peninsular with a lagoon between the three arms. Orbetello is on the middle arm and from here we drove south to Port Ercole and further around the peninsula. We were delighted with what we found, the landmass was like an extinct volcano (Monte Argentario) whose edges, where it entered the sea, were definitely rocky. What was less good, was that the road was 40 to 50 meters above sea level and there was no obvious path between road and water. We found a small flat area beside the narrow road and parked Pü. The view was indeed beautiful. Because of the height there was a huge panorama with sea on both sides and a lovely little island in the middle. Since there was no path down to the sea we had to make one, picking our way through the low scrub on the slope and often stepping from one large stone to the next. It took about 20 minutes before we reached the shore. We were delighted to find that it was exactly the sort of rocky coast we had been looking for and that there was also a meter or two of sand or small stones at the water’s edge. We walked (or waded) along this shore to a small point where larger rocks blocked the view of the next bay, climbed over these and found to our surprise that this point was in fact one wall of a tiny cave. Up till this moment we had never given any thought to where we could pass the night, but as soon as we saw this cave we knew that this was where we wanted to spend the next week. It was about two meters from the water — at the moment (we had no idea of what tidal changes could take place) — and the cave itself was about two meters deep with a mixture of sand and stones on its floor. Best of all it was difficult reach, we could be fairly sure that we would be alone here.\n\n\nNach einem ersten Übernachten in den geretteten Schlafsäcken unter freiem Himmel fanden wir dann am folgenden Tag den idyllischen Platz an der felsigen Küste am Meer nicht weit von Orbetello, von wo aus ich eben glücklich mit euch plaudere. Wir haben nämlich eine Art Unterschlupf gefunden mit Platz für die Schlafsäcke, eine Kochgelegenheit auch und ein Tischchen (Brett auf Steinen) und unsere Bücher. Im „Cave“, wie wir den Platz nennen, haben wir bereits windgeschützt einmal übernachtet, das Meeresrauschen in uns und zu unseren Füssen, die Sterne samt abnehmendem Mond zum Greifen nahe, die Sonne tagsüber feuerheiss. Ein herrlicher Ort also. Und ganz für uns allein. Ihr seht, es geht uns trotz Dieben gut! Tante belle cose. Brigitte.\n\n\nThe following day after a first night in the open in the rescued sleeping bags we found an idyllic place on a rocky coast by the sea not far from Orbetello, from where I can now chat with you happily. We found a shelter with room for sleeping bags, a fireplace for cooking and also a little table (board on stones) and our books. In the “Cave”, as we call this place, we have already spent one night protected from the wind, the sound of the sea in us and at our feet, the stars and waning moon within reach, the sun by day fiery hot. A magnificent spot. And all for us alone. You see, in spite of thieves we are fine! Tante belle cose (“all good things”). Brigitte.\n\n\nOnly then did we realise that this magnificent spot had one large drawback — there was no fresh water (I was reminded of Coleridge’s Ancient Mariner: “Water, water everywhere, nor any drop to drink.”). If we were to stay here we would have to buy large bottles for water and they would have to be lugged down the slope from Pü’s parking place. So our first job was to climb back up the slope, drive to Orbetello and buy water bottles, cheap plates and cutlery and matches and cooking utensils (a pot and a pan and oil) and, most important of all, flippers, masks and snorkels for the underwater world.\n\n\nThereafter we took daily tips to Orbetello for food, water and (sometimes) candles. Food consisted of bread, wine, spaghetti, tomatoes and cucumbers, the water was filled from the fountain into our two litre glass bottles and the candles stolen from the church (I’m sure God agreed that our need was greater than his). Transporting this material from Pü to the cave, especially the water bottles, was by no means easy, in fact on one occasion Brigitte fell and smashed a bottle full of precious water, but this was the price for our privacy. Throughout the whole week we lived here, this privacy was only once disturbed. It was at the weekend and a group of Italians arrived by boat to “our” beach (about 10 meters away from the cave). They went hunting for sea-eggs (one of the most common species on the sea floor here) brought them back to land where they cut them open and sucked out the insides. This surprised me even more than had the scampi salesman I had met on my very first day in Naples in January but I was careful not to show my curiosity until they were gone. Then I waded out with a knife, detached an unsuspecting creature from its anchorage and took it back to land to try out. The taste was execrable! I had to spend some minutes rinsing out my mouth with seawater to get rid of the awful taste. Perhaps it would have been much wiser to have had instruction from the Italians on how to enjoy this “delicacy” — I may never know.\n\n\nWe learnt to conserve water. Washing ourselves, brushing our teeth and the eating utensils could be done in the sea. Fresh water was only for drinking and cooking. We even tried seawater for the latter: our first pot of spaghetti was however so salty we could hardly eat it. The next time we used a mixture of half fresh and half seawater which was excellent, so good in fact that since then, whenever we are near the sea, we take home a bottle for making spaghetti “al mare”.\n\n\nWe spent many hours in the water, swimming and diving and then sitting in the sun or shade reading before swimming again. It was really the idyll we had longed for. Deep diving was not necessary. One could spend long just floating in shallow water observing the world beneath: sea urchins, tiny fish, anemones, even an octopus which I could almost touch with my face. This was only possible with the snorkel which meant that one could lie relaxed on the surface of the water breathing normally, without the necessity of lifting the head out of the water at every breath. The thought came to me: if I had a very long snorkel I could sit in deeper water on the bottom of the sea and observe a different set of creatures. I even planned in my mind what it would look like, with the mouth at one end and a float at the other — the tube could be 2, 3 or more meters long — so I thought, until I suddenly realised that with a long pipe I would be breathing the same air in and out. How then do animals like the giraffe manage, whose long neck must mean a long wind pipe? This was a question I discussed later with Bamford, one that has never been answered and so has kept us occupied to our life’s end!\n\n\nOne of the objects I had lost in the Naples robbery was my electric razor.. I therefore started to grow a beard which lasted six months till the onset of winter and, with it, a runny nose which I couldn’t reconcile with facial hair.\n\n\nThe weather was kind to us in this week. Only once was there a small storm. It happened in the night and made larger waves which threatened to enter the cave. We moved the sleeping bags as far to the rear as possible and waited anxiously for the wind to abate. Next morning all was back to normal, the lovely swishing of tiny waves moving back and forth on the stones.\n\n\nThe view from the cave was dominated by a small uninhabited island, an elephant-in-a-boa-island as Brigitte explained. She had to teach me the story of “Le petit Prince” by Antoine de Saint-Exupéry. Why I had never heard of the famous story is a mystery, I can only think it took much longer to reach New Zealand than Switzerland (it was first published in the original French in 1943). At the beginning the author tells how he asked grown up people if they were frightened by his picture of a boa constrictor which had swallowed an elephant. But the unimaginative adults replied asking why they should be afraid of a hat?! This “hat” or “elephant in a boa” was the shape of our island.\n\n\n\n\n\nOne day after we had practised sufficiently with the flippers, masks and snorkels we set out to visit this island. It would be a long swim, about an hour we reckoned, and so I bound a cucumber in a net around my waist as provisions and we set sail. Although it was a long way, the time went past very quickly since there was so much to look at: swarms of fish which swam past under us, apparently quite oblivious to our presence, or more likely, they noticed us but judged us to be harmless:\n\n\n11. Juli 1966? \n\nMit eingeschlafenem Bein sitze ich auf unserer Insel, auf einem grau-weiss- schwarzen Stein (puh, das Bein kitzelt jämmerlich), versuche, das Datum auf den Brief zu zaubern, doch, es geht nicht – ich weiss bloss, dass heute wahrscheinlich Freitag ist, dass momentan hinter der Insel gegenüber, die ganz komisch fischförmig durch die Wellen zieht, die Sonne dem Meer zu wandert, um bald die letzten Strahlen dem dünn und dünner werdenden Mond zu schenken — ich weiss bloss, dass Kit in unserer Meer-Steinhütte sitzt und eine Geschichte schreibt (vorhin ist er über unserer gemeinsamen Einstein-Lektüre mit roter verbrannter Nase eingeschlafen) — ich weiss bloss, dass ich Hunger habe und mich auf unseren tag-täglichen auf Feuer gekochten Spaghetti-Segen (Spaghetti gestern, heute, morgen und übermorgen …) freue — ich weiss bloss, dass unser so schlimm mit Dieben begonnener Ferientraum zu einem Meerestraum geworden ist, zu schön, vielleicht, um wirklich zu sein! — ich weiss bloss, dass ich Euch mit meinem verzweifelten Geld-Geschrei sicherlich in Unannehmlichkeiten versetzt habe, was mir fest leid tut. Doch, ich konnte nicht anders, Kit wurden neben einem teuren Fotoapparat sämtliche Traveller Cheques im Wert von 200 Pounds gestohlen (einfach alles!). Zum Glück liegt noch viel Gepäck in Perugia. Es waren bloss die Reisetaschen!\n\n\nHeute sind wir beflosst (Flossen) und bebrillt (Taucherbrillen) durch eigenartige Meereswelten, Fischschwärme und fremde Pflanzen, blau-grün-weisse Wellen, zur kleinen fischförmigen Insel geschwommen, um oben auf dem kleinen mit harten Vulkansteinen bepflasterten Inselberg einen wunderschönen Schwalbenschwanz zu bewundern. Ganz viele kleine gestreifte und getupfte Schneckenhäuslein sind auch dort gewesen.\n\n\nWir starren beide vor Dreck, meine Haare sind bald mit einem Salzberg zu verwechseln, von den wenigen Kleidern nicht zu sprechen. Doch, es geht auch so. Was ich ohne Renates Schlafsack tun würde, weiss ich nicht. Die Nächte sind warm, und ich möchte harte Böden, Sterne- und Mondenschein, nicht mehr missen. So ist es billig und geht gut. Und, habt keine Sorgen. Kit ist ein Mann, doch ein guter Mann. Wir träumen beide unsere Nächte für uns allein und sind froh. Nur darum kann es so schön sein!\n\n\nAchtung, ich glaube, es regt sich hinter den Felsen: Feuer, ergo Spaghetti, ergo Tomatensauce, ergo Essen. Darum erhebe ich mich aus der schmerzvollen halben Rückenlage (Sonnenbrand), um „in the kitchen“ behilflich zu sein.\n\n\nCi vediamo la settimana prossima and lots of love. Brigitte.\n\n\n11th July 1966? \n\nMy leg’s gone to sleep, sitting here on our island on a grey-white-black stone (puh, my leg’s tickling terribly). I’m trying to conjure up a date for this letter but it doesn’t work — I just know that today is probably Friday, that at this moment behind the curious fish-shaped island opposite me which draws through the waves, the sun is wandering into the sea and will soon give its last ray to the moon who is getting thin and thinner — I just know that Kit is sitting in our sea stone hut writing a story (before he went to sleep with a red sunburnt nose over our Einstein reading) — I just know that I’m hungry and am looking forward to our daily open-fire cooked spaghetti-blessing (spaghetti yesterday, today, tomorrow and the day after tomorrow …) — I just know that our holiday dream which started with thieves so disastrously has become a sea dream, too beautiful, perhaps, to be real! — I just know that I have certainly put you in inconvenience with my desperate money cries, which makes me really sorry. Apart from a very expensive camera Kit was robbed of all his travellers’ cheques, 200 pounds, everything! Fortunately much of our luggage is lying in Perugia, just the travelling bags were stolen.\n\n\nToday we swam beflipped (flippers) and bemasked (diving masks) through an extraordinary sea-world, schools of fish and foreign plants, blue-green-white waves, to our elephant-in-a-boa island, where we admired on a small hard plastered volcanic stone island hill a swallowtail butterfly. Very many striped and spotted snail-shells were there too.\n\n\nWe are both stiff with dirt, my hair is starting to look like a hill of salt, not to mention our few clothes. But that doesn’t matter. What I would have done without Renate’s sleeping bag I don’t know. The nights are warm and I wouldn’t be without the hard ground, the stars and the moonshine. So it’s cheap and good. And don’t worry. Kit is a man, but a good man. We both dream our nights alone and are contented. Only like that can it be so good!\nWait! I believe there is movement behind the rocks: Fire, ergo spaghetti, ergo tomato sauce, ergo food. So I’ll get up from this painful half lying position (sunburn) to help in the “kitchen”.\n\n\nCi vediamo la settimana prossima (see you next week) and lots of love. Brigitte.\n\n\nWe often talked about the books or the music we liked. I told her about how reading Aldous Huxley’s “Point Counterpoint” had brought me to listen to Beethoven’s late string quartets: In chapter 37 (I knew the number by heart!) Spandrall says: The Heiliger Dankgesang must be heard, it proves all kinds of things, God, the soul, goodness… I had read this novel on the Wellington waterfront, where I had met Luke. He was delighted when I showed him this passage and came the next day with the LP for me to listen to. This movement from Beethoven’s a minor string quartet (op. 132) became one of the most beautiful things I had ever heard and Huxley’s literary interpretation of it one of the best bits of writing about music I had ever read.\n\n\nOur time together was drawing to an end. We would say goodbye to the cave, pick up our belongings in Perugia, drive to Siena where my course at the Accademia Chigiana was to start on the 15th — the “Ides of July”. And then? Brigitte and Pü would return to Switzerland and to her job at the Kinderspital (Children’s Hospital). And then? This was the big question that was occupying us both — more or less consciously. Instead of talking about it I suppressed it. The question was too big, too difficult and besides, talking about it could spoil our paradise, this Utopia we were living in. Even if I had not suppressed it, what were the possible answers? Separate ways? — that was definitely not what I wanted. Marriage? — we had known each other for only six weeks, it was much too soon to make such a proposal. The easiest way seemed to be to say nothing and hope that the question would go away, or somehow answer itself.\n\n\nWhereas my suppression was successful for me, it did not help Brigitte who was also agonising over the same question. Not only could she not calm herself by similarly ignoring the question, she had noticed a change in me, one that I was completely unaware of myself: I seemed more aloof, less communicative. Added to this, during the cave time we had gradually changed from conversing in Italian to English. I learnt that she had spent a year in England first as an “au pair” then worked as a secretary for a cargo firm in London. In many ways this brought us much closer together and so it was not obvious to me as we were trying to read my Einstein book that this would be so difficult for her. Her English was almost perfect and so it seemed entirely natural that we could study this together. She, on the other hand, had the feeling she was much too dumm and that I would be disappointed in her. I was having problems understanding it myself, it would have surprised me if she were not too, that she should have thought herself “dumm” never entered my head. But I learnt these things much later and so her silent fears that our (up till now) perfect adventure could be about to come to an end — for ever — passed me by completely. We arrived in Perugia, went to the Università to collect mail — the urgently needed money from her father was there and also several letters from Betty. We picked up our suitcases from our signore and booked into a cheap hotel for the night. About this time she wrote in a diary:\n\n\nLetzte, allerletzte Nacht in Perugia. Pensione Augusta. Traurig. Kit? Wir sind uns fremd und fremder geworden. Doch Kit ist trotz allem wundervoll. Morgen fahren wir nach Siena. Dann bin ich ganz allein. I’ll leave Kit alone. He does not like me any more!\n\n\nLast, very last night in Perugia. Pensione Augusta. Sad. Kit? We have become more and more foreign for each other. But in spite of this Kit is wunderfull. Tomorrow we drive to Siena. Then I’ll be alone. I’ll leave Kit alone. He does not like me any more!\n\n\nBy the time we reached San Gimignano (the Etruscan town with the many towers) she was feeling more confident again: \n\nMorgen in der Pensione Perla. K. schreibt. Ich bin traurig. Habe Angst. Die grosse Reise naht. Zwei schöne Nächte mit K. Jetzt muss ich mich kämmen und anziehen. Ich glaube, K. ist auch traurig. Er schreibt. Er ist immer so lieb. Frühstück: Brot, Tomaten und Gurken, Salz, alles ans Bett. Der Traum ist zu gross. Sein Bart wächst. Er hat mir einen Korb geschenkt in San Gimignano.\n\n\nMorning in the Pensione Perla. K. is writing. I’m afraid. The big trip approaches. Two lovely nights with K. Now I must comb my hair and dress. I think K. is sad too. He’s writing. He’s always so kind to me. Breakfast: Bread, tomatoes and cucumbers, salt. All on the bed. The dream is too big. His beard is growing. He gave me a basket in San Gimignano.\n\n\nThe two nights in the Pensione Perla were special and yet difficult. Brigitte wanted to help me find a room for my two months in Siena and for that we needed a hotel for two nights. The Perla was certainly no pearl. It had a dubious looking staff and the customers were no better. They offered us a single room with a single bed, shower and lavatory shared with others on the same floor. We enjoyed the closeness without intimacy but we didn’t find much rest in such tight conditions.\n\n\nI confirmed my presence at the Accademia Chigiana and they gave us a list of people offering beds for students. This time we chose one without meals — I could eat at the university mensa — and we found a friendly young signora in a house about fifteen minutes walk away, who offered a room and also agreed to do washing for me. Siena was gradually bringing us together again.\n\n\nTo celebrate our “last” day we drank coffee in an expensive restaurant on the Piazza del Campo surrounded on all sides by the incredibly unified and elegant renaissance architecture, and directly in front of the famous Palazzo Pubblico. Brigitte said rather timidly what a beautiful end this was to our magic holiday and I: “Perhaps it’s just a beginning.” Seldom have I ever found exactly the right words!\n\nThe next morning the alarm woke us at 5 am and armed with a list of directions for the 700 km drive, a picnic lunch of bread, tomatoes and cucumbers and above all, with my optimistic words still ringing in her ears Brigitte set off for Zurich.\n\n\nThe Accademia Chigiana was founded by Count Guido Chigi Saracini in 1932 as an international centre for advanced musical studies. Count Chigi had died the year before (1965) but the foundation and the school in which he had invested his huge fortune had become world famous and attracted students from all over the world. The composition tutor for this year’s summer school was Goffredo Petrassi, an Italian composer of renown, who also taught at the Santa Cecilia in Rome. He had started writing in a neoclassical style (influenced by Bartók, Stravinsky and Hindemith) and later in a post-Webernian style.\n\n\nWe were a class of eight young men from four countries: Britain, France, Italy and New Zealand. Petrassi’s opening words were: In Siena dovete scoprire Simone Martini. Here was a composition course starting with a sentence about a great medieval painter. Later Petrassi would disappear for weeks on end and I finished up learning more about early Sienese painting than about modern composition.\n\n\n\nI had clear expectations of the course I was starting, based on my experiences in New Zealand at the Cambridge Music School, also a summer school but only of two weeks duration. At the Cambridge course the days were spent in class and the evenings were concerts or social events (mostly both!) and the nights often spent writing instrumental parts for orchestral works or revising pieces that were being tried out. The main thing was, there was a lively interchange between instrumental or choral students and composition students. In the whole two months I spent at the Chigiana, there was, with one exception, never any contact with students in other departments. We barely even heard them practising and there was no invitation to meet them. The one exception was when Petrassi invited a colleague, the then famous flautist Severino Gazzalloni, to demonstrate some new techniques on his instrument. Otherwise we just met in our group of eight. At the beginning he taught us the basics of 12-tone composition (something I had learnt very well from Ron Tremain at my first Cambridge Music School) and suggested that we try writing a piece in this style for a chamber ensemble. I had now been away from composition for at least seven months and was finding it very difficult to start again:\n\n\nIt’s all strange here. So much has happened and yet nothing has happened. I still feel the same. No musical ideas. I’m happy to write letters and even to revise my stories, but I have to push myself to write music. And the result is terrible —musically that is. I don’t seem to sense anything much — I seem to wander along in a state of “neutralness” — of limbo… \n\nBut I haven’t whistled any new tunes. The Maestro continues to play through the dodecaphonic exercises that we all write and they’re ALL AWFUL. Not that I dislike dodecaphonic music (the Berg Violin Concerto is good — needs at least six listenings before much goodness appears). And other thoughts and stories and numbers are still very jumbled and indistinct.\n\n\nI’m sad you think you wander along in a state of neutralness. But, don’t forget, this state is necessary to get into another state, in a state of creation. Do wait and be patient with yourself and have faith in yourself. If you lose that, it is bad. But I’m very sure that you won’t!\n\n\nThere was one more exception to this isolation from the other music students: the best of these 12-tone pieces were to be performed by instrumentalists from other departments and prepared by students from the conductors’ course. But that happened much later — towards the end.\n\n\nBernard from the Casa Tosti had promised to visit me in Siena but I wasn’t expecting him so soon. He was waiting for me in the foyer as I arrived at the Chigiana in the second week. I was so pleased to see him and immediately arranged to meet him for dinner in the mensa straight after class. He was full of news from a holiday in Greece, from a murderer who had lived at the Casa Tosti and we even found out that we had been in Sorrento together at the same time. After dinner I showed him my favourite places in Siena. We went to the Duomo and separately used my student card to get into the Piccolomini Library. While he was here, admiring the Pinturicchio paintings (based on designs by Raphael) I suddenly realised that here, right near the entrance to the library were three small sculptures by Michelangelo: a statue of St Paul (looking not unlike Michelangelo himself) and of St. Peter and one of Pope Pius II. While these are probably some of the least interesting of all Michelangelo’s work I was delighted to find them, since I had set out to see as many of his works as possible during my stay in Europe.\n\n\nAfterwards we went to the Basilica di San Domenico and to the House of Santa Caterina of Siena, that 14th century lady who wrote letters to all the most prominent leaders of her time and was instrumental in bringing the Papacy back to Rome from Avignon. There was a nun apparently “on duty” to deal with the tourists and to teach them about the saint — this was the impression we got as Bernard asked her questions. But then he asked her a special question, a secular question, about the Palio, that famous horse race which takes place each summer, where riders in medieval costume, on horses without saddles speed around the Piazza del Campo. Suddenly her tone changed and the remote religious voice became real, even passionate. She explained how the various sections of the city, the contrade, each contributed one horse, and the how the citizens of each contrada gave their complete support to its rider. It can happen (she continued) that in a family where the husband comes from one contrada and the wife from another, that the two don’t speak to one another during the Palio time. It was clear from the intensity of this woman’s voice, that the Palio was not history being relived for tourists, it was something real, deeply rooted in the hearts of all those born in this city.\n\n\nI was later to learn this Sienese lesson even more forcibly. But for the moment after saying goodbye to Bernard (sadly for the last time) my main thought was how good he was with this foreign language. He had absolutely no inhibitions about using it. He used the vocabulary he had directly with the people and in so doing he enlarged it. I, on the other hand, had this stupid feeling I should only speak when I could be sure I was saying something grammatically correct. I would have to change. I should take every opportunity I had to talk to the local people — even ungrammatically!\n\n\nThe first opportunity came already on my way home. I was standing in front of a large poster advertising a concert when a male voice behind me spoke to me. He quickly changed to English but he didn’t understand my English reply so I switched back to Italian. He asked about my health and if my bowels were reacting to the change of food and water and went on to recommend an enema! He told me he was a lawyer and that he collected antiques — would I like to see them (this sounded like a variant of the old invitation to “come and look at my etchings!)? Normally I am not the slightest interested in antiques but I was curious, here was a Senese I could finally talk to and since I was bigger than him, I saw no need to be afraid. He led me to an old building on the edge of the Piazza del Campo first through a locked door to a courtyard, then through a series of doors each opened and locked with a different key which had to be turned several times as if it were sliding a bolt into place inside the door. We entered his apartment, made a very cursory tour of his antiques (he obviously didn’t care whether I found them interesting or not) and sat down to smoke, drink and talk. He was a man of about 60 with a bent body, almost a hunchback. He had what I think one would call a Roman nose, an almost Dantesque profile and he spoke what seemed to me a very cultured Italian.\n\n\nHe neither told me his name nor asked mine, but he wasted no time in coming to the main point: la omosessualità. He explained: Women were preferable as sexual partners to men, but men were preferable to masturbation, or to nothing. He had noticed that I had a natural curiosity and it was necessary to try all things before saying that you didn’t like them — exactly the words I had used myself on people who had said they didn’t like raw oysters or classical music. He was quite sure that even although I thought I didn’t want to try it, I really did, there was a little bit of both sexes in all men, especially artists, he quoted Michelangelo, Shakespeare, Oscar Wilde, Benjamin Britten … I told him that I was quite sure that I was heterosexual, that I had no problems with those men who preferred men as sexual partners, indeed I had good friends who were homosexuals and one thing I admired in these men was that they did not expect me to make love with them. We talked and talked and I enlarged my sexual vocabulary but not my desire for him. I told him, I had only spoken to him because I wanted to improve my Italian. Finally he let me go but not before I had agreed to meet him at the same place in the Piazza del Campo the following week.\n\n\nWhen I told Brigitte about this encounter she was shocked:\n\n\nPlease Kit, don’t see that man again. You know, there are other people to talk Italian to. People with a healthy and normal mind. Do you really want to learn his abnormal, unhealthy ideas? Are you really so curious? Don’t call on him again, please, he wants to get you. He’d try anything, he’s old and experienced. He won’t let you go next time. They like the kind of young man you are. I’m speaking like your aunt — sorry — but you understand?\n\n\nIn spite of Brigitte’s pleas I went again, the same ritual with the doors, the same excellent brandy, the same talk. I even started to enjoy listening to him and arguing with him, but gradually I got tired of talking about homosexuality and I think he too got tired of making no “progress” with me and so this curious “friendship” ended.\n\n\nStrangely, my first major work was inspired indirectly from an interest in the way our society used to persecute homosexuals. I had seen an excellent film about the last few years of Oscar Wilde’s life (“The Man with the Green Carnation”). In the late 50s the official verbatim record of the trial in which Wilde was sentenced to four years hard labour (for committing sodomy!) was published and used for at least two films. As a result of this I had started reading Wilde’s work and in particular his “Ballad of Reading Gaol” which left a very strong impression on me. I immediately made a selection of stanzas from this very long poem and set them to music for baritone and orchestra. Although the main theme of the poem is a bid to end capital punishment, it was the intolerance against homosexuality which put Wilde in the situation that gave rise to the ballad. My work was first performed at the Cambridge Music School in 1960 and marked the beginning of my life-long friendship with Nelson Wattie who sang the solo part. Later through the help of Douglas Lilburn (also a homosexual) it was performed for a radio recording by the then New Zealand National Orchestra (conductor John Hopkins and soloist Nelson Wattie). Fortunately Brigitte was soon to meet my friend Luke and so she too could have a positive model to change her sympathy towards these people, who through no personal choice are born with different sexual desires to those of the majority.\n\n\nA parcel of books arrived from Zurich — \"The Little Prince\" and \"Il piccolo principe\", the book which had inspired the name of the island in front of our cave: the elephant- in-a-boa island.\n\n\nBut oh dear Brigitte, it’s so difficult to write music because there are all sorts of other things I need to do and now I need to read “The Little Prince” — grazie, grazie, grazie. Ho già letto due piccoli capitoli e mi sono piaciuti moltissimo (I’ve already read two little chapters and they pleased me greatly) … they have that wonderful sort of Mozartian deceptive simplicity … Later: I’ve gone and read all “The Little Prince” — I should have saved it and savoured it, but instead I’ll read it again. Sometimes, or rather often, my mind wanders back to the phrase in your letter asking if I knew why you were just a little happy when you arrived. I didn’t answer, it would have been so easy to say “yes” but I didn’t know how to. You must try to tame me please — like the fox.\n\n\nMy disappointment with the composition course led me to other activities: I attended Italian lessons for foreigners at the university, I wrote long letters to Brigitte and to my family, and I read about the history of Siena: In the middle ages Florence and Siena were cities of comparable sizes and were often in conflict with one another. This was not just of a military nature, the cities also competed culturally for supremacy. So it was, as Giotto was making Florence famous in the art of painting, artists of a similar calibre were working in Siena: notably Duccio, but also Simone Martini and the Lorenzetti brothers. As Florence was building its famous Duomo, Siena tried to overtrump it with a huge cathedral which was unfortunately never completed. The main reason that Siena lost this culture-race was the Great Plague, the Black Death of 1348, which reduced Siena to about a quarter of its population. By this year only the “transept” and the outline of one wall of the nave of the cathedral was finished, and so it stayed to this day.\n\n\nAlthough this “transept” was first conceived as the main nave of the cathedral the plan was revised to make it a transept of a huge building whose main nave (the first two arches of which one sees on the right of the left hand picture above) would extend to the south. This would have made the Siena Duomo the largest cathedral in Christendom. After the plague, however, the nave was never completed and today the one row of arches that was built houses the museum Opera del Duomo, which contains master works from the cathedral.\n\n\nJenny and Peter Murray, who I had last seen on the “Fairsky” turned up unexpectedly one day. Among other things we visited the Opera del Duomo, which I had come to admire greatly. One reason for my enthusiasm was that it is small and its main focus is on just one major work: Duccio’s Maestà. This large altarpiece had been painted on a wooden slab, the rear of which was divided into numerous small panels depicting scenes from the life of Christ. In the 20th century art specialists separated the main picture from those on the back and cut the smaller panels into single pictures so that they could be hung separately. Now in this main room of the Opera del Duomo with carpeted floor and curtains on all walls and with lights directed at all pictures one can sit and take in this “Gesamtkunstwerk”: The Maestà in the centre of one wall and all the other smaller pictures hanging in front of the curtains of the three other walls. Not only is it splendid visually but the carpet and curtains create a muted acoustical ambience in which one can concentrate on the magnificent Duccio colours and be transported back into his pre-renaissance world.\n\n\nAlthough Duccio lies firmly in the Gothic era (stylised faces and attitudes, golden halos, etc.), the combined use of gold and tempera-colour and the sheer size of the work is for me quite overwhelming.\n\n\nOne day last week some friends came to see me. They’re a super couple, New Zealanders, students, working in London, here on holiday. We went and looked at all good things including the l’Opera del Duomo, which I don’t think you went to — but I think you bought a card of the Duccio Maestà? Anyway if you didn’t go then you certainly must come straight back and see it. It’s the most beautiful room of a gallery I’ve ever seen. It has dark curtains all the way round and just a few paintings to look at and all lit from concealed lights above. The curtains not only make the room darker and therefore the pictures brighter, but they make the room more silent. It’s really quite hypnotic to go there. Anyway even if you did see it, come and see it again: I’m glad I miss you, I was scared I mightn’t. This is why you must continue to tame me. You see?\n\n\nAh, I forgot, I really missed “l’Opera del Duomo”, how very sad, or, how very lucky praps, cos there will be a real reason to come over for ……… you understand?\n\n\nThe lesson of the importance of how a work is exhibited was also taught us in a negative way on one of our trips to Florence. We especially wanted to see the crucifix painting by Cimabue in Santa Croce. We enquired where it was and were led into a dark and dingy little side room where the work hung. In spite of the bad light we were very impressed by the tremendous power of the face of Christ: Cimabue had, within the constraints of the Gothic rules, succeeded in showing an expression of (one might truly say) romantic proportions. Some years later we were again in Florence. In the meantime the terrible floods of 1967 had taken place when the Arno destroyed many art treasures in buildings near the river. Our Cimabue crucifix had been found floating in a mixture of water, mud, pollution and heating oil. In spite of years of restoration the damage was irreparable. Now as we entered the church of Santa Croce we were surprised to see the damaged picture hanging in pride of place between choir and nave and brilliantly lit from several lights. But what a sad picture! Only now that the work was almost destroyed did one evidently learn to appreciate what was lost. Here it was hanging as a warning against indifference and neglect. Had it been exhibited as it now was, it would have survived the terrible floods.\n\n\n1. The damaged crucifix (detail) by Cimabue in Santa Croce, Florence \n\n2. The almost identical Cimabue crucifix in San Domenica, Arezzo \n\n3. Giotto crucifix in Santa Maria Novella, Florence, showing the change in style from Gothic towards Renaissance (but with loss of expressive power?)\n\n\n\n8. August, Siena 1\n\n\n\nMy money was starting to run out, something which embarrassed me more than worried me. It meant I would either have to ask someone for money or give up the course. I resisted doing this immediately and when I finally spoke to Maestro Petrassi about it, he reprimanded me that I had not told him sooner: there had been possibilities for una borsa da studia (bursary) which were now used up. Nevertheless he promised to ask the school authorities.\n\n\n5th August (K to B)\n\nI got some money given to me! It’s a strange story — I was very embarrassed. You will remember that I was supposed to keep reminding the Maestro about a “borsa” and of course I didn’t — I couldn’t bear to. But because I hadn’t paid, I didn’t have a tessera which you need to get into orchestral rehearsals (for example): There’s a nasty lady who says “no” with incredible ferocity unless you wave a red card with black numbers on it at her. So I went to the secretary and they said: “no, the Maestro has said nothing to us. You have to pay.” And I said “Oh” and then I left! But I saw the Maestro on the street and we shook hands and talked and walked and drank and then we shook hands again, and the next day …… The next day I waited (you know how I like waiting!) in the secretary’s room while the Maestro went into the director’s room to talk and talk and talk. When he came out he said: “Because you didn’t keep reminding me, I can’t get you a full bursary but a half one might be possible”. I was pleased. The fees are 15’000 lire and I thought that even if they gave me 7’500 lire that would be (as my aunt says) better than a poke in the eye with a sharp stick. Anyway, when I arrived at the Chigiana the next morning there was a notice in the “P” pigeonhole telling me to go to the Artistic Director quanto presto. So I went. And he said all the same things the Maestro had said the day before — Oh, and he offered to speak français or Deutsch — this infuriates me — it’s such a bloody insult if only they realised! Fortunately he couldn’t speak English! He said: Non è possibile darle una borsa normale, è troppo tardi; però possiamo fare così: Io le faccio personalmente una borsa. Hell, I was embarrassed! But he said: Stavo per dare una borsa ad un qualsiasi studente che sia abbastanza bravo. Sono felice che è lei. I felt even worse: it was obviously nothing to do with how ‘bravo’ I was, but just the hard luck story I had told the Maestro. Anyway the Direttore went on: Io posso offrirle lire1’500 al giorno per il mese di agosto. Just imagine 1’500x35 (couple of extra days thrown in) = lire 52’500. I was speechless! He started counting out six 10’000 lire notes, handed them in my direction obviously expecting that I would give him 7’500 back. But I had nothing. And so, with a rather impatient gesture, he pushed the whole bundle of notes into my hand and me out the door.\n\n\nI’m glad you got all that money! Aren’t you a very lucky Kit? But you deserve it! How are you going to spend it all? Please tell me! Are you going to buy a third pair of pyjamas??\n\n\nI’ve spent nearly all that money! I don’t know on what? Just food and the Accademia fees of course. I don’t even need any more pyjamas. I haven’t used them the last few nights, it’s been so incredibly hot. I just have a sheet that I get under when I hear a mosquito attack.\n\n\nBrigitte enquired how my five lines and the round friends (who sit on those lines) were doing:\n\n\nI think I’m pleased. It’s hard to tell at this stage. I was silly cos I thought I could manage without a piano and when the Maestro tried the things out that I had done, they were not always very good. But now I know where I can use a piano and what’s more, I’ve scrapped what I was doing before and have started afresh. That’s why it’s hard to tell if I’ve really solved all my terrible problems.\n\n\nA friend in the class, Michael Short, lent me the score of Webern’s “Konzert” Op. 24 which I also studied. All the instrument names and the performing instructions were in German, so I had to ask Brigitte what they all meant: Geige (violin), Bratsche (viola), Posaune (trombone), Dämpfer (mute), etc. Although the Webern was a help for my own attempts at dodecaphony, it was a rather dry and theoretical study, I had no way of knowing if my imagination of Webern’s music was really as it would sound with a real Geige, Bratsche or Posaune. When I left my own rented room, however, the streets were full of music from radios near open windows. It had been the same in Perugia, you could walk along the street and from each house would come the same program so that you could hear, without any breaks, the commentary on the current football match or the latest Beatles song (“I love you, I love you, I love you”). Now, as I sought a relief from my own and Webern’s 12-note music I heard a new pop song, new to me that is, one which was not only lively but strangely unusual, in a minor mode:\n\n\nI’m just being treated to “La verità mi fa male” (The truth hurts me) from a radio down the road:\n\n\n(Nobody                      can judge me,                    not even                     you)\n\n\nFunny, I like it just a wee bit! Specially after Dodecaphony. I’m busy studying Webern in between tunes. It looks most interesting, but I don’t really hear it properly. It has lots of German that I need explaining please:\n\n\nDämpfer: I know this means mute, but could you explain these:\n1. immer mit Dämpfer \n\n2. Dämpfer aus \n\n3. ohne Dämpfer\n\n\nThere followed a very helpful German lesson, but more interesting was her reaction to the pop-song: \n\nOh, and thanks for the Verità. Now I must tell you something: I have got the record. I did not tell you. I usually don’t buy records of this sort, but this one, just this one … La Verità mi fa male … I did not tell you because I was ashamed and thought you might laugh, but now I can, and when you wrote me that bit of music, I put the record on and heard the whole piece again — Funny that you just like this very record a wee bit, especially after your dodecaphony.\n\n\nPreparations for the Palio had started. Loads of earth were brought in and dumped onto the paving stones of the outer ring of the Piazza del Campo and around the edge against the buildings they mounted what looked like mattresses, presumably to soften the fall of riders who might get thrown off from their horses. At the same time the activities in the Contrade became more obvious. Big groups of people would eat at tables set up in the streets. There was often the sound of marching drums and the sight of people in medieval livery. Also the faction rows that the nun had spoken of to Bernard were no exaggeration, these were quite often carried out physically, but such black eyes and thick ears were all part of the excitement, something that even the local police understood well and treated with extreme restraint. Not so, however, the Questura, the state police. These officers are normally given service in a region remote from their place of origin so that they can act impartially. Thus, during the trials in the week before the famous Palio, when a Mossiere, who should set the race in motion, lowered the starting rope too slowly and disadvantaged the jockey from the Contrada Valdimontone, and, in so doing, incited a brawl between two young men, the officers of the Questura could not possibly understand that this was normal behaviour at this time of year in Siena. Instead of turning a blind eye, they clapped the aggressors in gaol, oblivious of the fact that one was the star jockey of the Valdimontone Contrada. This mistake was to have serious consequences.\n\n\nOn Sunday the 16th of August about 60’000 people squeezed themselves into the Piazza del Campo to watch the Palio. I went with Michael Short and his family. There was real excitement in the air, not just an uplifting excitement but also an uneasy feeling. There were so many people in such a small place that one could hardly move, that is, one could only move with the crowd. If such a crowd were to become nervous, the result could be catastrophic.\n\n\nThe famous race is preceded by processions of people, oxen and horses from each of the seventeen Contrade — each looking more splendid that the other in its colourful medieval costumes: the flag bearers, the commanders, the captains, the drummers, the trumpeters and more flag bearers and flag throwers, all in the liveries of their Contrade. The procession starts at the Duomo and moves by a circuitous route and to the accompaniment of trumpets and drums to the Piazza del Campo. After about two hours of processing the Palio-horses were assembled in the courtyard inside the Palazzo Pubblico, were blessed by a priest and prepared for the big race.\n\n\nYesterday evening we all jammed ourselves into the Piazzo del Campo for the Palio — I with the Short family. But we didn’t have it. We had a demonstration instead! Seems that two people to do with the racing were put in gaol yesterday for fighting and a large body of the crowd wanted them let out. And so, as the horses trotted out of the Town Hall (!) this group of people poured onto the pista and the horses trotted back! Then the demonstrators paraded around the piazza singing and sat down in front of the television camera and shouted: Fuori, fuori! (out, out). I was a bit scared cos there were so many people in the square that you could hardly move and if they had all gone mad which seemed highly likely …… but no, people just went and so we got out and nothing more happened.\n\n\n\nI did see a prova (trial) earlier and I was very excited. They ride bare-back and fast and sometimes fall off. And the whips are not just for the horses!\n\n\n\nBut the most remarkable thing about this story is that the Palio took place “again” the next day — just for the Sienese. All the thousands of tourists who had come on that Sunday in all the dozens of buses, went home again without seeing the famous horse race. The Sienese couldn’t care less. The Palio was their six hundred year tradition, which they were prepared to share with others if they wished to come, but the business from the tourism was secondary, the main thing was that it took place according to their rules and not those dictated by the Questura. And that’s how it was done: the next day, and with no tourists.\n\n\n(17. Agosto) It was nearly as bad this day too — sometimes I’m a bit frightened by this excess of excitement. But still, I was thrilled to have seen and experienced it all.\n\n\nBrigitte wrote that she had bought Huxley’s “Point Counterpoint” and also the record of the Beethoven string quartet Op. 132:\n\n\nYou should be here, dear Kit: I’m in heaven now, in that Lydian heaven …… I’ll send a bit over to you, a bit of that 132, because you need it now. It really is great and I’m hearing it for the very first time. Ah Kit, music can be so wonderful, it can take you away in an indescribable beautiful manner and here Beethoven shows you a bit of heaven, oh no, not only a bit, I think that’s heaven as you would wish it to be. Come over, Kit, and listen, and this will make you happy again …… neue Kraft fühlend (feeling new power) …… that’s what you must feel again.\n\n\nShe had also tried bravely to get some money from the insurance company for the loss of our belongings in Naples. She had bought a coverage of one thousand francs against theft but now when the list of stolen goods added up to two thousand they argued that she was under-insured by one half and agreed to pay only five hundred francs!\n\n\n… I’ll tell you about it another time, I don’t want to leave this Beethoven heaven, I want to remain here in that “miraculous paradox of life and eternal repose …” And if I close my eyes, I can feel that you are here, and that is good!\n\n\nI’m so pleased you have the Op. 132 now on a record and even more pleased that you’re thrilled with it. I knew you would but it’s good to have my “know” reinforced even more than I ever expected. And isn’t it all wonderful? Not just that middle movement … Someone commented somewhere on what a stroke of genius it was to follow that tremendously serious movement with that little light march — nothing else would have done. And Spandrell’s right isn’t he? — the heiliger Dankgesang does get better and better towards the end: Listen to that cello stepping slowly down, slowly but deliberately, inexorably to that wonderful series of grinding chords at the end — the cello being a sort of rock-like foundation for the others.\n\n\nGradually my 12-note piece was taking shape. Due movementi per quattro strumenti, the “quattro strumenti” (four instruments) being piccolo, clarinet, cello and piano. I had managed to work in the famous B A C H (Bb A C B) motive into the 12-note row which gave it a more obvious contour and also an anchor-point for the ear when this fragment turns up. The Maestro came for one day in the middle of August and was much better pleased with this new piece. To my relief, he said it could be included in the program at the end of the course. He then disappeared saying he would be back at the end of the month. Although I had plenty to do: finish the score, write a fair copy on transparent paper (so that it could be copied) and write the instrumental parts, they were all activities which kept me in my room. With no class at the Chigiana I didn’t even see the other colleagues and my day became rather monotonous: breakfast of dolce and caffellatte on the way to the Chigiana to pick up mail, back to my room until midday, dinner in the mensa, and afternoon and evening in my room again. Even in the mensa I rarely saw anyone I knew, although the cameriere (waiter) often spoke a few friendly words to me. I usually ate pollo (chicken) because it was cheap but also because for me it was something special. During my childhood in New Zealand we had always eaten mutton or beef, sausages (awful sausages!), occasionally pork or fish, sometimes even rabbit, but hardly ever chicken. Not only was the taste new and special, I had no idea how best to eat it. One day when I was attacking a half chicken with knife and fork, the friendly cameriere came to me and said: Il pollo si mangia con le mani (one eats chicken with the hands). I am still, nearly 50 years later, grateful to him for this chicken-eating lesson.\n\n\nI seldom saw the other inhabitants of the house where I lived. There seemed to be three generations: nonno, nonna, la signora and her husband and two young boys. My room was regularly cleaned, fresh bed linen and personal washing was done every week without my seeing when or how it was done. On one of the rare occasions when I saw the signora, she told me that her husband was an enthusiastic hunter. What exactly he hunted was not clear, I assumed it was small birds which one often saw in the open markets. She said that the activity could be dangerous because one had to lie in the grass waiting for the quarry in regions where poisonous snakes were not uncommon. Because of this the hunters always carried an “antivenom”, a serum which could save their lives. Suddenly I remembered how Brigitte and I had slept under the stars quite oblivious of this danger. For me, coming from a land completely free of such animals, it was a big surprise.\n\n\nAs an only child, being left to my own devices was neither unusual nor bad. But here in Siena, where I had come especially to learn something new, I was doing nothing that I did not already know. The only good thing was that it was confirming that that which I knew was still valid. But was this really true? New Music must surely be more than dodecaphony! I knew that people like Cage were doing other things, which I had hoped to learn about. Once the Maestro had mentioned the word clusters. “These were something important — something to be taken seriously” he had said. But what were they? I never found out here. I had to wait until hearing the lectures of György Ligeti (whom I had not yet heard of) the following year in Darmstadt before knowing what this English word in the musical language meant.\n\n\nThe question of what was to happen after Siena was now looming. One of my major aims was to learn something about that very latest development in New Music: electronic music. Originally I had thought I would like to go to Milan. In 1954 Luciano Berio (and Bruno Maderna) had created Italy’s first studio of electronic music at the RAI Milan headquarters: the Studio di Fonologia Musicale. Here he was able to experiment with the interaction of acoustic instruments and electronically produced sounds. But just before I arrived in Europe Berio had migrated to the USA. There was however another possibility in Florence. Pietro Grossi who had also worked with Berio in Milan had established a Studio di Fonologia Musicale in Florence in 1963, which gave technical support to his courses at the Florence Conservatory (1965–73). I decided this would be a good alternative.\n\n\nI finished my piece and wrote a fair copy on the parchment-like, transparent paper which the school had asked for, especially so that they could make good copies. But when I saw these copies I was quite shocked:\n\n\n\n\n25. 8. 66 Please dear Brigitte help me. Look at these good notes I’ve written. Can you copy them with your machine? Can you copy them clearly? I’ve just paid 1500 lire for three copies none of which is really good. Just one good copy would be good. If your machine doesn’t deal with this sort of funny paper — non importa. Just send it back to me as it is. Now I must start to make these bad copies clear for use in the mean time…\n\n\n26. 8. 66 … You see I felt a bit lost this morning. I’ve handed my music in (bad as the printing is — but if your machine is better I’ll swap them when your copy arrives — DON’T WORRY if you haven’t been able to manage a better copy) … anyway after all the intensive work on those few pages over the last few weeks, to be left with nothing is a bit ground-cutting-from-under-the-feet — you see.\n\n\n29. 8. 66 Here you are, dear Kit! Hope you can use it?! Sorry about p.5 and 13 — didn’t come out too well! I’d like to listen to that music, I’d really love to! Praps one day … ? Do you think … ? Aren’t you very clever to be able to write all these good things? Congratulations! Looking at the manuscript I get very very very very impressed indeed — and very proud to know its author!\n\n\nJust before the end of the month there was a crisis. The deadline for handing in my piece had been met (although the copies were so bad), and suddenly there was nothing: no classes, no pressure to finish anything and worse still, no mail from Zurich:\n\n\n25. 8. 66 Ma mia cara Brigitte, che cosa à successo? È già quattro anni da non ti ho sentito niente! Stai ammalata? Non ci spero. Forse una lettera è stata persa — sarebbe meglio che tu fossi ammalata …\n(But my dear Brigitte, what’s happened? It’s already four years since I’ve heard anything from you! Are you sick? I hope not. Perhaps a letter has got lost — that would be better than your being sick …)\n\n\n27. 8. 66 (?) I look at your photo and that makes it worse. What it would mean now to see even one word in your writing — one word that I knew you’d just written. There are lots of words in this room that you’ve written, beautiful words, words I treasure, but I need to know that you can still write words. Just one would be enough. \n\nIf this is some horrible test that I need you — but I know you wouldn’t want to test me — not like that. It’s just that I don’t know what to think. Sometimes I can think so clearly. But all clear thoughts don’t help now. They tell me you’re very ill or dead — that last word is so hard to even think let alone write but I can’t help it, every day I see: “6 morti, incidenti stradali” — and I think of you and wee Pü jumping out of the way of hedgehogs … And then the doorbell rings and I think you haven’t written because you’re coming — a surprise, a secret, and now you’re here, at the house, at the Accademia — but no! I don’t know where you are or how you are. I just walk and walk and think and try not to think.\n\n\nSometimes I wonder if I should go to Zurich and see how you are. Or that I should ring up. If I don’t hear tomorrow, or the next day, if I don’t see a word, I’ll ring the hospital. But I don’t even know where you live in Zurich or in Bülach. But it’s hard to not-think. Even in my book on Signorelli I see so many things that take me back to us with Scarpellini, to us with Pü at Orvieto. And I look out my window and a pipistrella, a Fledermaus flutters by and there we are in Sorrento again …\nLater: I seem more optimistic: don’t know why. I’ve been out walking — meeting friends. Now I think that perhaps a letter has gone missing and tomorrow will come another. However, if it doesn’t, I’ll ring up because it seems quite easy and I even have your number here on an old letter. A domani.\n\n\nThe following day there was finally a letter from Zurich, a huge letter, also containing the copies of my score:\n\n\n31. 8. 66 Oh I cried a bit — just to see those words written by Brigitte, dear Brigitte. But praps I brought this awful silence on myself? By letting you think it was a bother to write to you. I only wanted to tell you that sometimes when the music wasn’t going very well I was much happier writing to you — even when there was such a rush, this rush to get the music finished by last Thursday. I didn’t quite make it and nor did any of the other three, we all handed it in on Friday. That rush made me rather anxious I spose. And then when it was all over, I was free but I didn’t know what to do!! I wrote letters, went on a gita, met new friends — all good but I got no letters, that is, none from you. But I really wonder if you wrote another letter, which I didn’t get? This last is started 26. 8. 66, finished and posted on 28. 8. 66 but didn’t get here until 31. 8. 66 (today). Was there one in between — or did you think you were bothering me too much with your letters? But it doesn’t really matter! What matters is that I now know that you are all right because I really thought you were dead.\n\n\n2. 9. 66 Oh my very dear good Kit — I’m sorry you were so worried about me … I could not help it Kit, I could not write those days — no letter got lost — I just could not. I all of a sudden felt so terribly empty and so terribly lonely — and a great black fear came over me. I was afraid of you and afraid of me and afraid of everything …… Afraid of no love and afraid of love — I was not sure about your feelings — I was not sure of my feelings. Praps he just writes to you and he writes to so many others? Praps he just enjoys having for a wee while a dreaming Swiss friend still believing in love? Praps he’ll very soon stop writing cos there are so many other things to do? Praps he does not like me at all? Praps he is married? Praps somebody is waiting for him in far away New Zealand? Praps? Praps? Praps?\n\n\nYou see, my dear good Kit, there were so many “praps”! Praps you shake your head? Praps you smile? Praps you say what a funny stupid girl, can’t she feel anything? Praps …… ?\n\n\nIt was me now who almost cried when I got that good letter yesterday, when I got that postcard and when I got that letter today. Oh dear good Kit. There was a whole wonderful world in those words — a world that means so very much to me! I’m holding it very tight now, that world of words so as not to lose it again — I’m holding it and feel very happy and very sad at once.\n\n\nI very often feel like taking little Pü and flying over to you, very quickly — just to say hello — just to see you for one minute, for one hour, for one day …… just to see your eyes, your face, your hands …… just to know that you are still there, that you really exist. And who knows what might happen one day?\n\n\nMy very dear good Kit, good night again — I’ll tell you many things tomorrow and the next day, but today, I just send you all my love! Brigitte\n\n\n6. 9. 66 My Dear Brigitte, Now it is I who feels both happy and sad. Please trust me when I am vague and absent minded because these are my defects. I always believed that you loved me — that’s why I thought something serious must have happened to you.\n\n\nBut there are always many “praps” when you have known a person for just 3 or 4 months. I think it must take years to know all the little details of someone. And yet I’m not sure, I think you really do know me pretty well — especially now after these two black weeks. And I too know myself much better. I’ve always been a bit suspicious (cautious would be a better word) of my own feelings. You see, I’ve had many girlfriends which were as you described: just someone whose company I’ve enjoyed briefly (and vice versa) — even many whose friendship I still value although it has shifted to a different plane — the plane of a good friend. But you will know by now that your plane is very different. And this is where another of my defects creeps in: I don’t know how to tell you directly, that special position that you occupy in my mind, in my life. I’ve always been wary of the traditional language that accompanies affirmations of love but I haven’t been able to invent a replacement for it. I just want it to be clear to you from the way I share my thoughts with you and the frequency with which you receive these thoughts and of course the terrible state you can put me in by not writing to me, that I do need you very much.\n\n\nWhen we went away together I thought I would fall in love with you and all would be wonderful. Fortunately that did not happen. True, it was wonderful — very wonderful. But when I think of the two or three times I’ve been “in love” I realise how dangerous and blind such a state is. So now I’m content to wait for that much more real state of love and understanding and sharing to build up — which it is quite rapidly and wonderfully — don’t you think?\n\n\nNow I’ll stop and post this and look forward to the many good words you are sending me, writing me. Love from Kit\n\n\n\n9. September 1966: Siena, Zurich\n\n\nMy dear Kit, This letter today was the best letter I ever had — all the world is smiling. Yes it’s so silly, why are you there? I do miss you so terribly. But it is good to know you are on that Italian planet …… and when I look at the sky at night, I can find you among all those stars. Oh dear Kit, I feel like embracing the whole world now (but I’d better wait for you, don’t you think?) …… and sing in the meantime that part of Beethoven’s 9th you know: „Seid umschlungen, Millionen, diesen Kuss der ganzen Welt …“ \n\nLots and lots and lots of love, B\n\n\nWith a similarly euphoric feeling I entered the new month. The Short family invited me to midday dinner and Michael and I spent most of the afternoon talking. I learnt interesting things about the American poets: Ezra Pound and e e cummings and then in the evening we attended the first rehearsal of our pieces.\n\n\nIt was so wonderful just to hear the players tuning up. I’ve been away from this sound for so long!! My second movement came off much better than the first (the pianist is very good). By the second movement I was writing what I wanted to write but I don’t regret the first because you have to try new things. And the players are very enthusiastic for all four of our pieces. Michael’s is very good indeed. He has set some Italian verses for soprano, flute, harp, violin and cello, and the Japanese soprano who is learning these difficult songs is really very good. Later: I still haven’t bought that coat, I bought a record instead! That’s not really as naughty as it sounds because, did I tell you? we each get 25’000 lire if our pieces are played here!!\n\n\nIn one day most of my disgruntlement with the course vanished. All the loneliness and feeling of making no progress was suddenly justified. Not only through the success of my own piece, I also learnt so much by listening to and following the works of my colleagues. Michael had, for example, written melodic lines for the soloist, which up till now I would have thought were impossible to sing accurately without direct support from the accompanying instruments. But this soprano could sing them perfectly and because her part was not doubled by an instrument her voice appeared much clearer and the instruments were freer and really independent. That I had needed to learn such an obvious lesson may now seem curious but it shows how inexperienced (and anxious to improve) I was at this time.\n\n\nIn the next days I was often a guest at the Shorts: Michael, Elaine and their two young boys. I bought a protractor and a pair of compasses to be able to show the boys how to make mathematical models out of paper, the so-called Platonic solids: tetrahedron, cube, octahedron, dodecahedron and icosahedron. This activity turned out to be much too difficult for the boys but Michael and I enjoyed it enormously, not least because we saw in it a wonderful opportunity to write “chance music”.\n\n\nWe wrote the names of the 12 semitones on the faces of the dodecahedron and used it as a die. Rhythms were made with the tetrahedron: two faces with a quaver and one each with a crotchet and a minim. Dynamics were found rolling the octahedron: ppp pp p mp mf f ff and fff. Michael wrote down the “piece” and I did the throwing. It was for Flauto contrabasso in E double sharp!\n\n\nThe Shorts were already busy packing to leave Siena. They offered me some books which they couldn’t fit into their luggage. I accepted them gladly without stopping to think if they would fit into mine: one on Siena with beautiful photographs and one on twentieth century composition. Both had been library books and so were not really theirs to give. Both Michael and Elaine were librarians and didn’t seem to be at all averse to appropriating books from their employers.\n\n\nThe concert was on Sunday evening 4th September. Everything went well but without the excitement I had experienced at the first rehearsal. The audience was very generous with its applause, the newspaper critic less so. For my piece:\n\n\nAbiamo percipeto una atmosfera lucida, rarifatta, talvolta indecisa e un po’ banale. Una personalità più ingegnosa che genial, capace tuttavia di organizzare piacevole il materiale sonoro.\n\n\nWe perceived a lucid and rarefied atmosphere, sometimes indecisive and banal. A personality more ingenuous than genial, nevertheless capable of a pleasant organisation of the sound material. (How the critic was aware of my “personality” remains a mystery!)\n\nAfter the concert I remained in Siena a week longer. I made some tiny corrections to the score before giving copies to the Accademia, to the conductor and also to two of the players who asked for copies. I also wrote to the Signorina Monti in Florence asking if I could spend a few nights at her apartment until I had cleared up whether I could do a course in electronic music at the Cherubini Conservatory.\n\n\nFrom Brigitte came more letters: I had always put too little postage (55 instead of 90 lire) on my letters to her. This was due to false information I had had from the Italian post and to the extreme precision of the Swiss post who had always demanded a surcharge which in turn had delayed my letters and so made an important contribution to our crisis of last month.\n\n\nShe also talked of her reading. She had bought a copy of Steinbeck’s “Cannery Row” (which I had raved about during our time in the cave):\n\n\n… Steinbeck has already taken me fully into his very deep and very true and very good and very sad human world: that wonderful street described as “a poem, a stink and a grating noise.”\n\n\nIt was also the time of her parents’ birthdays — I sent some “panforte” that speciality of Siena, (made of flour, fruit and honey) — and just before his birthday, her father, the poet Konrad Bänninger, had had an article published in the newspaper:\n\n\n… it was called “look in the garden”. I especially like the beginning of it, where he speaks of those very special moments (I’m sure you know those moments!), when you suddenly are aware of something, moved by something, struck by something (it’s often a very very short moment, a second, half a second — a glance —) and here it was the wind in the branches of a beautiful tree, with leaves all trembling, all dancing — it must have been a very beautiful and unique moment — and so it goes on.\n\n\nLater: \n\nYou are leaving? You don’t know where? Why don’t you just jump over here? Why not? So I think I’ll have to stop writing letters to the CHIGIANA — and that is sad! Thank you for that good Turner postcard. Of course I saw lots of Turners in London, but at that time I was much more taken by the modern art. When I saw them for the first time, I went with a very good aunt (German sister of my mother’s mother, wife of a professor of arts) and I well remember her pronouncing Turner’s name in that very respectful manner and with great admiration in her voice that you owe to a great artist …… but all the same, his paintings did not really impress me. But now, looking at your postcard, listening to your Debussy “tales”, I’d love to go there very quickly again!\n\n\nAnd in case you suddenly feel like coming here: \n\nMy address in Zürich (flat): \n\nWehntalerstrasse 30, 8057 Zürich, Tel. 051. 28. 60. 41\n\n\nMy parents’ home: \n\nVögeliacher 5, 8180 Bülach, Tel. 051. 96. 12. 30\n\n\nTel. of the Kispi: 051. 32. 71. 10\n\n\nThis was hard to resist. Did I really want to go to Florence? Was the study of Electronic Music really so important to me? I started making new plans. I would soon have to find a job, and with Brigitte’s help I could perhaps find some work in Zurich which would allow me to study further. Work was something important but, of course, it wasn’t the main reason I wanted to go to Zurich!\n\n\nOn the Sunday before I left Siena I decided to climb the huge tower of the Palazzo Pubblico.\n\n\nWhen I got down again, I remembered that I hadn’t paid for my meal at the restaurant but I was too tired to walk all the way back again and too mean too, because the food wasn’t very good today. This wasn’t the mensa. It was a cheap place at the back of the cathedral. It’s the second time I’ve done that — walked out without paying. The other time I went back again through all the rain and they hadn’t even noticed that I hadn’t paid. The trouble is, I get talking to the people (it’s a very studenty place frequented by people from the university or the Chigiana), and then I just get up, say ciao, and go off in my usual dream.\n\n\nMy last impression of Siena was a linguistic one. The Sienese will always tell you that the “purest” Italian is spoken there. Why this purity should be in Siena and not in Florence where Dante grew up and wrote in his dialect so brilliantly that it became the written language of all Italy is a mystery to me. Nevertheless the Sienese are quite sure that their Italian is better than that of the Florentines, in spite of a very obvious “impurity”: the sound [k] is usually pronounced as a [h] in the italiana senese. On my very last day I said goodbye to the signora and her family and set out, lugging all my belongings towards the railway station. I had not gone far when I heard the sound of running coming up behind me. It was one of the signora’s little boys who said to me in his “purest” Sienese Italian: Dov’è la hiave della hasa? He had to repeat the sentence several times until I realised that I had walked off with the house key in my pocket: Dov’è la chiave della casa? (where is the key of the house)\n\n\nAt the railway station  I sent a telegram:\n\nTravelling by train in Italy is always an adventure. Unlike the Swiss who look for a seat where they can be alone, the Italians want to talk and it’s not important to whom or how well you can speak their language. They’re interested in everything you can tell them and if you don’t want to tell them anything, then they’ll go and talk to the neighbour. By this time I was quite ready to talk. I could talk about my fidanzata (any girlfriend is a fidanzata — fiancée!). In my carriage there was, among many other talkative Italians, a strange looking priest who moved from group to group making curious comments. The young man sitting opposite me was, for an Italian, very reticent, and observed the behaviour of the priest with some suspicion: È quasi un finocchio (he’s almost a fennel = he seems to be gay), he said. He started speaking to me, perhaps so that he would be less likely to be disturbed by the gay priest. He was returning (like thousands of other Italians) to his work place in Switzerland. He would be away from his young wife until the end of the year, when he would be able to go home again for Christmas. He had with him a few belongings in a small case (much smaller than mine) and a paper bag with supplies for the next few days: before leaving, his mother-in-law had given him two cooked chickens. But even as he told me this he was overcome by hunger, took one animal out of his bag and tore it apart, offering me half of it. And before we reached Zurich we had eaten the second one too! When I think of this young man and of countless other Italians, I am so moved by their great generosity, especially the poorer people who are so ready to share the little that they have, even with perfect strangers. The last I saw of him, he was helping me carry my heavy luggage along the platform in Zurich but as soon as we noticed a happy smiling Brigitte standing there to meet me, he vanished for ever.\n\n\n          *     *     *     *     *     *     *     *     *     *     *     *     *     *     *\n\n\nIt was like coming home. Everything was new and yet familiar. Although I was a foreigner in this foreign country, the months of contact with Brigitte had given me the feeling of belonging. Pü took us to her flat at the Wehntalerstrasse, which was to be my home for the next six weeks. She made it clear, however, that the neighbours (her flat was one of about six in the house) would definitely not approve of our living together here. Therefore she would leave me here each evening and go with Pü to Bülach where she could sleep at her parents’ place. I was in a sort of trance and accepted all this gladly — anything that would allow us to be more or less together. So I slept alone in her bed. As soon as she arrived in the morning at the Kinderspital I heard from her by telephone, at lunchtime I took a tram to meet her there, whistling outside her window the opening bars of Beethoven’s 8th symphony which she would answer, much to the delight of Dr Andres Giedion, who recognised the theme:\n\nThen we ate Wähe (Swiss open fruit pie) together and in the evening after work, either I met her again in the city or she and Pü arrived again at the Wehntalerstrasse and we could spend the evening together. Of the neighbours in the flats around hers I hardly ever saw anybody, but Brigitte assured me that they would be observing us through the “spy-holes” in their doors. I did, however, see the caretaker occasionally and I had learned to greet him enthusiastically as one should: “Grüetzi Herr Ledergerber”. His reply was less enthusiastic!\n\n\nIt was now quite clear to me, a life without Brigitte was out of the question. But at the same time it was equally clear that I wanted to return to New Zealand at the end of the following year. Could I really expect her to give up her life in Switzerland where all her family (mother, father, brother and three sisters) lived, to follow me round the world to the antipodes? I turned this problem over in my mind for several days, and then finally asked her to marry me. There was no hesitation: Yes, yes of course, she would follow me wherever I wanted to go!\n\n\nMy dazed state increased from trance to a floating dream. In the evening as we sat on the banks of the river Limmat looking at the Fraumünster, Grossmünster, Peter’s Church and all the lights of the business houses reflected in the water tears rolled down my cheeks. This was finally that state togetherness that I had hoped for, even although it was a totally new feeling.\n\n\nLetter to Betty and Hu, 28(?) Sept. \n\nHow would you like a specially good daughter? That’s what I’ve found you, you see. I’m sorry you have never seen her, but I know you will both love her and you will be able to see her in 18 months.\n\n\nSometimes I feel a bit like a thief because she is part of a very happy and close family — but she wants to come to New Zealand. And these days mails are quick and so it’s not so bad…\n\n\n… I wonder if all this seems sudden to you? I think you may have read odd things between the lines of my last letter. To me, I seem to have been very slow. I nearly proposed to her months ago when we first arrived in Siena but wasn’t sure enough. But now I’m very sure and very happy.\n\n\nI don’t know when we’ll marry — the sooner the quicker. But it’ll take three or four weeks for the High Commissioner at Geneva to write to Wellington for them to check that I’m not already married and all that impedimenta…\n\n\n… This place is very central so we’ll live here for about a year and we can pop round to bits of Europe every now and then. We went to Germany on Sunday — just an hour’s drive. We saw the Rhine and an enormous waterfall on it. And the following day we (Brigitte’s father and I) walked from Bülach to the Rhine and came back again by train. Lots of love from us both.\n\n\nKonrad Bänninger was already 76. He was a poet and had spent much of his adult life (after training as a teacher) as a free-lance writer. Aged 40 he had married and had five children with his 23 year younger German born wife: three daughters before the second world war (Brigitte was the third) and a girl and a boy after the war. To support the family he had returned to teaching (Brigitte had even been in his class for her secondary schooling) and had continued teaching right up to his 70th birthday. Now he was able to devote himself completely to his favourite occupation, reading and writing. As I met him, his day was well ordered: he spent the morning studying ancient Greek and the afternoon with his own writing: poetry or essays — in the warmer months outside on a bench under a huge oak tree. As a teacher he had taught German, French and History but he was also fluent in English (he had spent a year in Scotland as a young man) and he was passionately interested in English literature — at the time he was reading Yeats. Brigitte’s mother was also very good in English. She had learnt it in a grammar school in Wuppertal and although had never had much opportunity to use it, it now came back. All this meant that I was quickly assimilated into the Bänninger family.\n\n\nNow we could make plans for our marriage. I apologised to Brigitte that I didn’t have enough money for an engagement ring — Betty had always worn two rings, an expensive diamond engagement ring and a gold wedding ring. But here the custom was different. We bought a pair of simple white gold rings, one for her and one for me. These were engagement and wedding rings. It felt a bit strange to start with, but it made Brigitte very happy.\n\n\nDear Betty and dear Hu\n\n\nKit told me to call you this: and I’m very proud and pleased to do so! It’s so wonderful to have such good new parents on the other side of our world — on two islands which look so tiny on the map, but which are about the size of Italy. I’m looking forward to seeing you there one day!!\n\n\nIt’s funny in a sot of a way to write to you, since I have never met you. But I think I know you very well, because Kit has told me lots of good things about you. Do you know that I am the happiest girl in the world for having met that dear Kit? You have a most wonderful son!\n\n\nAnd do you know? Since yesterday, we are wearing a nice little silvery ring on our left hands. Even Kit wears a ring. Here in Switzerland most men wear rings, and so he does, just to please me. I know he does not like it. But he does it cos I like it — and of course, one day in New Zealand, he’ll take it off. I won’t mind then.\n\n\nI’m sorry this letter will be very short (I must go on with my work), but it carries best wishes and love and many thanks for your dear words from your daughter\n\n\nBrigitte\n\n\nI would have to find work here in Switzerland. With the memory of my student jobs on the Wellington waterfront I was quite optimistic: I could do anything, sweep the streets if necessary. Brigitte was less sure. The thousands of Italians now working in Switzerland were already doing these “menial” jobs. She thought I could perhaps teach English and rang up various language schools. I could go for an interview at the Zurich Berlitz School.\n\n\nThe director of the Berlitz School was an Italian! And since he didn’t speak English and I didn’t speak German the interview was in Italian. First he told me what an excellent school he ran and that this branch of it was famous because James Joyce had taught here in the 1920s. He was pleased that I had already had some teaching experience and also foreign language learning experience, but what pleased him most of all was that I could not speak German. Most of the clientele of the school were German speakers and so my pupils would be forced to learn English to be able to communicate with me. This was the basic philosophy of the Berlitz Schools: native speakers who could not speak the language of the country they were working in — and it functioned — for a short time, until I learnt German!\n\n\nThe only major problem was, and this was a problem for most of their teachers, I would have to have a work permit to teach in Switzerland and the rule was (as in many European countries at the time): one had to apply for a job from outside the country. First, however, I would have to spend a trial period observing and teaching at the school for a couple of weeks and then, if they decided to employ me, I would have to leave the country, apply for the position via the Alien Police who would check my police record and if everything was in order, invite me back into the country.\n\n\n\n10. October 1966: Zurich, Vienna\n\n\nDear Betty and dear Hu,                                         Kinderspital, 5. 10. 66\nI was so glad and surprised about your good telegram I got yesterday. I almost cried a wee bit when I got it.\n\n\nThere is a golden sun and a blue sky outside my hospital window: If only I could go right now into that lovely dreamy sunshine ……\n\n\n15. 30 p.m. Kit stays at the Wehntalerstrasse: Writing letters praps? reading praps? learning German praps? Practising on my flute praps? Who knows? Tomorrow he starts teaching English at the Berlitz School here in Zurich. Aren’t we lucky he got that job so very quickly and very easily? ……\n\n\nAt the Berlitz School I was introduced to a young Englishman who took me to his classes, showed me the teaching material and made me aware of typical problems German speakers had with English, especially with the ‘ing’-forms: he drew time diagrams to show the difference between: “I smoke 10 cigarettes a day” but (at the moment) “I am not smoking”. And more complicated the many different past forms: I smoked, I was smoking, I have smoked, I have been smoking, I had smoked, I had been smoking, I used to smoke — all with the appropriate time diagrams. This was a new and interesting challenge for me, which I was ready to take on. And since I was now trying to teach myself German I was fascinated to compare how this language managed (or didn’t manage!) to describe all these fine linguistic details.\n\n\nThe school seemed to be run by the secretaries (I never saw the Italian director again!), two middle aged, multilingual and very fierce ladies, who kept critical eyes on students and teachers alike. If one wanted to succeed here it was clear that one had to keep on side with these ladies. Although I made no special effort to ingratiate myself with this ruling junta, I assume my acceptance came from one or other of these Drachen (dragons!), since I was invited to apply for the position of English teacher at the school — aus dem Ausland (from abroad) of course. I therefore wrote to Nelson in Vienna and asked if I could stay with him for a few weeks.\n\nBrigitte’s bed where I slept was sprung by flexible slats which could also spring out of their slots if too much weight sat on them. We hoped that the noise of her bed springing apart did not disturb her neighbours and made jokes about it:\n\nJust before I left for Vienna, Brigitte got an unfriendly message from the house owner, Mr Müller, saying that he had received complaints about my presence in his house at Wehntalerstrasse 30. She decided to visit him and talk him into letting us stay there until our marriage, or at least until the end of November.\n\n\nThe train for Vienna left early in the morning of the 17th of October:\n\n\nNow what happened to me after you saw me pull my head inside the carriage so that the tunnel didn’t knock it off (afterwards I read on the window sill: nicht hinauslehnen!): The train went very slowly around the lake and I had the compartment all to myself. I thought there would have been lots of room for you too cos no one wanted to sit down here. But then we stopped somewhere and hordes of people got on including a kindly lady in a funny hat who kept giving me apples and a pear. We didn’t ever speak except when I said “danke schön” and as I was eating the pear “Es (sie!) ist sehr gut!” She had heard or rather seen that I didn’t make a reservation for dinner and I think she thought I’d starve. I didn’t tell her that I had some apples in my pockets — she was pleased to give me hers, so I had to accept them!\n\n\nDo you know, I understood a little bit of German on the train — not the details, just the gist of it and it was very amusing: The lady in the funny hat asked the man opposite her to close the window so that the smoke from the train didn’t come inside. And he explained to her that it was an electric train!\n\n\nAt Innsbruck a nasty thing happened. A porter brought somebody’s bags into the compartment and put them on the luggage rack and then demanded his tip before letting the person in. He wanted 15 shillings and this English voice said that she didn’t have it, and so he came and took the bags down and away again and continued screaming at this woman that he wanted 15 shillings. I felt very sorry for the woman and would have given him the 15 miserable Austrian shillings if I thought it would have helped, but she kept insisting that he didn’t deserve anything because he’d been so rude. So I did nothing and I don’t know what happened after that.\n\n\nAfter I’d been on the train for 12 hours and was thinking how awful the Trans Siberian Railway must be we suddenly arrived. I got off and looked for Nelson but he wasn’t there. I wasn’t very worried because I didn’t know if he would have got my letter. So I bought a street map of Vienna and was looking for his place on it when he turned up. It was wonderful to see him again, just the same look, the same voice and the same big bass-baritone laugh. The reason he was late was that the day before he had locked his key inside his flat and couldn’t get back in. He’d been ringing a breaking-in firm all day who didn’t arrive until 7.30 pm and I arrived at 8. But all’s well now. We talked for ages and then I slept in the middle of a ‘normous double bed where you should have been too. Then today Nelson took me to the Swiss Consul and afterwards we went to the Kunsthistorisches Museum and saw good things by Breughel and Bosch.\n\n\nOh and my camera! Dear Brigitte, what an absentminded husband you’ve found! — and he left his pen behind too! I thought, when I pulled my head in before that tunnel nearly knocked it off and when I saw I had no camera with me, that praps it was better to leave it in Pü than in a railway carriage…\n\n\nThe exciting thing about being in Vienna was that there were at least two major opera houses and each had Stehplätze (standing places) for people (like me) with very little money. \n\n\n\nCara, cara Brigitte, guess where I am. I’m writing this in the Vienna State Opera House. You could come here too. You could lean on these funny rails, it only costs 9 shillings (about 2 francs) to stand here and do you know what you would see? Tonight: Il Trovatore, on Friday: Fidelio, and later: Die Zauberflöte (“Der Vogelfänger bin ich ja”!) and on the 31st : Falstaff. Do you think, dear Brigitte, you could send me the two scores of “Zauberflöte” and “Falstaff”? Or bring them! Sometimes I think to hell with the money! You can ring up if you suddenly decide to come: 5789084 (seven numbers!). Praps I’ll ring you for a surprise!\n\n\n\n\nMy dear Kit,\n\n\nThanks for the Wiener Staatsoper. I was so pleased to get it this morning and so pleased to know that you are enjoying your Viennese stay!!!! O Kit, I’d love to be there with you, with you and Nelson, who laughs a big bass-baritone laugh. I can hear him just now.\n\n\nBut listen to this special story. It starts yesterday, 19th October, about 19.30 Uhr: It rained and rained and rained. Little Pü jumped over wet streets and looked for Mr Müller’s house. Finally we found it together, Mr Müller’s beautiful house with a beautiful view and a beautiful dog and a beautiful black-and-white cat without tail and in his beautiful house was Mr Müller in a beautiful rage……he was very furious when I turned up, you see. He shouted at poor Brigittchen as if she were the most disgusting creature in the world …… there he sat with his round glasses and his round eyes behind them and was furious: He must have heard lots of lies from my lovely old lady- neighbours …… things I didn’t know myself …… lots of silly nonsense. That’s why he was furious. You see, dear Kit, my lovely old girl-neighbours kept calling on him, wrote him letters, and telephoned, complained and did all sorts of silly funny things …… my poor old neighbours. You must think that Swiss people are very odd …… grown-ups are very odd and very boring and very …… the Little Prince would have found the right expression.\n\n\nLet’s get back to our story now: Herr Müller could not stop shouting, and so I could not help it and started crying, yes, I started crying there in front of Mr Müller and could not stop …… it rained outside and his nasty words filled the room. Then that suddenly changed: his voice suddenly became softer, and suddenly I was able to speak and he was able to speak (he’s not at all a bad man, a little silly and narrow minded of course), and I was very kind to him behind my tears and my wet face (I had no handkerchief, dear Kit, and I could not ask Herr Müller to lend me one and there was no Kit to give me one), well, there we talked and cried and shouted and sat — finally I went back in the rain, after having admired his beautiful cat and beautiful dog and beautiful house and beautiful view!!! I think he will agree with the end of November! It was good I went there, cos in his imagination I had grown into a witch, a bad bad woman or a super-human awful creature.\n\n\nAnd then after that I had to go to the pictures, just somewhere, a hospital girl came with me: It was just the right sort of film, wild western, all in Mexico, all full of shooting, killing, laughing, murdering …… something about dollars, about a girl with long black hair, about revenge, lots of funny big terrifying dark faces …… and there I forgot all about Herr Müller. That was good, you see!\n\n\nAnd today, I think it was really very funny, all that story. You should have watched us, dear Kit, and you would have laughed and laughed and laughed, praps …… that’s what I’m doing right now.\n\n\nSunday, 23rd Oct. “Herein is enshrined the soul of the clarinet”, so said Elgar of the Brahms Clarinet Quintet …… I’m listening to it now, and that very deep autumnal atmosphere takes me out in that sad and joyful life with falling coloured leaves …… I’m looking forward to hearing it this evening at the church in Greifensee, but Kit, dearest Kit, come with me please ……\n\n\nLater Sunday, (on my father’s typewriter) I just read one of his early poems. I like it. It’s very sad, cos it’s autumn …… but it’s very good. Here it is:\n\nIt’s still Sunday, 22.30 I’m really a wee bit depressed!!! You know what? There we went, Gudrun and I, to that little place Greifensee to meet Mozart and Brahms and a clarinet ……And do you know what we found there? No Mozart, no Brahms, no clarinet …… only a very old dark church, that’s all!! The concert was yesterday and not today. And back we went really depressed, I had to stop the car twice cos Gudrun got sick! And that’s all. I’m so sad: I must find Mozart on a record. Very soon. You see, you too found a very absent-minded wife. She even can’t remember the exact concert dates! Good night. Sleep very very well. B\n\n\nBrigitte and Müeti continued looking for a flat for us — we had started looking as soon as we decided to marry, but reasonably priced ones were not easy to come by. Then they found one, in the Gartenstrasse in Bülach not far from Vögelicher where Vati and Müeti lived.\n\n\nAnd I did another very important thing today. I had to go to a doctor for a general check up. I should have gone already in February (Hospital insurance business!) but I always forgot, so I went now. It was a very quick consultation cos I seem to be so terribly healthy and a terribly uninteresting case …… and as I was getting dressed behind a yellow curtain, I asked the doctor what he thought about anti-baby pills …… he is very keen on them and immediately wrote a prescription …… and I went immediately to a shop and bought pills for 3 months. Shall I try them?\n\n\nTomorrow I must ring up a man and tell him to bring a black new telephone to the Gartenstrasse 35. I’m really very busy, you see?\n\n\nTomorrow is a holiday. This place must run a close second to Italy for all its holidays. So that’s another day more I’ll have to wait without my permit. I don’t like staying here when I think of you having to shift on your own. But I have to promise not to be sad — instead I’ll just admire you and clap a little, just a little — I don’t like clapping much, people spoil operas by clapping in them — but I clap for special things, so I’ll clap for you!. I’ll admire you for supporting me in a non-church wedding, even though this is what Müeti would like. She is such a good person and I like her very much and wouldn’t want to hurt her, but praps she doesn’t mind too much? And I’ll admire you for taking pills when you’re still not very sure of them. — that’s very brave, brava!\n\n\nThe opera possibilities in Vienna were, for a New Zealand music student, quite unbelievable. Although I was a frequent concertgoer in NZ, I had never had the opportunity to see anything but chamber opera performances. In Vienna you could see large-scale operas every evening and if you were prepared to stand or sit on the floor, you could do so for just a few Austrian shillings. Within the first two weeks I saw five Verdi operas, too many, I later decided, since one is quickly saturated. Then I went to a performance of Die Zauberflöte in the Wiener Volksoper. This was much smaller than the huge Wiener Staatsoper and the Stehplätze were upstairs where people sat on the stairs. I sat near a lady who was busy knitting. She continued knitting when the opera started — fortunately there was no loud clicking of the needles. Then when the Königin der Nacht suddenly appeared in a fiery cloud of smoke, she put down her knitting, picked up a vocal score and followed the famous aria note for note till the end. Then she returned to her knitting and waited for her next favourite aria. In many ways opera in Austria and in Italy seemed like a folk sport. People in the larger cities had obviously grown up with it, they knew certain works by heart and, like the man in the San Carlo in Naples, who was prepared to defend his favourite works and singers with energetic arguments in much the same way as the New Zealanders would dispute the qualities of the players in a rugby or a cricket match.\n\n\n\n\nDo you know what good thing Nelson did today? He went to the bank and drew out 2000 shillings so that he could buy seats for us for Parsifal tomorrow night. And do you know what he paid? 175 shillings each! That’s about 30 francs each and he hasn’t got much money. But with that pink form that will come soon I’ll be able to pay him back. Having seats will be good for two reasons. One is that the opera is 6* hours long I think, and if you stand you don’t always concentrate, instead you think how uncomfortable you are, and the other is, that to get a Stehplatz you have to start queuing hours and hours beforehand for Wagner and the weather is not good for this now.\n\n\n* it was only 5!\n\n\nBut do you know where I’m sitting at the moment? On the floor of a corridor in the Staatsoper, in a queue for Falstaff. So aren’t I the luckiest of Kits? To have seen a marvellous Papa- papa- papa- geno last night and now I’m in a good place in the queue for the fat knight, Sir John Falstaff, and tomorrow I’ve got an excellent seat with an excellent friend for Wagner’s last opera (Falstaff is Verdi’s last opera too!!)\n\n\nIt snowed. Quite heavily and I felt cold, I hadn’t been expecting such a change in the weather, not so soon. Nelson and I went to a second hand shop and we found a big black policeman’s coat, which fitted and warmed perfectly.\n\n\nNelson and I have just been to the pictures: Donald Duck!! It was good for a while but it got too much! On our way home through BITTERLY COLD weather we crowded our two selves into a photographing box and had this terrible photo taken. We thought we looked so odd it should be recorded, he with a fur hat and I with another of his hats plus his bright yellow scarf — pity it‘s not in colour. I‘ve got my new black policeman‘s coat on too for which I‘m very thankful, what with snow and temperatures of 0°C!!\n\n\n\nWe also bought Nelson a beautiful and new Harris Tweed sports coat and thick warm trousers, so we both look “hellofa smart”. He’s gone off to enrol at the university this morning and I’m out because it’s the day the “maid” (a dragon-like lady) comes to clean the house. Nelson wants to do a course in Drama: history, production, etc. — everything — takes three years plus (or perhaps including?) a year “im Ausland” (England perhaps, or America). But he’s left it till the last minute to enrol and has gone off rather pessimistically. Like me, he doesn’t have his passport, he doesn’t even have a receipt from the radio people who took it — he sometimes reads English for them but you need a special work permit for the radio — hence they still have his passport until the permit arrives.\n\n\nBut would you like to know what we did yesterday? We went and walked in the snow — lots and lots of it …… in the Vienna Woods. It was very beautiful there with all the Schnee — c’è anche neve a Zurigo? And does winter always start so early? The poor trees in the Vienna Woods think it’s autumn and are still holding their red and brown and yellow leaves but the weather thinks it’s winter and has sunk to 0°C and dropped lots of snow and the poor trees have had to bow down under the weight of the snow on their leaves. We had to walk under some of these bowing trees backwards to stop the snow from falling down our necks.\n\n\nAnd then we came home and put on our suits and walked to the opera house very importantly. We gave our coats to the guardaroba man and our tickets to a brown coated man and we strolled sort of regally and affluently behind him as he showed us to our very expensive seats and we said “dankeschön” most politely to the people who had to stand up for us and we walked past them FACING THEM! And do you know what happened? I’ve often felt sorry for whoever has the misfortune to sit behind me but I’ve never had anyone complain directly before: we had heard the prelude and the curtain had just risen when a fat man behind me tapped me on the shoulder and said something in German. I said, I’m sorry, but I don’t speak German and so he asked me in quite good English if I could possibly put my head down a little. He said it quite politely and I thought that if he had paid 175 Schillings and couldn’t see the opera he had every reason to be a bit peeved and so I tried to sit down a little (it’s very hard to make yourself shorter!) but I wasn’t very comfortable sitting like that. And then at the first interval I heard an argument behind me (in English!) and this fat man was saying to another behind him: “well I’m sorry, there’s nothing I can do about it, it’s the gentleman in front of me you see ……” I don’t know if they were speaking English for my benefit but it seemed pretty rude to me, so I said: “Well I’ve been sitting down lower and I’ve got a sore bottom because of it!” The fat man looked strangely apologetic and the other went off in a huff!\n\n\nBut let me tell you about Parsifal. At times it was so wonderful that I was sitting there open-mouthed with amazement and oblivious of my sore bottom and the rude fat man. The first good thing is that it’s traditional not to clap any part of Parsifal (at the Wiener Staatsoper anyway). The second good thing is that Wagner writes “continuous music” — there are no arias and there are very few cadences (this can and does unfortunately make it rather boring sometimes when it moves too slowly), but when there is movement, this feeling of continuity is truly wonderful. One of the most wonderful moments was the change between the first and second scenes: One of the knights takes Parsifal off to the temple to see the Holy Grail (the cup used by Christ at the Last Supper and later by Joseph of Arimathea to catch Jesus’ blood after he was stabbed in the side with a spear — this spear is also an important “protagonist” in the opera). Anyway, this scene has to change from an outside, misty woodland landscape (the mistiness was achieved magnificently by a transparent curtain drawn across the whole stage) to the inside scene in the temple. Parsifal and the old knight start walking slowly to the back of the stage (it’s a very deep stage here) and as they walk, a shining bluish light on the transparent curtain makes it look as if they gradually disappear into the mist. The music gets louder and louder and then on this front screen the trees of the misty woodland scene seem to move and form patterns of an abstract, impressionistic design and then, slowly out of this design, emerge the tall columns of the back of the temple. As everything clears you see all the detail of the temple with an enormous altar in the middle and with Parsifal and the old knight just arriving on the left. But the orchestration during this change is overwhelming: bells, bass drum, timpani and a very large brass complement all playing very loudly produce a sound quite unique in my experience — it really has to be seen and heard to be believed. Unfortunately it wasn’t all like that. Parts of it seemed to move very very very slowly so that I lost interest and remembered the fat man and my bottom again. Perhaps though, if you could follow the German text in these slow passages it would still be interesting. However it was a strange and beautiful experience and it is easy to see how people become Wagner addicts. Nevertheless I have the feeling that to listen to the music alone without anything to look at would be impossibly boring.\n\n\nThis was one of the few occasions on which Nelson and I went to a performance together. He was in Vienna to study singing and while I was there, he was singing in the chorus of Porgy and Bess. I tried to get a Stehplatz for a performance of this one night but had to wait so long for the right tram that by the time I got to the theatre, there were only unaffordable seats left.\n\n\nNelson still had only one key to the apartment so I normally waited for him in a café and then we would return home together. During the day, however, we were often together (except when he had a singing lesson) and after Brigitte sent the poem by her father, Nelson talked about his interest in German poetry, which he had already started to study in New Zealand. He had made a special study of Rilke:\n\n\nNelson read me a poem about a Panther. I just listened to the sound of the German. It’s still too hard for me but he made a very good translation of it, which he also read:\n\nI forgot to tell you that one night we walked round the main street, very late, to look at the prostitutes and there are dozens of them. We wanted to see what they would look like, how soulless, how business-like they would look, and of course some of them are. But many of them look surprisingly ordinary, natural girls. Mind you, I suppose the more they can cultivate this normal and comparatively innocent look, the better business they’ll do. I wonder if many of them regard themselves as good people (some seemed full of self respect), I even wonder if they look on us as we look on your dear old ladies who write to and ring up Herrn Müller?\n\n\nMy dear Kit, our flat is just wonderful, even without furniture. I went there with Müeti yesterday. She was so very thrilled about it and said she’d love to live there. We’ll make it the best Kit\u002FBrigitte-paradise won’t we!\n\n\nAnd I don’t think Müeti minds about the church business. She’s quite happy and is just looking forward to us there at the Gartenstrasse 35.\n\n\nYes, people keep on asking for photos, asking about me: That’s quite a strange and awkward position I am in and I’m also a wee bit scared. They must think enormously great and impossible things about me: What I am, am not, what I do, do not, what I look like and don’t look like …… they must think that Kit Powell’s future wife must be quite extraordinary, quite unusual, quite special …… but she happens to be quite an ordinary Swiss girl as ordinary as can be, enjoying life, living in her own world of dreams and poems and loving somebody special quite enormously in an extraordinary and unusual and special manner — that’s all ……\n\n\nHow can she be possibly such an ordinary Swiss girl, that marvellous Brigitte, who loves so very much and is loved and needed so urgently? I think she’s really very very special and I’m very very confident that my friends will be most impressed. They’ll love you too as they do me. So please, don’t ever be afraid and don’t worry about the photos, they can wait!\n\n\nPoor Pü was sick today, had to bring him to the hospital. He was so very cold, the heating didn’t work any more. Now the man got him warm again for 37 Franken.\n\n\nOne word about Vati’s “…… darf nicht mehr singen und mich freun”. He was in a dark and mysterious state of tiredness at that time. He was just tired and wanted to sleep. And when he did not sleep his only joy was writing poems. Do you understand? You won’t be able to understand it all, because there is that secret again I told you once, that very special secret belonging to a poet, the secret he keeps for himself all his life …… and here it was his tiredness.\n\n\nIsn’t Rilke’s Panther desperately good? I can see that animal (or human being) in its endless tiredness, in its infinite sadness …… all its strength killed, its whole will imprisoned in that hopeless cage, leaving only a little space for a dead heart. That’s Rilke’s well-known depressive mood. I wonder if my Kit can like it?\n\n\nAnd look, there is no autumn that would not remind me of Rilke’s “Herbst” with those falling leaves, with those heavenly gardens and with that dark and frightening loneliness: things fall, men fall, a piece of everybody falls and falls — where to? You don’t know. Rilke finds a consolation in believing in Somebody, in a God, having control over all this falling, holding it together with his strong and immensely tender hands …… :\n\n\nApart from the visit to Wagner’s Parsifal we lived very frugally. If we ate out at all it was in a mensa or sometimes in a cheap restaurant which offered Hungarian goulash which we liked. In spite of that I ran out of money and had to ask Brigitte twice to send me a hundred franc note, which she could hide in a normal letter.\n\n\nJust filled in a pink form and I sent you a wee bit of money. Are you starving, dearest Kit? And listen: I won’t be able to come to Vienna. Please don’t be disappointed, it’s just a very bad moment for such a trip: MONEY – TIME – FLAT SHIFTING …… Yes, I think I’d better shift sometime next week or the next so that when you come back (come very soon please!!!!) everything will be g o o d …… Took the first pill last night and feel perfectly well ……\n\n\nAnd a day later:\n\n\nWhy can letters make me so happy, so very happy? Of course, only Kit-letters can do so, and they always do!!! Especially two at once. Yes, my dear Kit, why are you there and not here? Why? When I go to bed I always have to hold the pillow very tight against me, but it does not help, it makes it even worse. There’s no substitute for Kit!\n\n\nI rang the Berlitz School today. They haven’t heard anything yet from the Alien Police but that “very friendly woman” recommended I call on the police personally, so I’ll go there perhaps tomorrow?\n\n\nAnd do you know what? I ordered two beds (later joined together to make a double bed) today!! Are you pleased? And do you know what else?? I went to that razor chap with your razor. They can’t repair it but they are prepared to pay 25 francs if we buy a new one …… and, I’m sad I could not get it straight away cos poor naughty Pü is going to eat all the money: Today he started dripping and dripping …… defect water pump, quite expensive! It almost upset me like that time when I had to leave Pü at the garage (had to take the tram today) but then I saw your optimistic face (photo) and that helped …… so now I’m all right. I promise, dear Kit, that you’ll get a razor later.\n\n\nDid I tell you that I’m sitting in a wee tea room at present? I was frightened of taking the tram when all people go, so I can wait until they are all at home and stay with you. I even think I’d better go on foot, don’t you? But it’s terribly cold!! I’m wearing warm black stockings these days! Do you like coloured stockings?\n\n\nAnd there is a funny thing in this tea room. An assembly of psychiatrists turned up and later some other psychiatric faces …… unknown to me but psychiatric looking …… funny people, these psychiatrists. All a wee bit mad. Dr. Weber, the psychiatrist from the hospital, just left and returned cos he had forgotten to pay. I like that, cos this happed even to me sometimes!! Maybe to you too?\n\n\nDear, dear, dear Kit, I’ll go now …… goodbye …… and come home soon! I miss you!!\n\n\nLove, Brigitte\n\n\n\n\n\n\n\n11. November 1966: Vienna, Zurich\n\n\n\n\n\nNow this evening (Wednesday, 2. 11. 1966), my very dear Brigitte, I’m writing to you from the Gesellschaft der Musikfreunde which Nelson says is a concert hall of marvellous acoustics and that I really ought to hear some music in it. So here I’ve come and the Wiener Symphoniker is going to play me Schubert’s 5th symphony, and then a Prokofiev violin concerto and then the marvellous Pastoral Symphony of my friend Lud. But while I’m waiting for Charles Münch and his band I’m writing to you in a corner behind the Stehplatz using a Feuerhydrant as a writing desk, which is just exactly the right height.\n\nThe mail didn’t come until midday today (probably because of the extra work caused by the holiday yesterday) and when there was no work permit I went off to the Swiss Embassy to see why not and a sign on the door said: hours 9 – 12 and so I couldn’t get in. Nelson was being a bit depressed for no reason that even he could think of and said that it was a typical working day in Vienna. He says he spends 40% of his time walking somewhere only to find it is shut. After that we went to two Mensas which were also shut! But I’m determined to stay optimistic and I’ll go off there again early tomorrow, I won’t even wait for the mail to come. It would be good if you rang the Berlitz but then I hope to be back again before you’ll have had time to do that. They’re buzzing rather nastily for the concert to start so I’ll go and see what’s happening.\n\n\nHalf Time: It’s been a good first half but I get very easily disturbed by the audience. You see, walking across the Stehplatz sounds a bit like walking across your bed-sitting room at the Wehntalerstrasse — not that the people are walking here all the time, but they can’t all stand still. Especially between movements they think is a time to move and they are still moving when then the next movement starts and so the beginnings are filtered through these wood-squeaking sounds. There’s even a budding young conductor who conducted the entire Schubert for the benefit of his admirers and although he makes no (or very little) noise, his arm movement is very distracting. But I must stop complaining because the Schubert was wonderfully played and interpreted and the Prokofiev most delicately performed by quite a young girl soloist. They’re buzzing again.\n\n\nNext day: I’m now at the Swiss Embassy and the man here says they’ve heard nothing from Bern, but he’s just the welcoming (?!) man. He says I may see the officer. Anyway, it’s not many people who have been to the Swiss Embassy with a cabbage! You see, Nelson and I have just been to the market and there was nowhere to put the cabbage we bought there, so I had to bring it with me — but it’s wrapped fortunately.\n\n\nBack home again now and things aren’t very bright. The Swiss authorities can undermine a wee bit even Kit’s optimism.\n\n\nPerhaps it was naïve to think the Swiss Embassy would know anything, but I thought that they must have had some experience with people waiting for work permits, and that they could offer some friendly advice. Instead we just met a nervous lady whose only suggestion was to contact the Berlitz School, something which Brigitte had already done. I sunk into a state of mild depression. On the one hand, living in Vienna could be exciting, living with Nelson too, but I wanted to live with Brigitte and in Switzerland. I had known it could take at least two weeks when I came here but now it was nearly three and there was no sign that this state of waiting would change.\n\n\nIn the middle of yesterday there came upon me a terrible depression that I might be here for ever or at least for three or four weeks. That’s the impression I got from an indifferent seeming, nervous giggling, cross-eyed looking woman at the Swiss Embassy: “The only people who could hurry up the work permit”, she said, “were the Berlitz people”.\nSo I thought I’d ring them up and then I thought I’d write to them espresso, and then I couldn’t remember the boss-man’s name! So I thought I’d ring you, cos I’d much rather ring you, and you could go down and growl at them which would surely get things moving (Oh my Dear! Sorry! — I don’t mean that you’re a very vicious growler, but under these condition you might be — if you thought it would get me back faster) …\n\n\nBy this time Porgy and Bess had finished and Nelson’s evenings were free again. We decided to go to a modern concert, one with works by Ligeti (whom we had never heard of) and Schönberg. It was in the Mozart Saal of the Wiener Konzerthaus. The Schönberg work was “Pierot lunaire” which although a highly original work with its instrumentation and Sprechgesang was not very uplifting for someone in my state. But the Ligeti Aventures & Nouvelles Aventures was quite different, in fact I had never heard anything like it in my life before. It was written for three singers, soprano, alto and baritone and a similar instrumentation to the Schönberg work but in contrast to Pierot Lunaire it had an important part for percussion, which as well as the normal skin, wood and metal instruments, required the player to tear paper, hammer a box and to empty a tray of crockery on the floor.\n\n\nBut more spectacular than the instrumentalists were the singers. They were expected to make all manner of sounds possible (and apparently impossible) with their voices: heavy breathing, speaking, shouting and very precise singing from normal range and over into the falsetto. Often an outburst from a voice was followed by a soft echo effect from an instrument on exactly the same note — either these people had practiced for months or they all had perfect pitch. And especially the singers seemed to be acting out dramatic instructions — the male singer was black (William Pearson), which for no good reason I can think of, seemed to add to the drama. I’ve always loved it when singers show something of the rôle that they are singing about, but this seemed to go a step further with the singers reacting to each other: explaining, shocking and being shocked — all with their faces, they never moved far from their places by their music stands. Seen in retrospect, this was the beginning of new Music Theatre which was to come later with Berio, Stockhausen, Kagel, etc.\n\n\nTwo Manessische Liederhandschrift (pictures from the German Minnesänger) postcards came from Zurich:\n\n\n1. 2. Dear Kit, Lets play chess and wait and wait and wait …… until those musicians start playing and playing and playing … … and when we’ve waited enough …… and when you come back ……I’ll let you in in that way! Love, B\n\n\n\nSuddenly it came, the long awaited permission to work at the Berlitz School in Switzerland! Nelson found me the telephone number of the Kinderspital so that I could tell Brigitte. It was enormous, four numbers for Switzerland and another two for Zürich and then the six hospital numbers. I dialled them very carefully and heard it ringing at the other end. A german speaking voice answered and I answered with my few words of German, which Nelson had taught me: \n\n\"Darf ich bitte Fräulein Bänninger sprechen?\" There was a complicated answer: The telephone lady tried to tell me that Brigitte was in a different part of the Kinderspital and that she was unfortunately unable to connect me with that part. I would have to ring again with a different number. Eventually I understood that this lady wanted to dictate the correct number to me:\n\n\"Siebenundvierzig, neunzig, neunzig\" — I was so nervous that I understood nothing. \"Noch einmal bitte\" — \"Siebenundvierzig, neunzig, neunzig\" — It was still incomprehensible and I had the horrible feeling I might never grasp it, but I tried again: \"Bitte noch einmal!\" and the telephone lady in her loudest and clearest voice: \n\n\"VIER SIEBEN NEUN NULL NEUN NULL\" \n\nThis time I got it! And I rang Brigitte directly and we could both jump up and down, albeit still 750 km apart. \n\n\n\nI have often, especially as a teacher, thought back to this moment in my life. The telephone number of the Kinderspital, or rather Brigitte's part of it, has long since changed, but the number 479090 is marked indelibly in my brain. This told me that when a fact that must be learnt is important enough, it can be learnt. But of course even the best of teachers cannot constantly make all the facts he is trying to impart, so emotionally frightening, so powerfully urgent, as this number was to me in Vienna in November of 1966. Nevertheless it was demonstrating a principle that could perhaps be used in a variety of ways.\n\n\nSo I returned HOME. In our imaginations Brigitte hoisted me into her apartment on the Wehntalerstrasse. Herr Ledergerber and the old ladies withdrew into their lairs and our new life started. The new apartment in the Gartenstrasse in Bülach was not yet ready, but almost.\n\n\nDear Betty,                                                                      (Zurich, 10. 11. 66) \n\nI was just about to write you a few lines when I got your good letter. I wanted to tell you lots of good things, especially that the NZ Consulate in Geneva told us of the arrival of the long awaited affidavit, so we will get it in the next few days and then, dear Betty we will soon be married. Isn’t that very very wonderful?? A pity that you won’t be here but we will think about you very specially and so you will be here too, won’t you?\n\n\nAnd now look: this is our new flat: we shifted yesterday. It was hard work, we got very tired. Kit was so good and helped such a lot. I couldn’t have managed without him. It’s still an awful mess but after a few days everything will be fine.\n\n\n8pm. I’m still in the hospital because I have lots of work. Kit is teaching at the Berlitz School from 7 – 9pm. Then I’ll get him with our little tiny pale-blue car called Pylades (you know that man? Friend of Orestes?), but the abbreviation is simply Py or Pü …… and nobody would notice behind it that famous Greek figure!\n\n\nI’m so glad you like Klee’s colours! The colours are most important in his paintings: He was born in Berne (capital of Switzerland) and lived there for a long time. There is a permanent Klee exhibition there which I love. I must take Kit there one day and show him — and you too when you come to see us! No, I don’t really paint, I just like looking at paintings a lot (an uncle of mine was a painter, he died during my Perugia stay). And I haven’t got a “professional” voice. I just enjoy singing songs very much! And I do like your letters very much. I’m glad you are pleased with your Russian grammar exam paper. Have I already told you how much I admire your studying enthusiasm?\n\n\nIs it really spring in N.Z. right now? It’s impossible to imagine, because it’s terribly cold and terribly wet here these days. Fortunately it was not so bad yesterday when we shifted.\n\n\nI sometimes think you might like to know a bit more about your new daughter’s family? I’ll tell you very briefly:\n\n\nVati (father) has been a secondary teacher: French, German and History. He is retired now. But his special field was and is reading and writing, especially writing of poetry and essays.\n\n\nMüeti (mother) got married when she was about twenty (just after having passed her exams, they call it Abitur in Germany, learning Latin and things, you know). And then, 5 children turned up:\n\n\nGudrun, my eldest sister, studied music (flute) and teaches now (flute lessons). She is married with a writer who speaks French. Quite a difficult man and quite a hard life. But she is happy, cos she has a very sweet and nice 7 months old little boy who always smiles at people.\n\n\nAnd the second one is Hilde (primary school teacher, married to another primary school teacher). They both teach and have a little wee two year old boy called Pauli.\n\n\nAnd the third one? That’s Brigitte, you see. I don’t know much about her. I only know that she is extremely happy cos she met that very special Kit. She enjoys her very interesting job at the Children’s hospital: she types and phones and does every day lots of good things for these nice and friendly doctors. And if poor sick children smile at her, she is glad. Otherwise, she is a very bad flute player and a bad poem writer — but she enjoys doing these things! And isn’t that important? Oh Betty, it’s hard to write about myself, I don’t know any more. We’d better meet very soon, don’t you think?\n\n\nAnd there is Renate, 20 years old. Future primary teacher. Final exams next spring. All teachers, you see. (All my grandparents were teachers too!!!).\n\n\nAnd last but not least, let me present you Adrian: Last week he started his University studies: Journalism and Psychology. Also he has his own Jazz band.\n\n\nYou see, dear Betty, quite a big funny family. You like it a bit? Lots of love, Brigitte\n\n\nI had also started my new teaching life at the Berlitz School. There were interesting students but the organisation was not always friendly. The biggest problem was that I had to make my timetable fit the needs of the customers. Often I had a private student at 10am and then nothing until 3pm and then another long break until the evening classes started at 7pm. It was a private school and it was completely dependent on the money paid by those wanting to learn a language. The pupils for private lessons paid the school 15 francs an hour and from that the school paid the teachers 5 francs 80 cents. So the obvious thing to do was to arrange with these students to meet them at home or in a café for 10 francs per hour. There was such a café in the basement of the school building, but this, although very handy, was a bad place to meet because the dragon-ladies from the school reception made frequent forays to check that no such private arrangements were taking place, and in the event of finding a culprit they would threaten him with withdrawal of the work permit. Nevertheless, although I was never going to make much money here it was enough to pay the rent of the new flat, but for everything else (food, clothes and studying) I was completely dependent of Brigitte and here secretarial job.\n\n\nAs soon as we moved into the flat in Bülach I arranged to learn German with Brigitte’s father. I couldn’t have had a better teacher although, of course, he did not use the shock treatment which I had experienced in Vienna for learning the Kinderspital telephone number. He had just retired from his teaching life and was now concentrating on his own reading and writing. Although his English was excellent he spoke only High German with me as did Müeti whose mother tongue this was. What was however difficult, was that the Swiss always speak their own dialects among each other and so for the whole of the year which followed while I was learning High German, I understood almost nothing of the everyday talk that was going on around me. Nevertheless, the decision to learn the “high” language was certainly correct, since this was the written language and all formal situations (radio, school lessons, church services, public lectures) were conducted in this language. And of course, if I was to study in Germany, then I would need this. All German speaking Swiss have learnt the “high” language (or Schriftdeutsch, as they often call it) for the ten years of their official school education and when they realise that the person they are talking to is not Swiss they switch automatically to High German. This means that one is not automatically excluded from a conversation among adults. The sad thing, however, is that one cannot talk to small children who are not yet able to speak the “high” language.\n\n\nAs long as my timetable at the Berlitz School allowed it, I tried to visit him twice a week. We started with a normal language book but soon changed to reading short stories by Johann Peter Hebel (1760–1826). These mostly light hearted and elegantly written anecdotes from the late 18th and early 19th century left a lasting impression on me. Here, as an example, is an extract from a story about Fredrick the Great and the miller whose mill was much too close to his castle in Potsdam:\n\n\nAusserdem aber, wenn der König in seinen besten Gedanken war und nicht an den Nachbar dachte, auf einmal liess der Müller das Wasser in die Räder schiessen und dachte auch nicht an den Herrn Nachbar, und die Gedanken des Königs stellten das Räderwerk der Mühle nicht, aber manchmal das Klapperwerk der Räder die Gedanken des Königs.\n\n\nBesides, when the king was in his best thoughts and not thinking of his neighbour, suddenly the miller would let the water shoot into the mill wheels and was also not thinking of his lordly neighbour, and the thoughts of the King could not stop the wheels of the mill as could often the clatter of the wheels the thoughts of the king.\n\n\nBülach was a half hour’s trip by train or car from Zürich, so even when forced to wait several hours between private lessons it was impracticable (and expensive!) to return home. Instead I would go to a café in the city and use this time to teach myself German. I had a copy of Hemmingway’s “The Old Man and the Sea” in German and in English which was especially useful.\nMy mind went back to the English lady I had met at the Università in Perugia who had said, I was still young enough to make the necessary mouth changes for Italian. Now for German there were new adjustments to make, although, so it seemed at least, less extreme than for Italian. Nevertheless there were new sounds to make, sounds not used by an English mouth. When I compared English “Zurich” with German “Zürich” every sound in that word was different: z (voiced s) \u002F z [ts], u \u002F ü, r (English r) \u002F (German lightly rolled), i [ǝ] \u002F [i], ch [k] \u002F … and here was a completely new sound, the German guttural ch, as in Bach or Buch, comes, after all other vowel sounds out of the throat, but here (after an ‘i’) it is made as a fricative sound between the tongue and the hard palate — like a ‘sh’ made near the middle of the tongue.\n\n\nI learnt a lot from the mispronunciations of my students. It was clear, for example that German had two u-sounds: [u] and [ü]. But it was not clear that neither of these was exactly the same as the English ‘u’. This was somewhere in between the two German ‘u’-s. Fortunately I had already made the change of mouth shape for the Italian ‘u’ which was very similar to the German one, the ‘ü’ would however mean a new contortion. But it was one thing to be able to make the right sounds and quite another to be able to hear these sounds. The German ear has learnt to hear the difference between [u] and [ü] from the cradle. Because my English ear had not been trained in this direction I often found myself wondering if I had heard an [u] or an [ü].\n\n\nThe other umlaut sounds, ä and ö, were less difficult since there were very similar sounds in English: ö [ǝ:] and ä [ɛ] (German) or ä [æ] (Swiss). More difficult were the German sounds [e] and [o], since in English they are almost always spoken as a diphthong: [ei] as in ‘say’ [sei] and [ou] as in ‘no’ [nou]. One has to speak the beginning of these diphthongs and consciously avoid saying the final [i] or [u], so strongly is the English mouth programmed to speak these double sounds. “Oh no!” for example would have been spoken by my German speaking students often as [o no] whereas an English speaker would say [ou nou] or, with a very British accent, [öü nöü]!!\n\n\nAnother major pronunciation problem for the students was, of course, the two English ‘th’ sounds: θ, ð. If I was not very strict (and I was in this case!) they would be spoken as [t] (or [s]) or [d]. The difference between tree and three or sink and think seemed to me important enough to justify this firmness. Besides, I expected the same of my German teachers and appreciated it when, for example, Brigitte made me make a difference between ‘denn’ [dɛn] and ‘den’ [de:n].\n\n\nAs a musician the problems of pronunciation were more easily solved than those of grammar. Curiously, with Italian it had never bothered me that a tree was masculine and a plant feminine. There were no other genders. But now in German there was a third possibility, apparently just as in English: neuter. Unfortunately the tree was still masculine and the plant still feminine and not neuter, as an English speaker would have liked it to be. Learning to say der Baum or die Pflanze was not too difficult, what was difficult (and still is, nearly 50 years later), was to refer to the tree or to the plant as he and she. Or, worse still, to the girl (das Mädchen) as it (es). And it can be even more complicated depending on how one refers to an object. A large church, for example, could be der Dom, die Kathedrale, or das Münster and therefore from one moment to the next can change from he to she or to it. Although German speakers learn this in that wonderful early age when everything is soaked up and laid down as normal, it is comforting to notice that even they can sometimes be confused with genders. But the main mistake on my part is to assume that ‘er’, ‘sie’ and ‘es’ are the same as ‘he', ‘she’ and ‘it’. This is probably the biggest language trap of all: to assume that related words (between one’s own and the new language) are the same. Where no relationship is obvious one learns new words unencumbered from their parallel meanings in the native language. But where common origins are clear one tends to forget that both languages have grown in quite different directions in the last few thousand years.\n\n\nThese are just some of the beginning (and continuing) problems. There remains that huge chapter of cases (nominative, accusative, dative and genitive) and another of syntax, and yet another of those impossibly illogical words: prepositions, chapters which not only help you to express yourself in the new language, they also help you to understand your own language in a new light. The deeper your understanding of the new language the greater is your appreciation of your mother language. It is an on-going process — and it never finishes.\n\n\n\n\n\n12. December 1966: Bülach, Honeymoon in Paris\n\n\nAfter all those months of impediments we were now together. We had a flat of our own, we could sleep together, we were happy. We were however “living in sin”. There were fortunately no prim neighbouring ladies in this building who would write to and complain to the owner — only a poor demented soul who lived above us and banged on the floor with a broomstick when I played the piano. Nevertheless marriage was important, if only to ensure a safer residence permit. When I went to the Gemeinde Bülach to register, as every person who moves into, or even within, Switzerland is required to do, I was told that I was one of a group of 20% of foreigners living here. The others were mostly Italians, who were just here to work and who were required by the nature of their permits to leave the country again every nine months. By being married to a Swiss I could have more permanent residency — so long as I obeyed the law.\n\n\nBy now the documents had arrived from New Zealand, which proved that I was not already married and so we arranged for a civil marriage ceremony at the Gemeinde. We would need two people as witnesses, preferably people also competent in English in case I should not understand any part of the procedure. Brigitte’s sister Renate and her fiancé Ueli were pleased to take part. The ceremony would be on the 14th December at 11am and afterwards the family would gather for a meal with the parents at their flat in Vögeliacher. I was allowed to express a wish for this dinner. I had seen in the shops and the restaurants the word Rehpfeffer, venison, and thought this would be very special. Müeti agreed and ordered this to be delivered from the Kreuz Restaurant.\n\n\nJust before the day, I decided I had had enough of wearing a beard and shaved it off and on the morning of the 14th I went to the hairdresser, Herr Iten (for the last time for the next 40 years — thereafter Brigitte kept my hair in order) who, in spite of his own long wavy white hair, left me with very little on my head.\n\n\nThe ceremony in the Rathaus was conducted by Herr Führer. Ueli arrived late, he had forgotten his passport and had to race home again (about 5 km to the next village). Herr Führer had evidently checked in his English-German dictionary the word ‘ledig’ and found three answers: single, unmarried, bachelor. To be quite sure he asked me to swear that I was all three, which of course I did.\n\n\n\nOn the same evening we boarded the night train for our honeymoon in Paris.\nEven in winter Paris was beautiful, a very different beauty from “Paris in the Springtime”. It was a normal working day as we arrived at 7 am. The Gare de l’Est was packed with workers pouring out of one Metro and streaming to another. We had seldom seen so many people in such a small place, possibly because we were not normally in a railway station at such an hour. We found a cheap room in a hotel near the Louvre which was our home for the next week. The bed was too small and the single pillow very uncomfortable but for newly weds it was perfect. It reminded us of Henri Toulouse-Lautrec’s picture “The Bed”.\n\nThe days were short and the nights long but, again, this was ideal for us. Paris was Brigitte’s city and she set about showing it to me most seriously!: first Sainte Chapelle with its huge vertical Gothic lines containing exquisite stained glass windows. She asked a man in uniform where to find it: \n\n\n\n— then after a walk along the river Seine we visited Notre Dame. She knew it well from previous visits and I from pictures but we were quite taken by the sheer size of the building, and by the fact that much of it (the building time ranged over centuries) was built a thousand years ago. \n\n\n\nIn many ways the outside impressed us more than the inside (with the exception of the fabulous vaulted ceiling): the sculpture around the portals, the cheeky gargoyles high up on the roof (unfortunately it did not rain, I would love to have seen them spouting water) and, most of all, the flying buttresses:\n\n\nAs I understand the history of these huge religious buildings, the word Gothic was used by the Renaissance architects as a perjorative term for the old and ugly architecture. I assume that one of their main dislikes was exactly these buttresses which we found so beautiful. They were of course a mechanical necessity. Their creators wanted to build tall and elegant buildings with tall and elegant windows which would let much more light inside than was the case with the earlier (Romanesque) architecture and they wanted to put an equally elegant stone roof on top whose weight would push such fine tall walls outwards and bring the contruction crashing to the ground. Solid buttresses would have given the necessary support but let much less light in. So they made crane-like buttresses, sometimes two or three rows of them, one on top of the other, and they made them with the same elegance as they had created for the building itself. That the late middle aged engineers were able to successly solve such enormously complex mechanical problems is indeed remarkable although we do not know how many similar projects failed. And equally remarkable is the fact that the building time of these cathedrals was much longer than a human life. These (mostly unknown) architects started projects which they knew with certainty that they would never see completed.\n\n\nEven in these cold days Paris was rich in outdoor life. There were still a few „bouquinists“ with open book-boxes on the Seine walls, and there were innumerable „clochards“ whose whole life was spent outside. They wore all the clothes which they owned, giving the appearance of a „michelin“ man and they slept on the streets in many layers of cardboard boxes.\n\n\nThe meat market at „Les Halles“ did have a roof but nevertheless had the feeling of being outside. This huge and not very hygenic looking business place was later replaced by a complex of shops and boutiques and interesting sculptures.\n\n\nOn Brigitte‘s favourite bridge, „Pont des Arts“ there were still a few well wrapped up painters and in the garden of the „Rodin Museum“ children in coats and caps were playing.\n\n\n\n\nEven the outdoor nightlife was still in full swing. Montmatre was packed with these curious peep-stalls with sad cold in body and soul young women.\n\n\nIn the Louvre we found (among many other things) the last two masterpieces of Michelangelo which I had specially wanted to see. These two were the only „slaves“ which he actually finished. Strangely, however, I found I really preferred the unfinished ones which are in the Accademia in Florence. \n\n\n\nAlthough the finished sculptures have immense strength the Florentine works have even greater force, as if the figures are struggling to free themselves out of the granite blocks. Also, the different surfaces of the unfinished works (sometimes smooth, sometimes rough) give one a feeling of distance, as if the unpolished surface is slightly out of focus, or further away.\n\n\nWe also visited „Mona Lisa“ and we wondered again why she is so famous. \n\nPerhaps because people like boringly calm ladies we thought, or perhaps it is 500 years of publicity. For us it was clear, the painting is good but not special and the subject is not even special. \n\nOur favourite Parisiene gallery was the Jeu de Paume. Here were the impressionists and the fauves and the expressionists and the other early 20th century groups of artists. This museum was alive with colour and innovation, with experimentation and audacity. How, for example, Monet could show the effects of light on the stones of the Rouen Cathedral! Early morning, full sun and evening! How he managed to paint so quickly we couldn‘t imagine. Thirty variations on a theme (not all here in the Jeu de Paume)!\n\n\nAnd we found new friends: „Afternoon at Pardigon“ by Henri Edmond Cross for instance.\n\nOn our last full day we took train to Chartres. This famous cathdral also had exciting flying buttresses and outside sculpture but the most memorable thing by far are the stained glass windows. One could spend a lifetime here studying these wonderfully colourful pictures: there are over 50 „lower windows“ and „clerestory windows“ and in each of these there can be up to 30 panels — not to mention the rose-windows.\n\n\n\n\n\n13. Epilogue 1967\n\n\n\nSo ended 1966 — without end. It was (as was mentioned earlier) just a beginning. A beginning which was to stretch out over more than fifty years. By way of a “full stop” however, I will mention just a few events from 1967, events which were in the spirit of those which shaped 1966: the coming together of two people and each learning of the culture of the other.\n\n\nWe settled into the flat in the Gartenstrasse which stood in the shadow of building with the large words: Des Herrn Wort ist eine rechte Lehre. (The Lord’s word is a true doctrine). I often puzzled over this statement. It seemed to be saying: some doctrines were true and some false. And the author of these words seemed to know which were true. Although I was passionately interested in the art which this doctrine had produced, I was not at all sure that this art had anything to do with the truth of the doctrine which had inspired it. Furthermore this same doctrine (or variants thereof) had produced terrible wars, which made me suspicious of it. Nevertheless, when Müeti was looking for someone to accompany her to church (the normal Swiss reform church, not that of our neighbours) I was ready to go, since it was somewhere where I could expect to hear High German and therefore understand what was being spoken. On a later visit to Switzerland at Christmas time I went again with Müeti and the sermon was about the shepherds who hurried to the stall in Bethlehem and returned to their fields as different, changed people. It was, the parson said, as if over the door to the crib where Jesus lay, had been written the words: “Wer hereinkommt, wird verwandelt” (Who enters here, will be transformed). As a teacher this phrase pleased me and so I wrote it over the door of my classroom.\n\n\nSwitzerland is (or was) a country of bells: cows have big bells, goats have smaller bells, and sheep have tiny bells. The railway stations had bells to tell you when a train was expected, different bells for different directions. And most of all churches have bells. The same bells which announce church services also tell the time. There are often four bells; A-G-E-C. The two higher ones chime the quarter hours: first quarter: A-G, second quarter: A-G, A-G, etc. and the full hour: A-G, A-G, A-G, A-G. Then to tell you which hour it is, the next larger bell (E) strikes the number, and (in case you missed counting at the beginning) the largest bell (C) repeats the strike. At noon or midnight this process can last several minutes. Often after the evening classes at the Berlitz School Brigitte and Pü picked me up there at nine o’clock, but sometimes when she had less to do at the hospital they went home first and I came later by train. The train arrived just before ten and as I strode out towards the Gartenstrasse the church clock started its procedure. I broke into a run and often succeeded in reaching home before it had finished. One evening I went to sleep on the train and didn’t wake when the train stopped at Bülach. Fortunately it was a train whose final destination was Bülach. After a few minutes the lights were turned off and it (and I!) was shunted onto a siding. Poor Brigitte was desperate. She knew precisely when I should enter the door. She rang up Müeti who didn’t know any good advice. In the meantime I had awoken and groped my way out of the dark train and wandered back along the train track to the station. I still find it hard to imagine that someone of my size could have been overlooked before the train was put to sleep.\n\n\nMüeti planned a German trip: Munich, die Romantische Strasse from Augsburg to Würzburg, Wuppertal (the city of her birth), Essen, and then on to Tante Maria in Sinzig. There we would pick up Vati who would come later by train. Although we visited the Alte und Neue Pinakothek in Munich and the Wallraf-Richartz-Museum in Cologne, the high point of the trip was the work of Tilman Riemenschneider (1460-1531) in some of the churches on the Romantische Strasse.\n\nTilman Riemenschneider was a contemporary of Michelangelo but since the Renaissance came later in northern Europe he belongs to the transition period between late Gothic and Renaissance. We stayed in the wonderfully preserved middle-aged town of Rotenburg and visited other Riemenschneider churches in Creglingen and Detwang. All these sculptures are in wood (Lindenholz) and partly show tiny holes from boring insects which have unfortunately attacked them. Some are relief sculptures and some in the round but all show strongly human faces albeit mostly very serious ones. Perhaps it is this emphasis on the earnest and the suffering of life and the fact that Riemenschneider hardly moved away from the towns around Würzburg (in comparison with his contemporary Albrecht Dürrer who studied in Italy) which has given him the reputation of being half Gothic and half Renaissance. I personally see only the latter in his style.\n\n\nWe visited Müetis’ relations in Wuppertal and Essen and were astonished to see in this extremely densely populated region (Ruhrgebiet) so many green areas. But we were quite overtaxed on the Autobahn, every exit had a long list of major cities and the traffic was consequently very busy. At one point, trying to read this long list of names, I hopped lanes without looking properly and poor Pü lost a door handle, smashed off by an angry motorist who was driving correctly.\n\n\nThe last visit was to Tante Maria, widow of Helme Boss, professor of art history, a role which she in many ways had shared with him. This was the lady who had pronounced the name Turner with such deference when she had visited Brigitte in London several years earlier. In fact everything she said had the air of authority as if she were consciously composing elegant prose and pronouncing it with the diction it deserved. For me as a beginner in German this was very encouraging, I understood almost everything she said and if I did not, she was delighted to reformulate it until I did. She was a very generous lady, especially with big helpings of food, which she expected to be consumed completely and which in turn demanded long postprandial marches to set our tummies at rest. She and her husband had had no children, which meant that her niece, our Müeti, had played a special role in their lives. From Müeti we heard that during the war, Tante Maria and Onkel Helme had hidden (and fed) a Jewish family from the Nazi police for several years in their cellar. This was for me an answer to a question which had been lurking in my mind for some time: What sort of people are these Germans who could have chosen and supported a Hitler, who could have let him go as far as he did. The answer was, of course, that not all Germans agreed with this National Sozialismus. Hitler came to power at a time when Germany was at a very low ebb, where it was expected to pay huge sums as reparations for having caused the First World War. These payments were in fact so big that it couldn’t possibly pay and when Hitler repudiated the Treaty of Versailles, which had stipulated these payments, he had a big following among the German people. And once established as the Führer, he created a system which was impossible to oppose. Any dissenters were executed, so resistance was only possible in secret. Doing what Tante Maria and her husband had done to save the lives of the Jewish family was therefore very dangerous, they could easily have cost them their lives. Needless to say the family Curtius remained eternally grateful and often returned with special presents for Tante Maria even then more than twenty years after the war.\n\n\nVati arrived by train as was planned and the following day we set off along the Rhine towards Switzerland. First stop was at the Lorelei, that headland where the famous water spirit sat singing (like the Sirens of the Odyssey) and bewitching the boatmen by the beauty of her voice so that their vessels to crashed onto the rocks. As we stood at the water’s edge Vati produced a book from his luggage and read the poem by Clemens Brentano (he preferred this to the more famous one by Heinrich Heine).\nHe read aloud:\n\n\n\n\n… (26 Strophen)\n\n\n\n … (26 Verses)\n\n\nBefore reaching Switzerland we made two important stops to see the exquisite Romanesque churches in Worms and in Speyer. This was my first contact with the German pre-Gothic style and I was very impressed: normal buttresses and rounded arches could also be beautiful!\n\n\nIt was at the “Diet of Worms” in 1521 that Martin Luther was branded a heretic after publishing his 95 Theses (1517) and thereby starting the Reformation.\n\n\nWorms Cathedral Speyer Cathedral\nTravelling with Müeti was always very exciting. She had grown up during the First World War, had had an excellent schooling, had married very young, had three children before the Second World War and two more after it. All this meant that she had hardly ever travelled. Her brother, who fell in the last weeks of the Second World War, had been an architect and given her (in addition to that which she had learnt from Tante Maria) a special passion for buildings.  When a building was still in construction, she could not resist sneaking inside and study it with child-like delight. Brigitte and I decided to take her Ronchamp.\n\n\nThe chapel Notre Dame du Haut sits on top of a hill not far from the Swiss border in France. It is surely one of the gems of 20th century architecture, completed in 1954 by the Swiss architect Le Corbusier. Here he seems to have done something similar for architecture to what Kandinski did for painting (freed it from representing something) or Schönberg for music (freed it from tonality): le Corbusier freed architecture from straight lines. Here in Ronchamp was a church of interesting shapes with walls that were not parallel or at right angles to one another. Also the walls were of different thicknesses with windows (apparently) randomly placed, some with glass on the inside some on the outside of the thick wall openings and sitting on top of it all was a dark upward-curved reinforced concrete roof looking like the head of a mushroom.\n\n\nInside was a further surprise. All the many irregular windows which seemed to have been placed according to chance were playing games with the light that came streaming through them in such a miraculous way that we were now sure that le Corbousier had calculated their sizes and positions very precisely.\n\n\nMy only reservation of le Corbousier’s art was with his paintings. They were, however, abstract which fitted perfectly with the building itself, but I couldn’t find the humanity in them, which I did in the building itself.\n\n\nOn the way home we stopped in Colmar. This city in Alsace had been German when Müeti was born but came to France after the First World War (along with Strasburg, Mulhouse, etc.). It is specially picturesque and calls itself “Little Venice” because of the many canals that flow through it. What we wanted to see here was famous “Isenheim Altar” of Matthias Grünewald. He was another contemporary of Michelangelo but whereas the Italian style of this period tends to extol the beauties of the human body the German style is much more brutal (perhaps even more realistic). Grünewald’s picture of Christ on the cross was painted for the Monastery of St. Anthony in Isenheim near Colmar, which specialized in hospital work. The Antonine monks of the monastery were noted for their care of plague sufferers as well as their treatment of skin diseases. The image of the crucified Christ is pitted with plague-type sores presumably from the scourging but also showing the patients of the time that Jesus understood and shared their afflictions.\n\n\nIn the summer Pü took us on a tour of Normandy and Brittany where we saw the wonderful Bayeux Tapestry, an embroidered cloth nearly 70 metres long and 50 centimetres tall, which depicts the events leading up to the Norman conquest of England. How such a huge artwork was executed with such unity of style is a mystery. It is said to be the work of Queen Matilda (wife of William the Conqueror) — who was either a brilliant artist or had inspired ladies-in-waiting who also worked on the project.\n\n\n\n\nWe were sleeping in a tiny tent, which we pitched in normal camping grounds. On the last night it started to rain heavily and we were forced to leave abruptly with drenched tent and sleeping bags. We tried to drive non stop across France but it is a huge country and we finally decided to sleep in the car. Much as we loved Pü, he was not good as a sleeping place. We resumed our drive in the early hours of the morning changing places at the wheel when we felt tired. Suddenly as we passed through a small town I was stopped by an angry gendarme who was shouting something about a “feu rouge”. I said: “Je ne parle pas français”. He threw his arms in the air: “Je m’en fou!” and drove off on his motorbike. Apparently he just needed to let of steam about foreigners who ignored French red traffic lights. And since I didn’t speak French it was much too complicated to take things any further. For once my ignorance of the French language was an advantage.\n\n\nAbout mid year I gave up working at the Berlitz School. I had enough contacts to be able to teach privately. This gave me the freedom to teach when I wished and to take holidays when it suited me. Most of the pupils I met in cafés in the city, but one, Fräulein Martelosio, invited me to her home where she lived with her Italian- speaking parents. The mother received me warmly and apologized for the disorder (which was not apparent): “É un quarant’otto”, she insisted. This expression fascinated me. I assumed it meant 1848 (mille otto cento quarant’otto), that year in European (and especially Italian) history when everything was in a great turmoil. Meeting the lonely Fräulein daughter at her home was probably not a good thing. As far as I was concerned she was diligent and made good progress and she paid regularly for her lessons. I was completely unaware that she had apparently developed a liking for me and at the end of the year she presented me with a Gold Vreneli to remember her by. Although officially its value was only 20 francs it must have cost her well over 100 francs — a big amount at that time. I sent it straight back to her but she was very offended: I should accept it. I did not, but it left Brigitte wondering what had happened during those private lessons.\n\n\nDarmstadt\n\n\nIn August came the long planned for visit to the Contemporary Music Festival at Darmstadt (just south of Frankfurt). This was where Karlheinz Stockhausen presented his latest works and where others were invited to perform and to lecture.\nBefore Brigitte brought me to the train I hid packets of chocolate in unlikely places of our apartment.\n\n\nO Kitchen, Kitchen, important news: You see, I’m hungry without you in the middle of the night, and I opened the little bread cupboard and found, you know WHAT?? A surprise! Just at the right moment. Nice and sweet and red!!\n\n\nThe train journey was very fast and comfortable and I read like mad. I finished the Agatha Christie (it was both the man and his wife who murdered!) and I read a little Guy de Maupassant and then I slept and then we were here. I got the stuff from the information bureau: program, concert tickets (two in Frankfurt with special transport), meal tickets, and then I paid and found this hotel quite quickly in spite of not much information. But other things like the place where the lectures will be, the mensa and the concert “Stadthalle” I didn’t find so quickly in spite of lots of information. I was asking all sorts of people and running round in circles,, more likely because I didn’t understand them than because the information was wrong. Actually they speak very clearly here but they seem to go on with all sorts of subsidiary information so that once I hear what seems to be the “Hauptsache” I try to hang on to that and just say: “Ah so!” … “ah sooo!” to all other things they say.\n\n\nFound a place today where coffee is 20 Pfennig a cup! — I must go there more often. I must have looked surprised when the woman said 20Pf. cos she said: Nicht alles muss teuer sein, gell?\n\n\nDifferent from the Chigiana in Siena there were concerts every night.\nThe programme is the same every day, either two lectures and a concert or three lectures at 10.00, 16.00 and 20.00. Yesterday we had a man called Günther Becker on Komposition und Instrumentation at 10.00 and another called György Ligeti at 16.00 on analysis of some of his own works. The latter, although Hungarian, speaks so clearly that I can understand quite well in spite of the speed at which he goes. The other man just sat and read the long words he had prepared on a paper and I could only follow about half of it, but it doesn’t matter cos it was all old stuff. He described the new sounds as “eclectic” (“ausgewählt”) but it sounded anything but “out-chosen” — more like “chance-chosen”. “Eclectic” sounds just the adjective to go with “electronic” but it’s rather the words they use to describe their noises that are “eclectic”. I think you can really write what “music” you like as long as you can say some “eclectic” words about it.\n\n\nIn the evening we heard a piece that was considerably left to chance — i.e. not much detail was given to the players. The lights went out and a diagram was projected onto a screen and the players started playing. There were 16 such “pictures” (Klee- like with the odd note to play) but they seemed to know what they had to do and the general effect was better than some of the written-down (eclectic!) stuff. The good thing about it was having something to look at while listening. I still find it much easier to imagine this music as program or theatre music, similar to how Wagner’s music was more meaningful when I could see the action on the stage at the same time.\n\n\nThe next evening was however disappointing. I went full of expectancy but I was not ready for what I heard:\n\n\nIt’s funny it seems as if the strange noises that got into my ears this evening can’t get out — there’re ringings and buzzings still going on. It is FUNNY stuff this music. Sometimes I laugh, sometimes I’m shocked and sometimes rather annoyed — that’s really it — nothing seems shocking anymore, just annoying. The most annoying piece tonight was about half an hour of recorder noises — all the sounds you’re not meant to make with the recorder plus many more including voice noises while he was playing. It was funny for a while (i.e. funny haha) but after about 20 minutes you want to scream. Some of the audience almost did, they made the same noises back and shuffled with their feet on the floor and others tried to hush them but the recorder player went on and on, apparently oblivious to all this, almost as if he enjoyed the “music” he was playing. I laughed but sometimes I’m sad and wonder why the hell I want to study modern music if it has to sound so awful.\n\n\nOne electronic piece sounded not so bad. It was stereo from 4 corners of the hall and it was so clear and well recorded that it made you more disposed to listen to it seriously than you do to someone fooffing into a recorder. But it’s odd to sit and see no performers and at the end you don’t seem to need to clap — it’s funny to have to clap 4 loudspeakers!\n\n\nAlthough I was not chosen to be among the pupils at the Stockhausen-Workshop I was pleased to be able to attend all concerts and lectures. The main lecturers were György Ligeti and Earl Browne. Lutoslawski had been invited and when he could not (or would not?) come, the American Earl Browne came at short notice. At his first lecture he said some good things which allowed me to put into perspective a lot about what I had been wondering about at the time. He recounted the history of instrumental music from the renaissance up to about 1950 showing an ever- increasing precision in the determining of musical parameters. At the beginning very few parameters were determined (it was often free what instruments played, there were no tempo marks, no dynamics). By the time one reaches the early work of Stockhausen and Boulez every tiny detail was written down, leaving almost no room for “interpretation”. For composers like Earl Brown coming after this date the only possibility was to start again and try to find out what is the optimum amount of determination. He talked about his orchestral pieces “Available Forms 1 & 2” in which he had set out to see how little information one could give the orchestral players and had finished with musical fragments on cards which were numbered between 1 and 5. It was then up to the conductor to combine these as he whished. He could for example hold up 2 fingers and point to the woodwind players and combine this with number 5 from the strings. In other words, the success of the piece depended largely on the cleverness and musicality of the conductor. Earl Browne explained all this in English.\n\n\nThe following day he gave almost the same talk again and on the third day much the same again. Gradually it became clear, even to the German-speaking students, that this man had said all that he had to say and sothey planned a “happening”. During the lecture a 10 mark note was passed around on a cardboard tray and torn apart. By the time it reached me the note was in a dozen pieces, I tore one piece again and passed it on. Earl Browne continued, apparently oblivious to what was going on in front of him and certainly unaware of the delight he had caused among the students. In his defence, I suspect he had been asked late and came at the last minute, possibly even expecting to give only one lecture.\n\n\nLigeti’s lectures were quite different. He was very well prepared and was able to bring new material each time! The main thing that remains for me was his talking about clusters — that word I had first heard from Petrassi but without an explanation of what it was. They are, of course, groups of all the notes between two given notes. But this was not interesting enough for Ligeti. He went to great trouble to put movement into his clusters so that instead of being a static sound as in (for example) Penderecki’s Threnody clusters, the instruments in his Atmosphères are constantly moving around within the confines of the cluster giving it the feeling of being alive. But I think most of all, Ligeti impressed by his integrity. Here was a highly original and very serious man (who could also be funny as in the Aventures and Nouvelles Aventures, which Nelson and I had experienced in Vienna), the author of new musical ideas and with the facility to explain them clearly.\n\n\nThe city doesn’t seem quite so ugly now, not that it’s changed of course, I just ignore it’s ugliness and then it’s not so bad. The music is still much the same too but what is interesting is what they say about it. This is the ridiculous situation which I talked about before: to be a good composer one must be a good speaker. If you can’t speak convincingly about your music it hasn’t got a chance. Last night we heard Stockhausen for the first time. He is certainly the most dynamic of all speakers. He looks very cool and ordinary to start with but he can suddenly become quite impassioned and therefore has a considerable power over his listeners. He can speak in very short and (apparently) to-the-point sentences, there are no hums or ahs while he thinks of what he has to say, it’s all there and it comes out in quick bursts, with great conviction and great force. When, however, you think about what he has said (you can’t do it as he’s speaking, he has such a presence which demands to be attended to rather than thought about) it all seems either obvious or not specially logical. And certainly when you hear his music as we did immediately afterwards, it appears to have very little to do with what he has just said.\n\n\nOn the other hand this man Ligeti, the Hungarian, is good and real and also his music seems good and to-be-liked. One nice thing he said yesterday about a piece of his we’ve been studying: Ich schlage vor, dass wir das Stück noch einmal spielen, weil ich es so gern habe (I suggest we play the piece again because I like it so much). It’s so good to hear someone say he likes a piece of music (especially his own)!\n\n\nPS: About your presents: As I left I told you to look in the fuse box and then you should also have found one in the bottle cupboard and the cupboard above the sink (you’ll have to stand on a chair) and one under the wee stool outside (lift it up and look on its bottom!). You could also look in the bathroom, on the bath side of the wicker basket is a thing for putting cotton-wool in and in one of its pockets is a little something.\n\n\nKitchen, your special presents made me cry a bit very very happily … especially the one under the chair. I had to look for it quite a while, but finally I turned it over and there it was … and there was my Kitchen, and there was everything!\n\n\nThe evenings usually started by drinking beer with the German students. Although I had been especially learning German for this visit, I was now among lots of German students whose English was much better than my German. And they loved using it. They would tell jokes to each other in German and then translate them for my benefit. I had long wondered what sort of a people these were who could have allowed a Hitler to take power of their country, who could have stood by while he erected concentration camps and destroyed millions of people. This question had been partly answered through our visit to Tante Maria who had offered passive resistance and was now again answered in shocking way: I heard them tell a joke which I had already heard in the staff room at Linwood High School just before leaving for Europe. The terrible answer was that these people, who laughed about the same things which we laughed at, were in fact no different than we were. If I had been born here I would have been forced to act in exactly the same way in which the majority here had acted. Germany had been weakened by the absurd conditions set by the western allies at the Treaty of Versailles and had thereby given Hitler a wonderful opportunity to ‘save’ his country from bankruptcy. And once in power he had secured his position to such an extent that resistance was all but impossible. Seen like this, I was just as responsible for the disasters of the 20th century as these happy students were, perhaps even more so.\n\n\nIn the evening we were to have had a lecture, but the man couldn’t come so it was a free evening. I ate with two Germans who both speak English — one very well indeed — but who also spoke German sometimes for me! Later some more turned up and they arranged to meet at a Jazz Cellar, which we never found. We walked around Darmstadt searching and found two cellars in which we drank beer, we even found a Kegelbahn but not the Jazz Keller. These boys were telling jokes all the time, which I found very difficult but they translated some of them. What, however, struck me most was, apart from the fact that they were talking German they were exactly like NZ students, like boys I’ve taught, and these were the sort of people we were fighting during the war.\n\n\nThe evenings belonged to Stockhausen. There were concerts at which his works were performed and they were preceded by long verbal introductions by the master himself. He explained, for example, how the form of his Klavierstück 10 moved from extreme order to extreme chaos using on the way a complicated version of Fibonacci numbers. The Kontarski brothers were there to play his extremely difficult piano works. What interested me most however was his use of microphones as “stethoscopes”. These were highly directional microphones which were moved around the surface of a huge tamtam, picking up sounds which would otherwise be inaudible, and sending them to a set of electronic controls at a desk in the middle of the auditorium where Stockhausen sat and manipulated these signals. The results were anything from very tender to excruciatingly loud. The performers at the big gong-like instrument were equipped with resonance tubes and microphones and Stockhausen sitting at his controls (like a tram driver) could transform their harmless signals into something utterly different, often quite grotesque. In his preface to the score of Mikrophonie 1, Stockhausen wrote:\n\n\n“I had bought myself a large tamtam for my composition MOMENTE, and set it up in my garden. I now made some experiments, exciting the tamtam with a great variety of implements – of glass, cardboard, metal, wood, rubber, plastic – that I collected from around the house, and connected a microphone (with strong directional sensitivity) that I held in my hand and moved around, to an electrical filter, whose output led to a potentiometer and was then made audible over a loudspeaker. My collaborator Spek was in the house and changed the filter settings and the dynamic levels, improvising. At the same time, we recorded the result on tape. The tape recording of this first microphony experiment was for me a discovery of the greatest importance. We had made no agreement about what the other would do; I used some of the implements that lay to hand as the mood took me, and at the same time I probed the surface of the tamtam with the microphone, as a doctor probes a body with a stethoscope; Spek also reacted spontaneously to what he heard as the result of our combined activity.”\n\n\nActually there’s one man missing from that picture — Stockhausen himself. He sits in the middle of the audience and twiddles knobs and makes sounds come out of the loudspeakers. This is all right for a few minutes, listening to the sounds they can make scratching or banging the Tamtam with every conceivable object and then magnifying them greatly with the electronic gear. But after 5 or 10 minutes you’ve had enough and so you can understand why people walk out or stamp when it goes on for about ¾ of an hour.\n\n\nRang up Jecklin yesterday and they’ll pick up the piano at the end of the month. \u002F Kitchen, found another chocolate yesterday. You are marvelous!!!\n\n\nDon’t let Jecklin take away the chocolate under the left pedal of the piano! Also look behind your mirror.\n\n\nThe main work to presented this year was the new Stockhausen work Prozession. It used exactly the same ‘microphony’ as described above but was written for an ensemble: Tamtam (2 players), Viola (with contact microphone), Electronium, Piano and of course Stockhausen himself at the tram controls. He gave his usual long introduction describing the instruments the microphones and the filters. Instead of a score the players have a sequence of plus and minus signs which they are to use to modify what they play. They start with quoting fragments from earlier Stockhausen works and these ‘quotes’ are to be imitated by the other players but changed according to how they interpret the plus or minus signs. For example, a plus could mean play it louder, or with longer note values or higher. How the players were to recognize when one even or ‘moment’ was finished and that it was time to start with a new ‘quote’ I did not understand, the main thing was that there was a long string of these processes (Prozession) and it seemed to go on for ever. After the performers had been playing for about half an hour, the audience became very restless, then gradually the shuffling of feet became organized and grew louder and louder until Stockhausen leapt out of his tram seat and onto the stage where he gathered up his musicians and disappeared. We waited anxiously to see what would happen. About five minutes later Stockhausen was back on the stage and harangued the audience; they were behaving like primitive school children, there was serious art taking place in front of them and it was their duty to treat it with the same seriousness. For me who had grown up during the Second World War and had often heard Hitler’s voice, played as western propaganda to raise antipathy against the Nazis, I had the feeling I was hearing all that again. Was this how Hitler had subdued all criticism against him? In any case, it worked. The audience behaved themselves exemplarily and, almost as a punishment, Stockhausen called his band back onto the stage and they played the whole piece, starting from the beginning again — and nobody shuffled a foot!\n\n\nDarmstadt was just two weeks. Siena had been two months, but the difference was dramatic. Siena had just confirmed that which I already knew. Darmstadt had given me enough ideas to occupy me for the next decade. Some things like moving clusters or microphones as stethoscopes or even asking players to imitate and increase or decrease parameters, I was sure I could incorporate into my own style. What I was less sure, and it was also a major lesson from Darmstadt: success as a creator depended to a large extent on how well one can communicate what one is doing. Much of Stockhausen’s success was clearly from his fluency in describing what he was doing and why. Also Ligeti had a gift with language, for me a much more sympathetic one. It was not enough to have original ideas, one had also to be able to market them. But how they learnt this they never disclosed.\n\n\n\nEarly in 1967 Brigitte and I had booked our passage to New Zealand. It was to be on exactly the same ship, the “Fair Sky”, which had brought me to Europe. We had, however, not reckoned with the Israeli Six Day War. This had stopped all traffic moving through the Suez Canal. The new route would therefore be around the Cape of Good Hope: South Hampton, Las Palmas, Cape Town, Perth, Melbourne, Sydney, Brisbane, Wellington — leaving at the end of November. We started packing. Unlike the small amount of luggage I needed for the trip north, we were now transporting all Brigitte’s belongings, all that is, which would fit into big travelling trunks. The main bulk apart from clothes was her large collection of books, especially the non-English books which would be hard to find in New Zealand. What she could do without, she gave away, and the rest was prepared for transport by rail from Bülach to South Hampton. The saddest thing to be given away was Pü. Brigittte’s sister Renate accepted him and promised to look after him fondly as we had, so that made the parting bearable.\n\nJust before our departure a letter arrived at the Bänningers from Betty. It not only shows her concern for Brigitte’s parents but also how diligently she had learnt German. She had already learnt Italian well enough to teach it at the university and Russian to a level that she and Hu could travel in Russia and now that Brigitte had become her daughter-in-law she was determined to understand as much as possible of her German culture.\n\n\n\nDear Mrs and Mr Bänninger \n\nMany thanks for your letter and tape (cassette?). I can well imagine how sad you are about the departure of our children. Kit was very happy and felt very much at home with you. We are both looking forward very much to Brigitte and sincerely hope that she will feel as comfortable at our place as Kit was with you.\n\nI want to assure you that we will do everything in our power to make her happy here.\n\nWe hope very much that we can really get to know you either here or in Switzerland. In the meantime I will make every effort to improve my German.\n\nWith best wishes,\n\nBetty Powell\n\n\n\nDeparture and Arrival\n\nBut parting from the family was even worse than we had imagined. Never will I forget the picture of Vati waving bravely to us as the train moved out of the station. We both collapsed into each other’s arms and wept bitterly, quite sure that we would never see him again. Fortunately we were wrong. Plane travel was just around the corner and we were able to fly back several times before he died, aged 91 in 1981.\n\nThe train took us first to Amsterdam where we could stay a few days with Luke van der Kaay’s mother and visit the van Gogh Museum in Apeldoorn and Rembrandt in the Rijksmuseum. As often happens our memories are dominated by curious and unimportant details: the half hour long walk in Apeldoorn from the gates of the Museum to its door or the evening meal with Mrs van der Kaay who took us to an Indonesian restaurant and ordered something boring for us to eat while she consumed a sumptuous meal for herself because, in her approaching senility, she imagined we would not eat such exotic food.\n\nWe had just three weeks in Britain before the ship left, a very short time to see that “home”, that “old country” which most travelling New Zealanders used as a base for visiting Europe from and which I was seeing for the first time. In London we stayed with the Bamfords and among many other things, visited Jenny and Peter Murray who took us on an interesting Wren-churches architecture walk. But we had an important mission to do for Vati: his brother Hermann had emigrated to Scotland as a young man, had married a Scottish lady who later turned out to be schizophrenic. He nursed her over many years with the help of a household lady until she died, and the latest news was that he had been forced to leave his home and been put into a mental home. We hired a wee Pü-like car and set off for Scotland. The only contact we had was the parson, a Mr Bennett, whose parish was where Uncle Hermann had lived in Kilmacolm, about 24 km west of Glasgow. Mr Bennett was friendly, mentioned Hermann’s curious behaviour, though what exactly was wrong with him was very unclear, just that people were afraid he might leave the stove on and burn himself and the house and so he had been forcibly removed and sent to a clinic in Paisley, the next biggest town between here and Glasgow.\n\nOn the way to Paisley Brigitte told to me how she had known her uncle. He had always been different from other people, he wore his curly hair long and he loved animals, all animals, not just mammals — he was a vegetarian and would literally never have harmed a fly. He had trained in Zurich as an engineer and had practiced in Scotland. Since the death of his schizophrenic wife, their housekeeper who had helped him with day-to-day chores, had married and moved to another part of Scotland, thus leaving him alone and was therefore possibly the reason for the worries of the neighbours that he was not able to look after himself.\n\nPaisley may once have been a town in its own right but now its pride and independence had been swallowed up by Glasgow turning it into a dismal, drab and poor suburb of the city. The mental institution was more like a provisional army barracks than a hospital. If one was not already mad, coming here would surely make one so. There was one huge hall filled with stretcher beds and there in the middle looking totally lost and sitting drooped on his stretcher was Uncle Hermann. His long hair had been shorn off but he was still recognisable and, better still, he recognised Brigitte immediately. They spoke English for my benefit to start with, but I soon move away so that they could talk together in Swiss German. The more I observed this very sad man, then more normal he seemed and the more totally abnormal his surroundings. Brigitte had bought him a bunch of flowers which made him very happy but in reality they just exaggerated the god forsakenness of the surroundings. How he must have wished he could have died in the inferno the do-good authorities thought they were saving him from. It would have been a glorious death. Here he was damned to a vegetative death — death through boredom.\n\nWe asked the clinic what we could do, who was responsible. They referred us to a lawyer in Glasgow, who had sanctioned the legal side of Onkel Hermann’s internment. We visited him immediately as we had very little time left. He received us warmly but with an eccentricity which was very disturbing. His office reminded us of a picture by Spitzweg or Daumier with a desk piled high with books and with documents rolled and tied with string and the lawyer himself peered out between these piles like a ridiculous caricature of his profession. It was clear from the beginning that we were not going to get much sense out of this man who was obviously much more peculiar than poor Onkel Hermann had ever been and we were reminded of the saying by Horace Mann: “We go by the major vote, and if the majority is insane, the sane must go to the hospital”.\n\nThis was little comfort and we felt rather depressed that our help had failed. Onkel Hermann would have to wait until his family managed to move him back to Switzerland the following year.\n\n\n\nEigenartig ist es, dass uns niemand der vielen Schotten gesagt hat, dass man Onkel Hermanns Hospitalisation vorbereitet hat? Uns wurde es quasi als Notfall geschildert. Doch dies ist jetzt nicht wichtig. Nur etwas Wichtiges habe ich vergessen: in jener Baracke hat es eigentlich gar keine Blumen, unsere goldenen Astern waren die einzigen, und Onkel Hermann hat sich so darüber gefreut. Was meint Ihr, via Fleurop einmal ein Sträusslein zu ihm?? Auch wir werden ihm noch Blümchen schicken, falls wir es machen können.\n\n\n\nIt is strange that none of the many Scots told us, that Uncle Hermann’s hospitalisation had been prepared. They described it rather as an emergency. But that is not important. Just something important I forgot: In those barracks there were no flowers at all, our golden asters were the only ones and Uncle Hermann was so pleased with them. What do you think, could you send him a little bunch via Fleurop? We will also do so if we can.\n\n\n\nWe returned to the Bamfords in London, had a few days to see old friends again: Michael and Elaine Short from the Chigiana-course in Siena, my ex-pupil Graeme Humphrey from Linwood days, now studying piano at the Royal Academy, Peter and Jenny Murray and of course a visit to the Tate to see the Turners with new eyes.\n\nWe arranged to visit my “aunts” (actually Hu’s cousins) in Farnham on the way to the ship. These English relations were 3 elderly spinsters whom Betty and Hu had sent food parcels during the war and because of this long connection Molly, the eldest sister, had named me as her heir. They lived in “Hilltop Cottage”, Dockenfield, near Farnham.\n\n\n\n*      *      *     *      *      *     *      *      *     *      *      *     \n\n\n\nFrom now on, all correspondence was in German, but since the main language here is English, I shall write the translations of our letters in large type and the German originals in small type.\n\n\n\n30. 11. 67: (Brigitte to Family)\n\nDear Everybody, The ship sails tomorrow. Now we are sitting in Farnham with 3 delightful aunts of Kit’s, between 3 – 4 dogs and 4 – 5 cats, a goat should be here too, hens cackling somewhere — we’re sitting in Farnham on flowery armchairs, drinking tea and waiting for the ship.\n\nYesterday we rang up Richies in Kilmacolm again to for news of Uncle Hermann. Apparently he’s very depressed and very confused and is getting thinner and thinner. But the good man’s not eating!! Can’t anyone help him get a private room? Because in this men’s domain he can’t possibly get better, only worse. As soon as he’s fully conscious, he gets depressed by his situation, and gets worse than he was before. Yesterday in London we sent him via Fleurop a poinsettia with red and green leaves for Christmas.\n\nAlso yesterday we had to say farewell to the good Bamfords who have really spoilt us. But next year about August they’ll be returning to NZ so the departure was not too hard.\n\nIn front of me a golden fire is dancing, a cat is purring on the left flowery armchair, Kitchen is sneezing on the right flowery armchair and I am writing on the flowery sofa in the middle.\n\nFor a while now you won’t be able to get so many letters from us unless by bottle post. But there should be specially long greetings to you from all ports of call.\n\nOh you dear people, I get a bit very sad when I think of tomorrow’s departure, but Kitchen is so good to me and understands everything so well that I can really only be very happy. And just think how wonderful it will be when we come again sometime, when we see each other again! By the way, the house with the walnut tree in Christchurch is ready for us already.\n\n\n30.11.67: \n\nUnsere Lieben, Morgen fährt das Schiff. Jetzt sitzen wir in Farnham bei 3 alten köstlichen Tanten von Kit, zwischen 3 - 4 Hunden und 4 - 5 Katzen, eine Ziege soll auch noch da sein, Hühner gackern irgentwo — wir sitzen in Farnham auf geblümelten Sesseln. Wir trinken Tee und warten auf das Schiff.\n\n\nGestern haben wir den Richies in Kilmacolm nochmals angerufen, um Neues über Onkel Hermann zu hören. Es soll ihm leider nicht sehr gut gehen. Er soll “very depressed” und sehr verwirrt sein, werde auch immer dünner! Aber er isst ja auch gar nichts, der gute Mann!! Ob man ihm nicht vielleicht zu einem Einzelzimmer verhelfen könnte? Denn in diesem Männerkreis kann er unmöglich gesund, höchstens kränker werden. Sobald er zu vollem Bewusstsein gelangt, deprimiert ihn seine Lage so, dass er noch kränker wird als vorher. Wir haben ihm dann gestern noch aus London einen roten Weihnachtsstern mit grünen Blättern via Fleurop schicken lassen!\n\nGestern haben wir auch den guten Bamfords, die uns so verwöhnt haben, adee sagen müssen. Doch nächstes Jahr, ca. August, werden die beiden nach NZ zurückkommen. So war der Abschied nicht zu schwer.\n\nVor mir tanzt ein goldenes Feuerchen, eine Katze schnurrt auf dem geblümten Sessel zur Rechten, Kitchen niest auf dem geblümten Sessel zur Linken, und ich schreibe auf dem geblümten Sofa in der Mitte.\n\nJetzt werdet ihr dann für ein Weilchen nicht so viele Briefe von uns bekommen können, höchstens via Flaschenpost. Aber von allen Häfen sollen dann besonders lange Grüsse an Euch abgehen!\n\nJe meine Lieben, ich werde doch wieder ein bisschen ganz fest besonders traurig, wenn ich an die morgige grosse Fahrt denke, doch Kitchen ist so gut zu mir und versteht alles so gut, dass ich wirklich nur fest froh sein kann. Und denkt doch, wie besonders wundervoll es sein wird, wenn wir dann wieder einmal kommen können, wenn wir uns dann wieder sehen werden! Übrigens, das Haus mit dem Nussbaum steht in Christchurch für uns bereit.\n\n\n\nBrigitte’s fears of the ship journey, were, in spite of my comforting words, justified. I couldn’t believe that the same ship that took me so happily northwards from New Zealand to Italy two years before was now utterly different. First, it was now full and there were not enough deck chairs (or sitting chairs anywhere) for so many people. And second, these people were quite different. On the northbound trip the passengers were like me, young people embarking on the Big Trip or postgraduate students like Jenny and Peter Murray going to study abroad. Now the majority of these passengers were assisted immigrants — disgruntled or unemployed people hoping for a better life in Australia. That they had risked this big move was in itself praiseworthy but one had the feeling that their lot would not just improve with a geographical change, it needed an inner change for which they did not really see the necessity. They “killed” time on board by consuming the customs free cigarettes and alcohol. Strangely the drunkenness did not affect us greatly but the smell of cigarette smoke dominated the whole ship. It was as if the stale smell of tobacco permeated the walls and, aggravated by the fresh sea air which sharpened our olfactory sense, it seeped out again to plague us. Although not smokers, we had never been radically opposed, indeed we had occasionally smoked in company where most others were smoking. Now this all-pervading tobacco cloud seemed to hang over the ship, driving us to become radical non smokers. There was a further problem which I had also not experienced on my first sea trip: the air conditioning which reached our tiny cabin was too cool for us to stay there for very long. We could sleep well enough, albeit one above the other, but during the day, the cool air forced us up on deck where there was only stale tobacco and no sitting places. We were armed with a library of books which we wanted to read on the way, but we could find nowhere to sit down and read them.\n\nAs we arrived in Southampton we were greeted with the news that our luggage had not reached the ship. The authorities promised to check again but we were nevertheless highly agitated. While we waited we consoled ourselves with mail: letters and parcels of forgotten luggage, including my camera tripod which Vati had, to his shame, declared as a music stand (see sketch later). One letter was from him for my birthday which would fall between Southampton and Las Palmas:\n\n28. 11. 1967 \n\nDear Kit \n\nIt will soon be your birthday which you will celebrate on the high seas! Birthdays cannot be embraced adequately with words, especially this your 29th birthday which encompasses the meeting and ensuing year and a half of friendship and union for life with Brigitte. This time seems to me like a fairytale, fashioned of miracles, painted with colours from another world and full of hope for lasting happiness — and at the same time with the everyday aims and brave steps, even with a tough struggle for the light that shows one the way through rough terrain. Dear children, Kit and Brigitte, I and all of us here are with you in these days and we will also celebrate your birthday, although we miss you, but we will celebrate it as if you were both here. And we will never forget, how wonderful this year was with you near us, and at the end within our close family circle which, however, did not limit you. But the ever greater responsibility which fell on your shoulders preparing for the big journey seemed to increase — nevertheless you spared no effort until deep into the night — I was impressed and admired you both, and as you were on the way to my sick brother waiting for you in Scotland and the reports of your trip arrived how you overcame various obstacles — I saw it again as if painted in fairy-tale colours. Regarding Uncle Hermann, since I am busy with this at the moment, the following: Max in Bern is preparing to travel to our brother, Elsbeth will accompany him. It was my special wish and that this will be fulfilled for the good of my brother is because you have cleared the way and brother Max will continue your work!\n\nNow comes the big wide sea. We are guarding the „Postal Information“ for your ports of call as a precious treasure and hope never to disappoint you, when you see the post boat coming. The paper is always kept in the same place in the „Document Box“, so that it can’t go astray! — And today came a special letter from Mother Powell (see page 138) which told us how much they are looking forward to Brigitte and that they wish with all their heart that she will feel exactly so at home with them as Kit felt with us. You cannot be better greeted and welcomed, dear Brigittchen, and I am quite sure it will be like that. Stay as you both are, dear people, and everything will come out well.\n\nMy dear children, I must stop now, time is running out! In the living room I can hear Ueli’s violin and Renatchen’s piano. Dear Kit, don’t laugh — probably you can play or invent a little chamber music in your ship’s cabin, far from mundane ears and even without tripod (see later), I meant to say music-stand — and Brigitte will take out her flute and play „Der Mond ist aufgegengen“ („The Moon has Risen“). Or is the flute not in your travelling bag? That would be a pity. — On the 2nd of December, which is only a Saturday, we will toast Kitchen’s big day, we still have some Teufener (red wine) in the cellar. Müeti will read through what I have written and then I’ll go to the post office! Farewell dear poeple. May the sun and the breath of the sea make you happy. Bon voyage. Vati\n\n\n\n28. November 1967\n\nMr. and Mrs. C.B.Powell, Southbound Voyage Number 47 t.v. „Fairsky“, c\u002Fo Keller Bryant & Co. Ltd., 21\u002F22 Queens Terrace, Southampton\n\nLieber Kit\n\nDu hast bald Geburtstag, und feierst ihn auf hoher See! Geburtstage kann man nicht mit Worten erschöpfen, vor allem nicht diesen Deinen 29. Geburtstag, der die anderthalb Jahre Deiner Begegnung und der ihr entsprungenen Freundschaft und Verbindung fürs Leben mit Brigitte abschliesst. Wie ein Märchen kommt mir diese Zeit vor, gewirkt aus Wundern, gemalt mit Farben aus einer andern Welt und als eine Hoffnung dauernden Glückes — und doch auch mit irdisch-treuem Willen und tapfern Schritten, ja mit zähem Kampfe ums Licht, um einen Weg im Dickicht errungen. Liebe Kinder, Kit und Brigitte, ich und wir alle sind bei euch an diesem Tage und werden ihn auch feiern, obwohl ihr uns fehlt, und wollen doch feiern, als wärt ihr an unserer Seite. Und wollen nie vergessen, wie schön dieses Jahr, da ihr in unserer Nähe und zuletzt in unserem engsten Kreise wart, der euch doch nicht beengte. Zwar immer grösser schien die Mühe, die ihr tragen musstet, um die grosse Reise vorzubereiten — und doch war euch keine Mühe zuviel bis tief in die Nacht — ich habe gestaunt und euch Liebe bewundert, und als ihr unterwegs wart und Eure Berichte von der Fahrt nach Schottland, wo mein kranker Bruder wartete und ihr manche Hindernisse überwandet, eintrafen — da sah ich es wieder leuchten in Märchenfarben. Von Onkel Hermann, da ich doch dabei bin, noch dies: Max in Bern bereitet seine Reise zu unserem Bruder vor, Elsbeth wird mit dabei sein. Es war mein grosser Wunsch, und dass er erfüllt wurde, zum Besten meines Bruders, ihr habt die Bahn frei gemacht. Ihr habts gezeigt: so wirds gemacht, und Bruder Max wird euer Werk fortsetzen!\n\nNun kommt das grosse, weite Meer. Wir hüten den Stationenplan als einen kostbaren Schatz und hoffen, euch nie zu enttäuschen, wenn ihr das Postschiff kommen seht. Immer wieder wird er an dasselbe Plätzchen in der Dokumentenschachtel versorgt, so kann es nicht fehlen! — Und heute kam noch ein lieber Brief von Mutter Powell, der uns sagt, wie sehr sie sich auf Brigitte freuen „und dass sie von ganzem Herzen hoffen, dass sie sich genau so wohl bei ihnen fühlen werde, wie sich Kit bei uns gefühlt hat.“ Schöner kannst Du nicht begrüsst und erwartet werden, liebes Brigittchen, und ich glaube fest, dass es so sein wird. Bleibt wie ihr seid, ihr beiden Lieben, dann kommt alles recht!\n\nMeine lieben Kinder, ich darf nicht mehr schreiben, die Zeit drängt! In der Stube höre ich Uelis Geige und Renatchens Klavier. Lieber Kit, lache nicht — kannst wohl in der Schiffskabine fern von weltlichen Ohren und auch ohne Stativ, ich wollte sagen Notenständer, ein wenig Kammermusik machen oder vorweg erfinden — und Brigitte holt noch die Flöte hervor und spielt: „Der Mond ist aufgegangen.“ Oder habt ihr sie nicht im Reisegepäck? Das wäre schade.— Am 2. Dezember, der nur ein Samstag ist, werden wir auf Kitchens grossen Tag anstossen, wir haben noch Teufener im Keller. Müetti will meine Sprüche auch noch lesen, dann zur Post! Lebt wohl, beide Lieben, Sonne und der Hauch des Meeres mögen euch beglücken! Auf gute Fahrt. Vati.\n\n\n\n\nFour days later came first stop: Las Palmas, Canary Islands. This would be our only really foreign port. It was full of Arabian looking wares from the African continent nearby. I felt I must show Brigitte how one bargained at the market — from my experience of Singapore, Colombo and Aden on the way north! We hadn’t gone far when someone offered us a “pouffe”, or rather the leather casing of such a big round cushion. “£10” he said. I said “£5”. He: “£8” … and so on coming down in tiny steps. I stuck to my £5 although I really didn’t need the object at all, after all, I was just showing how it was done! Finally we walked away but the man ran after us: “OK, £5” he said tucking it under my arm. “You’ll have to buy it now,” said Brigitte. And so we went on with one large pouffe and £5 poorer.\n\n\n\n6.12. 67: \n\nTemp. 24°! Wasser 20°!! Dazu Samichlaustag! Doch davon weiss hier niemand was.\n\nGestern, wie Ihr wisst, haben wir uns durch Las Palmas geschlagen: viele hässliche Hotels, viel Schmutz, Lärm, einige Palme, auch verdreckt, überfüllte Strände mit Sonnenschirmen und Sonnenhüten. Dort haben wir auch mit hartnäckigen Verkäufern umgeschlagen, “gemärtet” und gefeilscht (Kit kann dies gut!) und ehe wir uns versalen standen wir da beladen mit Puff, Kleid, eine T asche aus Stroh und eine Flasche Wein auf der Strasse, …\n\n\n\n6. 12. 67:  (Brigitte to Family)\n\nTemp. 24°! Water 20°!! And St Nicholas’s Day too! But nobody here knows anything of that. \n\nYesterday as you know we were in Las Palmas: lots of ugly hotels, lots of dirt, noise, a few palms, also dirty, over-filled beaches with sun shades and changing boxes. We battled with persistent salesmen, haggled and bargained (Kit can do this well!) and before we’d finished we stood on the street laden with a pouffe, a dress, a straw bag and a bottle of wine …\n\n\n\n\n\n06.12.67 \n\nMan wird weiter und weiter mit den besten Dingen nur so voll gestopft, man isst und frisst und schläft und liest, vielleicht, falls man ein ruhiges Plätzlein findet, dies bis der Gong wieder tönt: 1. Suppe 2. Fisch als Vorspeise 3. Hauptgang mit Fleisch, Kartoffeln und Gemüse 4. Käse 5. Torte und Icecream 6. Kaffee oder Tee . . . !!! Dies zweimal im Tag! Unvorstellbar. Und man ist ja gar nicht hungrig, da die Bewegung zu kurz kommt. Heute haben sie wohl den Swimming Pool aufgetan (leider sehr klein), und wir werden, falls es nicht gespickt voll ist, bald unser Taucher-Glück versuchen. Glücklicherweise verschlafen wir das Frühstück meistens (von 7 – 9 am), weil das Kabinchen sooo dunkel ist! \n\nUnd darf ich schnell ein bisschen stöhnen??? Ihr könnt Euch unmöglich vorstellen, was für eine Quantität von hässlichen, dicken und dünnen, armseligen, geistlosen, primitiven . . . unmöglichen Gestalten sich auf der „Fairsky“ aufgetürmt hat. Ungezogene, schmutzige Kinder schreien und lärmen und brüllen ständig, die langweiligen Gesichter sitzen herum, vermissen die Television, probieren den neu erstandenen zollfreien Radio aus und warten auf die nächste Mahlzeit . . . Wir tun uns beide oft gar ein bisschen leid, Kitchen und ich, weil es einfach schwer ist, irgendwo ein gutes Winkelchen ohne Schmutz, Gestank, Geschrei, Rauch oder „Musik“ zu finden! Und all diese Gestalten emigrieren nach Australien, all diese hoffnungslosen Existenzen hoffen, dort das Glück zu finden! Was muss das für eine unmögliche Bevölkerung sein, die ja sonst schon wegen der vielen ausgesetzten Gefangenen und Verbrecher berühmt genug ist . . . ! Ich bin froh, dass Neuseeland sehr wählerisch ist in der Aufnahme neuer Leute. Ich kann nun verstehen, wie wichtig dies ist. \n\nHei, und wisst ihr, was wir gerade jetzt, 16.50 Uhr, ganz ganz schwach am Horizont sehen können? Die Westküste Afrikas! Wirklich ein Stücklein von Afrika. Am liebsten möchten wir hinüberschwimmen und schauen, wie es dort aussieht!\n\nEtwas vom schönsten sind die Nächte auf dem Schiff. Da flimmert und strahlt der dunkle Himmel in allen Sternenfarben, es ist ganz ruhig draussen, die flachen Gesichter sitzen alle drinnen, trinken, tanzen, rauchen oder besehen sich schlechte Filme, und das Meer mit seinem Rauschen, der Himmel mit seinen Sternen, der Kühle Nachtwind . . . alle gehören sie uns für ein Weilchen und machen uns froh. \n\n\n\nIch werde nun noch ein bisschen in die unteren Kabinen-Regionen tauchen und vielleicht etwas Wäsche halten. Aufgehängt wird die dann auf einem speziellen Wäschedeck, dort braust und flattert es wild und bunt, doch ob man später die Wäsche wieder findet, ist eine andere Frage. Die Leute lassen manchmal „versehentlich“ etwas mit laufen. So haben sie sich auch schon an 2 – 3 meiner farbenfrohen Unterhosen vergriffen. Well, that’s life!\n\n\n\n\n06.12.67  (Brigitte to Family)\n\nOne is constantly stuffed full with the best stuff, one eats and gorges and sleeps and reads, that is if one can find a quiet place, but just until the dinner gong sounds again: 1. soup 2. fish as entrée 3. main course with meat, potatoes and vegetables 4. cheese 5. cake and icecream 6. coffee or tea … ! All this twice a day! Unimaginable. And we are never hungry because we don‘t get enough exercise. Today they opened the swimming pool (unfortunately very small), and if it‘s not jammed full we will certainly soon test our diing luck. Fortunately we usually sleep in and miss breakfast (from 7 – 9 am), because the cabin is so dark! \n\nAnd may I just complain a little? You can‘t possibly imagine how many ugly, fat and thin, squalid, unimaginative, primitiven, … impossible creatures have piled themselves into the „Fairsky“. Ill-mannered, dirty children constantly screaming and fussing and bawling, the bored faces just sitting around, missing their television, testing their newly aquired duty-free radio and waiting for the next meal … We often feel rather sorry for ourselves, Kit and I, because it is so difficult to find a little corner free of dirt, of stink, of bawling, of smoke or of „music“! And all these objects are emmigrating to Australia, all these hopeless existences are hoping to find happiness there! What is that for an impossible folk which is already famous enough for its abandoned prisoners and criminals …! I‘m pleased that New Zealand is very choosy about the new people it accepts. I can now understand how important this is. \n\nHei, and do you know what we can see, just now (4:50 pm), very very faintly on the horizon? The west coast of Africa! Really a little bit of Africa. We would just love to swim over there and see what it looks like.\n\n\nOne of the most beautiful things are the nights on the ship. The sky flimmers and shines with all star colours and outside everything is quite still, the flat faces are all sitting inside drinking, dancing, smoking or watching bad films and the sea with its swishing, the sky with its stars, the cool night air … all belong to us for a moment and make us happy. \n\nNow for a wee while I shall dive down into the lower cabin region and perhaps do some washing. It is hung up on a special washing-deck, there it roars and flutters wild and gay, but it another question, whether you can find it again later. Sometimes people „inadvertently“ take the wrong washing. I have already lost 2 – 3 of my colourful underpants. Well, that‘s life!\n\n\n\n\n11.12.67 (Montag) \n\nVorgestern Nacht, um 03.30 Uhr, haben wir den Äquator passiert, und gestern wurde dies dann auch mit dem grässlichsten Schabernack und mit einem besonders guten Essen: Danish Turkey, vorher Lobster (Crawfish!! Hummer?) und dann Alaska Cake gefeiert: Plötzlich wurde es dunkel, und herein marschierten lauter kleine Flämmchen, darunter die Torten, nochmals darunter die lustigen italienischen Kellner. Die Torten bestanden aus Eis und Meringues und Bisquit. Der Käse wurde zur Feier des Tages vergessen! \n\nÜber die „Crossing the Line Ceremony“ mag ich gar nicht erzählen, war es doch wirklich etwas scheusslich: King Neptun bestrafte einige, und den armen Wesen wurden Eier nachgeschmissen, sie mussten sich auf Eier setzen, und dann wurden sie auch mit Spaghetti und Schokolade oder sonst unmöglich klebrigem Zeug beworfen und bestrichen, nachher Dusche . . . dies war die „Taufe“. Ich kriegte dann, wie alle anderen auch, später eine Urkunde zur Bestätigung, dass ich den Äquator passiert habe.\n\n\n\n11.12.67 (Monday: Brigitte to Family) \n\nLast night at 3:30 am we crossed the equator and yesterday this was celebrated with the ugliest nonsense and with a specially good meal: Danish Turkey, preceded by lobster (crayfish!!) and followed by Alaska Cake. Suddenly the whole dining room was dark and in marched lots of little flames and under them cakes and under the cakes the funny Italian waiters. The cakes were made of icecream and meringue and biscuits. In honour of the occasion they forgot the cheese course! \n\nI really don‘t want to tell you about the „Crossing the Line Ceremony“, it was really abominable: King Neptune punished some people and the poor things had eggs thrown at them, they had to sit on eggs, and then they were pelted and slathered with spaghetti and chocolate and other sticky stuff and then put under a shower … this was the „baptism“. Then I (and everybody else too) received a certificate to confirm that I had crossed the equator.\n\n\n\n15.12.67 \n\nGestern haben wir mit weissem Chianti so ein wenig den 14. Dezember gefeiert und etwas wehmütig zurück gedacht an unseren Hochzeitstag vom letzten Jahr mit wilden weissen Schneeflöcklein, Rehpfeffer und Knöpfli . . . und dann zu guter Letzt Paris. \n\n\n\n15.12.67 (Brigitte to Family)\n\nYesterday we celebrated the 14th of December and thought back longingly to our wedding day of last year, with wild white snow flakes, venison and Knöpfli (tiny dumplings) … and, in the end, to Paris.\n\n\n\n16.12.67 (Postkarte) \n\nCapetown – Hitze – viele wunderschöne Blumen . . . Genau so (siehe Bild) wurden wir vor ca. 5 Stunden in die Docks von Capetown gezogen und gestossen . . . Genau so dick und schwarz war der Rauch der kleinen „tugs“ . . . und dort, wo der Punkt ist auf der Karte, dort sind wir eben gewesen: Table Mountain, mittels Luftseilbahn. Die Aussicht war zauberhaft.\n\n\n\n16.12.67 (post card) \n\nCapetown – heat – lots of gorgeous flowers … 5 hours ago, exactly as above (see picture) we were pulled and pushed into the docks of Capetown … the smoke of the tiny tugs was exactly so black … and there where the spot on the card is, that‘s where we went: Table Mountain, by cable car. The view was magical.\n\n\n\n21.12.67 \n\nUnd schon wieder 5 Tage lang Wasser, Wellen und Himmel, ein lärmiges Schiff mit 1600 Menschen. Wir machten und machen ziemlich unangenehme Phasen von Übelkeit, Kopfweh, Erbrechen, Erkältung . . . durch, von Tag zu Tag werden wir müder und fauler, schlafen lange und länger, um dem lauten Treiben etwas auszuweichen. Sonst tun wir gar nichts, weil es unmöglich ist.\n\nDoch Capetown war ein Lichtblick. In Capetown war es schön! Zu viert, zusammen mit den beiden Dänen Lisbeth und Erik, bestiegen wir nach einem heissen Spaziergang, vorbei an Schiffen aus allen Weltteilen, einen Taxi, gelblicher, geldgieriger Taxichauffeur, den wir vorsichtshalber vor der Fahrt um den Preis fragten, er wollte 2 Rand (über £1), doch wir bestanden darauf, ihm nicht mehr als £1 zu geben! Und er brachte uns auch schlussendlich, gelb-süss lächelnd, an Ort und Stelle für diesen Preis und konnte uns sogar noch etwas Geld mehr englisches Geld in Rands umwandeln für späteren Gebrauch. Er warnte uns auch mehrere Male ausdrücklich vor Taschendieben, wahrscheinlich weil er selber einer war!\n\nDas Seilbähnchen ratterte uns dann wirklich in 5 Minuten fast senkrecht auf den Table Mountain, der uns dann eine unvergessliche, zauberhafte Aussicht auf Meer und Felsen und viele Häuser bot (Capetown hat bald eine Million Einwohner, weisse, gelbe (Malaien) und schwarze, mit strenger Rassentrennung). Das Meer leuchtete ganz golden in der Abendsonne, sodass wir vor Staunen fast den Atem verloren. Nach Glacé und Zitronensaft brachte uns das Bähnchen wieder zurück, und statt teurem Taxi trugen uns unsere eigenen Füsse durch Föhrenwäldchen, über holperige Wege, vorbei an Blumen und kleinen Käfern, wieder in die Stadt zurück. Wie genossen wir es doch, auf wirklicher, ruhiger Erde zu wandern, und nicht auf dem wankenden, hölzernen Schiff! Wir atmeten ganz tief, denn es musste ausreichen für 13 Tage (5 sind schon vorbei!). Einige Föhrenzweiglein kamen dann auch mit. Die sollten uns etwas Weihnachten und gute Luft ins Kabinchen bringen. Föhrenzweige mit Föhrenzapfen dran! Dann wanderten wir noch etwas durch die Nacht, die im kitschigsten, unvorstellbaren Weihnachtsschmuck prangte. Lichter drehten sich in allen Farben. Mehr Jahrmarkt als Weihnachten. Die Läden waren fast alle geschlossen, sodass wir uns glücklicherweise keine solchen Schnitzer wie in Las Palmas leisten konnten – denn nach vielen Tagen auf dem Schiff ist man zu allem fähig! Dafür lud der gute Erik uns nachher zu einem köstlichen Essen ein: Rump Steaks von einer Grösse, die Ihr Euch nicht träumen könnt. Jeder kriegte eine ovale Platte mit dem Fleischungetüm darauf. Vier Personen hätten sich an einem einzigen satt essen können. Doch wir assen tüchtig, verzweifelt und froh, weil es so gut war, einmal wieder wo anders zu sitzen, wo anders zu essen, und dick und rund rollten wir gegen Mitternacht teils per Bus, teils per Taxi, wieder zum Hafen zurück, zur „Fairsky“ mit dem gelben Kamin, und etwas widerwillig stolperten wir über den hölzernen Steg in den riesigen Schiffsbauch zurück, wenn nicht eine Hoffnung gewesen wäre: Briefe! Vielleicht sind Briefe dort! (Wir kriegten die Briefe immer erst am Ende unserer Ausflüge). Und wirklich, heissa, ca. 10 Stück für die Powells!\n\nHeute sprangen lustige kleine Delphine durchs Wasser. Gestern und vorgestern besuchten uns zwei riesige weisse Vögel, die wie zwei ganz grosse Möwen aussehen. Fliegende Fische konnten wir bis jetzt im Indischen Ozean keine sehen. Wetter wieder kühler, in langen Hosen und Pullovern wandern wir herum.\n\n\n\n21.12.67 (Brigitte to Family) \n\nAnd again already 5 days long of water, waves and sky, a noisey ship with 1600 people. We‘ve had and are having rather unpleasant phases of feeling sick, being sick, headaches, colds … from day to day we get tireder and lazier, sleep longer and longer so as to avoid some of the commotion. Otherwise we do nothing, because it‘s impossible to do anything. \n\nBut Capetown was a bright spot. Capetown was beautiful. After a hot walk past ships from all corners of the earth together with the two Danes Lisbeth and Erik, all four of us climbed into a taxi driven by a yellowish money hungry driver from whom (to be on the safe side) we first asked how much the trip would cost: he wanted 2 rand (more than £1), but we insisted we would give him any more than £1. And finally he brought us, yellow sweet smiling to the correct place for the correct price and could even change some of our English money into rands for later use, He warned us explicitly several times to beware of pickpockets, probably because he was one himself. \n\nThe cable car rattled us vertically up Table Mountain in just 5 minutes and offered us an unforgetable magical view of sea and cliffs and many houses (Capetown has almost a million inhabitants, white, yellow (Malayan) and black, with strick racial segregation). The sea glowed all golden in the evening sun so that our amazement almost took our breath away. After icecream and lemonade the cable car brought us down again and instead of an expensive taxi our feet carried us though pine forests over bumpy paths, past flowers and little beetles back into the city again. We enjoyed it to be walking on really stable earth and not on a wobbly wooden ship! We breathed very deeply because this had to last for 13 days (5 are already passed!). A few pine twigs accompanied us back on board. They should give us a bit of Christmas and good air in our cabin. Pine twigs with pine cones on them! Then we wandered a bit further through the night which was resplendent with the most unimaginably kitschy Christmas decorations with lights an all possible colours. More like an annual fair than Christmas. Fortunately almost all the shops were shut so that we that we couldn‘t perform any blunders as we did in Las Palmas — because after so many days on board ship one is ready for anything! Instead good Erik invited us afterwards to a delicious meal: rump steaks bigger than you could ever dream of. Each of us got an oval plate with the meat monster on it. Four people could have filled themselves on one of them. But we ate diligently, desperately and joyfully because it was so good to be able to sit down somewhere else, to eat something else and fat and round at about midnight we rolled, partly by bus, partly by taxi back to the port again, to the „Fairsky“ with the yellow funnel, and stumbled up over the wooden stairway back into the huge ship‘s tummy rather reluctantly if it were not for a special hope: Letters! Perhaps ther are letters there (we always get mail at the end of our day trips). And yes, hurray, about 10 pieces for Powells!\n\nToday frolicking dolphins were leaping through the water. Yesterday and the day before two huge white birds visited us which looked like two very big seagulls. There are no flying fish to be seen now in the Indian Ocean. Weather cooler again, we wander around in long pants and pullovers.\n\n\n\n23.12.67 \n\nHeute haben sie überall ganz eigenartige „Christbäume“ aufgestellt: Künstliche Bäume, künstlicher Schnee darauf und natürlich künstliche Kerzen. Die Bäume sind irgendwie zusammen gesetzte Holzstücke, mit grünem Zeug bezogen, und dann eben von Watte bedeckt. Die Farben“pracht“ ist enorm. Ich kann mich nicht so gut daran gewöhnen. Dafür haben wir ein prächtiges eigenes „Bäumlein“ in der Kabine, heute haben wir nämlich ein Strohsternlein und ein rotes Kügelein, Lametta und Föhrenzapfen daran gehängt – darunter eine Kerze – es sieht schön aus.\n\n\n\n23.12.67 (Brigitte to Family)\n\nToday they have set up everywhere strange looking „Christmas Trees“. Artificial trees, with artificial snow on them and of course artificial candles. The trees are somehow put together out of pieces of wood, covered with green stuff and then decorated with cotton wool. The colour „grandeur“ is huge. I can‘t get used to it very well. We have a glorious little „tree“ of our own in the cabin and today we hung a straw star, a little red globe, tinsel and a pine cone on it — underneath a candle — it looks beautiful.\n\n\n\n27.12.67 \n\nAuch Weihnachten ist vorbei geschaukelt mit Chrstmas Cards, Christmas Pudding und Merry Christmas Cake, mit Turkey und süssem Wein. Noch stehen die zusammenklappbaren Weihnachtsbäume aufgeklappt in den Räumen und blinken bunte rot-gelb-grüne Lichter. Den Heiligen Abend haben wir richtig nett mit Lisbeth und Erik auf dänisch gefeiert. Es gab Wein, Schokolädchen, Ananas und Orangen, sogar auch ein Stückchen dänische Weihnachtsgeschichte. Oben wurde indessen getanzt und gelärmt und gekracht!\n\nAm 25. dann war der grosse Weihnachtsfrass mit dem besagten Turkey und Konsorten, Tenue „formal dress“. Die meisten Damen rauschten lang daher. Kitchen gefallen die langen Kleider nicht, zum Glück, da ich ja keines habe. Anschliessend grosser Christmas Ball. Wir hatten keine Lust und sangen im Kabinchen bei Kerzenschein ein paar Quempas-Liedlein.\n\n\n\n27.12.67 (Brigitte to Family)\n\nChristmas has rocked past now too with Christmas Cards, Christmas Pudding and Merry Christmas Cake, with turkey and sweet wine. The folding Christmas Trees are still standing in the rooms unfolded and the coloured flashing red-yellow-green lights. We had a lovely Danish Christmas Eve celebration with Lisbeth and Erik. There was wine, chocolates, pineapple and oranges, even a tiny Danish Christmas Story. During this, above us people danced and kicked up a terrible racket!\n\nOn the 25th then there was a big Christmas feed-up with the said turkey and accompaniment, dress: Formal. Most ladies whooshed in in long dresses. Kit doesn‘t like these dresses, luckily, because I haven‘t got one. Finally a big Christmas Ball. We didn‘t go, we stayed in our cabin by candle light and sang some German Christmas songs.\n\n\n\n28.12.67 \n\nDoch manchmal sind wir auch froh, besonders, wenn wir die eleganten Flüge der riesengrossen, schwarzweissen Seevögel (Albatros) bewundern können, oder wenn die silbrigen Fische über die Wellen fliegen (sie fliegen wirklich!!), oder wenn die glitschigen Delphine so froh und lustig in Schiffsnähe spielen. Vor ein paar Tagen weckte uns der Wecker sehr früh, um einem kleinen Stücklein Land, den Amsterdam Islands, zuzuwinken (der Captain hatte uns per Lautsprecher darüber informiert). Ca. eine Stunde lang starrten wir schlottern in unseren Windjacken auf diese Insel mitten im Indischen Ozean, weil es einfach gut tat, Land zu sehen.\n\n\n\n28.12.67 (Brigitte to Family)\n\nBut sometimes we are really happy, especially when we can admire the elegant flight of the huge black and white sea birds (albatros) or when the silvery fish fly over the waves (they really do fly!) or when the glittering dolphins are so gay and frolicky and play near the ship. A few days ago the alarm clock woke us very early so that we could wave to a tiny bit of land, the Amsterdam Islands (the captain had informed us about it over the loudspeaker). About an hour long we shivvered in our wind jackets and starred at these islands in the middle of the Indian Ocean, just because it was so good to see land.\n\n\n\n1.1.68 \n\nA very happy New Year to you all !!!!!!!! Fast das ganze Schiff war betrunken gestern Nacht und heute früh: Grosser New Year’s Eve Ball. Dem Gekreische, Gelärme und Getöse, Alkohol und Zigaretten . . . sind wir dann ziemlich bald entflogen. Mit Chianti feierten wir um Mitternacht ein bisschen in unserem Kabinchen, zusammen mit den Dänen. Heute Abend soll’s noch ein grosser New Year Dinner geben.\n\nDurch ganz riesengrosse Wellen sind wir vom 1967 ins 1968 gerollt und befinden uns immer noch im berühmt-berüchtigten „bite“ von Australien, Strecke Perth-Melbourne (berühmt und berüchtigt wegen unruhiger See!). Menschen balancieren mühsam über die Holzböden, Arme und Beine schwingend, Gläser klirren, zerbrechen, Stühle fallen um: ein richtig wilder, oft amüsanter, auch etwas gefährlicher Tanz über die Wellen. Ab Melbourne soll’s dann besser werden. Kitchen hat euch das schöne Bildchen gezeichnet. Seht ihr die „Fairsky“ dort mitten im „bite“ (Biss) sich durch Wellenberge pflügen?\n\nWie’s in Freemantle war, mögt Ihr fragen? Ausserhalb des Hafens bei der Pilotstation hat uns das Postschiff zum ersten Mal besucht. Das war spannend und aufregend. Viele Lichtlein sahen wir übers Wasser kommen, und bei jedem dachten wir, dies ist’s vielleicht. Das Boot mit dem kleinsten Licht kam dann auch wirklich nah und näher, und bald wurde mit Ahoi, begleitet vom Gebrüll und Gepfeife der zuschauenden Passagiere, der Postsack durch eine kleine Öffnung in den Schiffsbauch geschmissen – und das kleine gute Bot verschwand wieder im Dunkeln.\n\nNach der Landung hat uns kleines Züglein mit offenen Fenstern in halbstündiger Fahrt nach Perth gerattert. Dort sind wir ein bisschen durch grosse, heisse Strassen geschlendert, tranken Milch (!) und Fruchtsäfte in Hülle und Fülle (auf dem Schiff gibt es eben nur künstliche ungeniessbare Trockenmilch), kauften Aprikosen, Pfirsiche und Äpfel (nur wenig frische Früchte on the boat!), spazierten dann auch etwas im berühmten King’s Park unter riesigen, exotischen Bäumen, lustige Vögel lachten in den Zweigen und ein Papageienpärchen leuchtete bunt.\n\nUnd bald mussten wir leider leider wieder das Züglein besteigen und zurück rollen, vorbei an kleinen seltsamen Holzhäuslein, denn um 2 Uhr wollte die „Fairsky“ losziehen. Wir kauften uns nochmals ein Fläschchen Milch, das mit uns in die Kabine kam und jetzt als Vase für einen prächtigen rosaroten Blütenzweig aus dem King’s Park dient. Schlussendlich hupte die „Fairsky“ dann doch erst um 15 Uhr zum Aufbruch, und dann hatten wir wieder so viele Briefe und Karten und Ding zum Lesen, dass wir kaum spürten, wie das Schiff aus den Docks bugsiert wurde.\n\nBeim Lesen von Vatis Noten-Stativ-Witz kugelten wir uns vor Lachen (siehe rechts).\n\n\n\n1.1.68 (Brigitte to Family)\n\nA very happy New Year to you all !!!!!!! Practically the whole ship was drunk last night and early this morning: Grand New Year‘s Ball. All that screaming and racket and bellowing we fled fairly early. At midnight and with Chianti we celebrated a bit together with the Danes in our wee cabin. This evening there is again to be a big New Year‘s dinner.\n\nWe rolled through enormous waves from 1967 into 1968 and we are still in the famous-infamous great Australian Bite, the stretch from Perth-Melbourne (well-known and notorious for its turbulent sea!). People balance themselves precariously on the decks, arms and legs swinging, glasses clinking, breaking, chairs topple: a really wild. often amusing, also dangerous dance over the waves. After Melbourne it should get better. Kit drew you a nice picture. Do you see the „Fairsky“ there in the middle of the „bite“ ploughing through mountains of waves?\n\nHow it was in Freemantle, you might ask? Outside the harbour by the pilot station we had for the first time a visit from a post boat. That was tense and exciting. We saw lots of little lights coming over the water and by each one we thought: thisis it perhaps. The boat with the smallest light came nearer and nearer, and then with an Ahoi accompanied from cheers and whistles from the onlooking passengers, the postbag was hurled through a little opening in the ship‘s belly — and the good little boat disappeared again into the darkness.\n\nAfter the landing a little train with open windows rattled us over a half hour journey to Perth. There we strolled briefly through wide hot streets, drank milk and fruit-juice galore (on the ship there is only artificial nasty tasting milk powder), bought apricots, peaches and apples (ver little fresh fruit on board the ship), wandered through the famous King‘s Park under enormous exotic trees, funny birds laughed from the branches and a pair of parrots shone colourfully.\n\nAnd soon unfortunately we had to take the train again and roll back past curious little wooden houses, as the „Fairsky“ wanted to leave at 2 pm. Again we bought a bottle of milk to have in our cabin which is now serving as a vase for the magnificent pink twig of blossoms from King‘s Park. Finally however the ship‘s horn sounded the departure only at 3 pm and then we had so many letters and cards and things to read that we hasrdly noticed how the ship was tugged out of the docks.\n\nWhile reading Vati‘s music-tripod-joke we were doubled up with laughter\n\n\n\n02.01.68 \n\nNoch 12 Stunden bis Melbourne. Etwas ruhiger ist die See momentan. Die Leute stehen statt auf einem meistens wieder auf zwei Beinen, Tische und Stühle tanzen nicht mehr so heftig, Löffel, Gabeln und Messer sausen seltener über die Tische und auf den Boden, noch keine zerbrochenen Gläser haben wir gesehen heute. Gestern „überfiel“ mich buchstäblich eine ältliche English Lady, die infolge beinaher Senkrechtlage der „Fairsky“ in enormer Geschwindigkeit samt umgekipptem blauem Stuhl, zerbrochenen Gläsern und Handtasche in mich hinein putschte. Hei, wir mussten ganz fest lachen. Auch die Lady lächelte bald wieder.\n\n\n\n02.01.68 \n\nStill 12 hours to Melbourne. The sea is much calmer at the moment. Instead of on one leg most people are standing on two again, tables and chair are not dancing so violently, spoons, forks and knives shoot less over the tables and onto the floor, still no broken glasses have we seen today. Yesterday an eldery English lady literally fell over me (German „überfallen“ — literally „over-fall“ means „to attack“) who because of the almost vertical position of the „Fairsky“ crashed into me at great speed together with a tipped-over blue chair, broken glasses and a handbag. Hei, we had to laugh. Also the lady smiled again soon.\n\n\n\n03.01.68 \n\nDas war ein ganz prächtiger Spaziergang durch die „Botanical Gardens“ von Melbourne, und, wisst Ihr was, sogar neuseeländische grüne dicke Bäume begrüssten mich zum erstenmal – vor allem aber entzckten uns reizende winzige Vögelchen mit blauen Köpfchen und steilen Schwänzlein.\n\n\n\n03.01.68 (Brigitte to Family)\n\nThat was a really magnificent walk through the Melbourne „Botanical Gardens“, and do you know what greeted us for the first time there: thick green New Zealand trees — above all however, we were delighted with tiny attractive birds with blue heads and perpendicular tails.\n\n\n\n\n\nDas nachgelieferte Stativ! Deswegen muss ich wohl meiner Lebtag geneckt werden, wenn nicht gar gefoppt. Aber, lieber Kit,\n\n1) ist ein Stativ, nach meinem Fremdwörterbuch, einfach „ein dreibeiniges Gestell zum Aufstellen von Geräten“, somit auch der Notenständer – ein Stativ!\n\n2) Habe ich Dich mehr am Notenständer gesehen als vor dem Photo-Stativ, weil Du Deine Aufnahmen eher im Fluge als am Ort stehend machtest – usw. – Mach aber fleissig und vergnügt Musik auf dem Schiff, auch ohne – Notenstativ!!\n\n\n\n\n (Brigitte's father to us): The delivered tripod! Because of this I will probably be teased my life-long, perhaps even plagued. However, dear Kit,\n\n1) a tripod, according to my dictionary of foreign words, is simply a three-legged stand for holding devices“, consequently a music stand is – a tripod!\n\n2) I have seen you more often with a music stand than behind a camera tripod, because you took photos rather from the flying position than standing fixed to a spot – etc. – but make music busily and happily on the ship – even without a music-tripod!!\n\n\n\n4.1.68 \n\nGestern konnten wir uns von morgens 7 Uhr bis abends 17 Uhr Melbournes erfreuen, mit einem grossen Spaziergang durch den Botanischen Garten, und in der winzigen Art Gallery fanden wir sogar einige Impressionisten, zwischenhinein stärkten wir uns mit enormen Milkshakes, im Museum nahe der Art Gallery fanden wir dann viele ausgestopfte australische Tiere, Vögel und Schmetterlinge – und in einer Abteilung, die vom Leben der Aboriginals mit Bildern und seltsamen Dingen berichtet, wurde uns ob der Grausamkeiten und unglaublichsten Bräuche (Menschenfresser u.a.) ganz übel – und zurück brachte uns das kleine Hafenzüglein bald. Vor der „Fairsky“ konnten wir uns im Sand am Strand noch herrlich wärmen und wappnen für kühlere Seewinde. Um 17 Uhr kam wieder der grosse Abschied, hunderte von Menschen unten, die winkten (ca. 400 neue Gäste, ebenso viele haben das Schiff verlassen), hunderte von winkenden, brüllenden und schreienden Menschen oben – Papierschlangen, Lachen und Weinen, dazu laute Musik in den Schiffslautsprechern. Doch es ist etwas ruhiger geworden hier, weil die meisten der schreienden und kreischenden Kinder bereits gegangen sind, die neuen Gäste, die via Panama nach Europa reisen, sind meistens kinderlos und auch sonst ruhiger und weniger zerfahren. In Sydney wird es nochmals einen ganz enormen Wechsel geben. So gefällt es uns: Ein Stopp alle 2 – 3 – 4 Tage! Dies macht das Leben viel angenehmer, und es geht uns beiden wirklich viel besser. Kit liest deutsche Kurzgeschichten momentan (Penguin Paralleltext), Autoren wie Böll, Gaiser, Borchert, Aichinger . . . figurieren darin. Ich habe mir die „Dubliners“ von James Joyce angeschafft gestern. In Melbourne wühlten wir übrigens begeistert in den riesigen Bookshops, wobei wir in Perth unglücklicherweise keinen einzigen finden konnten!\n\n\n\n4.1.68 (Brigitte to Family)\n\nYesterday we could enjoy Melbourne from 7 am until 5 pm with a big walk through the Botanical Garden, and in a tiny Art Gallery we even found some impressionists, in between we reinforced ourselves with milk shakes, in the museum near the Art Gallery we found lots of stuffed Australian animals, birds and butterflies — and in one department which was about the life of the Aboriginals they showed pictures and recounted curious things, so that I felt quite sick from the atrocities and unbelievable customs (cannibalism, among other things) and then we returned in a small train to the port and warmed ourselves in the sand on the beach and prepared ourselves for cooler sea-winds. At 5 pm came the big departure again, hundreds of people below who were waving (about 400 new passengers, about the same number have left the ship), hundreds of waving, weeping and crying people above — paper-streamers, laughing and crying and loud music from the ship‘s loudspeakers. But it is much calmer on board because most of the screaming and bawling children have gone and the new guests who are travelling via Panama to Europe are mostly without children and otherwise quieter and less scatterbrained. There will be another big change in Sydney. This is how we like it: a stop every 2 - 3 - 4 days! It makes life much more pleasant and we both feel so much better. Kit is reading short stories at the moment (Penguin Parallel Text),, authors like Böll, Gaiser, Borchert, Aichinger … are included. Yesterday I bought for myself the „Dubliners“ by James Joyce. In Melbourne, by the way, we were delighted to be able to rummage in huge bookshops, whereas in Perth unfortunately we couldn‘t find a single one!\n\n\n\n06.01.68 (Postkarte) Our ship came right inside under this famous bridge (the largest single-span bridge in the world, I think). Behind the bridge and just in front of those tall buildings are the ferry wharves. We took a ferry from there to the zoo, where we saw 13 giraffes. On the way across the harbour we had a marvellous view of the new Opera House which you can see looking like a group of mussels just above the left end of the bridge. We liked this especially.\n\n\n\n06.01.68\n\nSydney ist eine gute Stadt, in der man sogar leben könnte! Die erste australische Stadt, die uns gefiel. Der Hafen ist grossartig und seltsam, doch interessant mutete das muschelförmige, sich noch im Bau befindende Opera House an. Im Sydney Zoo sah Kit endlich zum allerersten Mal richtig lebendige Giraffen, ca. 13 aufs Mal, und wurde ganz glücklich. Viele australische Tierchen, Schlangen, Affen, Bären und die unglaublichsten Fisch-Sorten konnten wir bestaunen – und ich sah auch meine ersten Haie. Zwar war ich etwas enttäuscht. Ich hatte mir diese wilden Tiere so viel wilder und grösser vorgestellt. Friedlich segelten sie durch ihren Teich, dessen Grund nur so schimmerte und flimmerte von goldenen und silbernen Geldstücken. Kit hatte wieder einmal so einen Photographier-Tag, knipste und knipste in den sonderlichsten Stellungen, besonders die stolz und bedächtig schreitenden Giraffen animierten ihn dazu. So gegen den Schluss mussten wir dann merken, dass der Film nicht funktionierte!! Dies war sehr ärgerlich, doch nichts desto trotz knipste er froh nach Filmwechsel weiter! Also zurück ging’s per Fähre durch strömenden Regen bald wieder in die City und in grosse Warenhäuser. Dort bestaunten, betasteten und bewunderten wir viele schöne japanische Dinge, um am Schluss, haltet Euch fest, mit sechs braunen Moccatässchen, einem kleinen hohen Häfelchen und Zuckerdöschen den Laden zu verlassen!! Jetzt fehlt nur noch der gute Kaffee.\n\nErik und Lisbeth waren natürlich wie immer auch dabei. Ich glaube, ich habe Euch gar nie erzählt, was die beiden jungen Dänen (Erik 25, Lisbeth 22, schon 2 ½ Jahre verheiratet) in Neuseeland zu tun gedenken? Erik ist Fischer von Beruf, wird also statt dänische für ein Weilchen neuseeländische Fische fischen … Lisbeth gedenkt nach einem Weilchen eine Coiffeuse-Stelle anzutreten. Die beiden sind sehr nett, unkompliziert und froh, und es ist gut, mit ihnen zusammen zu sein.\n\nHei, die Schiffsbesetzung hat sich seit Sydney fast völlig geändert. Nur noch wenig bekannte Gesichter. Viele neue Wesen, die wie gesagt wieder Southhampton zusegeln. Es ist wirklich soo viel ruhiger und gemütlicher geworden, seit die kreischenden Auswanderer-Familien ausgewandert sind. Trotzdem können wir den nächsten Donnerstag mit der Befreiung kaum erwarten. Schon 13 Kit-Türchen habe ich geöffnet an meinem Advent-NZ-Kalender. Noch 5 bleiben!\n\nIn Brisbane war das Schiff nur kurzer Zeit: 6 am bis 12 Mittag, keine Zeit zum Aussteigen. Wir standen auf Deck, als das Schiff den Brisbane River hinauf gezogen wurde, sahen die Stadt von weitem, das war alles. Dies sind meine letzten australischen Grüsse – die nächsten werden bereits aus Wellington sein. Könnt Ihr Euch das vorstellen? Ich nicht! Alle, ich glaube 41 Bücherpakete sollen bereits glücklich in Wellington gelandet sein. Als am Anfang die Zollbehörden so überwältigt waren, als zuerst 6, und dann ein Weilchen später 18 Pakete aufs Mal ankamen, wurde Betty amtlich vorgeladen: Man ahnte Schmuggel mit „Pornographic Literature“. Es wurde dann feierlich ein Paket in Anwesenheit von Kits Mutter geöffnet, doch, zum Leidwesen der Zollbehörde, war nichts Ausserordentliches drin. Alle weiteren Pakete wurden dann anstandslos geliefert. Heute haben wir zur Abwechslung bereits wieder ein bisschen gepackt und werden auch am Montag und Dienstag und Mittwoch weiter packen, da der „Baggage Room“ jeweils nur eine Stunde pro Tag den Passagieren offen steht.\n\n\n\n06.01.68 (Brigitte to Family)\n\nSydney is a good city, one in which one could even live! The first Australian city which we liked. The harbour is magnificent and strange, but interesting is the mussel shaped Opera House which is being built there. At the Sydney Zoo Kit finally saw for the first time real living giraffes, about 13 of them, and was completely happy. We could admire many Australian animals, snakes, monkeys, bears and the most unbelievable sorts of fish — and I also saw my first sharks.\n\nAlthough I was slightly disappointed. I had imagined these wild animals to be much wilder and bigger. They sailed so peacefully through their pond whose bottom flimmered and sparkled from gold and silver coins. Kit had a photography day again, snapped and shot in the most remarkable positions, he was especially animated to record the proud and thoughtfully striding giraffes. And then towards the end we noticed that the film hadn‘t functioned! This was very annoying but in spite of everything he changed films and went on snapping. Then by ferry and in pouring rain we were soon back in the city and went into the big shops. There we marvelled at and handled and admired many Japanese things and in the end, hold on to yourselves tightly, we left the shop with six brown coffee cups, a tiny tallish jug and a sugar bowl!! All it needs now is some good coffee.\n\nErik and Lisbeth were of course also with us. I don‘t think I ever told you what these two young Danes (Erik 25, Lisbeth 22, already married for 2 ½ years) are planning to do in New Zealand? Erik is a fisherman by trade and for a while, instead of Danish fish, he will fish for New Zealand fish … Lisbeth is considering taking a job as a hairdresser for a while. Both are very friendly, uncomplicated and happy people and it is good being together with them.\n\nHei, since Sydney the ship‘s crew is almost completely new. Only a few familiar faces left. Many new passengers, who as I said are sailing to Southampton. It is really soo much calmer and more comfortable since all the screaming emmigrant families have emmigrated. But in spite of this we can‘t wait till next Thursday with its liberation. Already 13 Kit-windows on my Advent-NZ Calendar* have I opened. Only 5 to go.\n\n* German speaking children often have „Advent“ calendars in which they open a tiny paper door or window each day as a count down to Christmas.\n\nIn Brisbane the ship stopped only briefly: 6 am until 12 noon, no time to go out. We stood on deck as it was pulled up the Brisbane river and saw the city in the distance, that was all. These are my last Australian greetings — the next will be from Wellington. Can you imagine that? I can‘t! All of the 41 (I think) book parcels have already landed in Wellington, At the beginning as the first 6 arrived, and then 18 more parcels all at once, the customs officers were so alarmed that Betty was officially summoned: one suspected smuggling of „pornographic literature“. Then in the presence of Kit‘s mother one parcel was ceremonially opened, and to the customs officer‘s chagrin there was nothing special in it. After that all parcels were delivered without further objection. Today for a change we already did some packing and will do so again on Monday and Tuesday and Wednesday because the „Baggage Room“ is open for passengers for just one hour per day.\n\n\n\n10.1.68 \n\nNoch eine Nacht bis Wellington! Ankunft Pilot Station 5.30 am, Docking 7.30 am. Und dann? Dann müsst Ihr mir alle Daumen und Zehen drücken, da ich doch etwas aufgeregt bin. Mit frisch gewaschenen Häuptern und frisch geschnittenen Haaren (die gute Coiffeuse Lisbeth hat uns aus Räubern in sehr salonfähige Zivilisten verwandelt!) sitzen wir wieder in der blau bestuhlten Verandah Bar, (zum letzten Mal!) und die Musik kann uns heute gar nicht mehr so ärgern (weil eben zum letzten Mal!). Wir erholen uns wieder einmal von Pack-Strapazen, denn um 15 Uhr nachmittags hatten alle Koffer vor den Kabinen zu stehen, und wieder einmal hoffen wir, dass diese am Ziel problemlos durch Zoll und andere Unannehmlichkeiten geschleust werden, besonders auch wegen der momentan in Grossbritannien immer noch wütenden Maul- und Klauenseuche.\n\n\n10.1.68 (Brigitte to Family)\n\nJust one more night to Wellington! Arrival at the pilot station at 5.30 am, docking at 7.30 am. And then? Then you must cross all fingers and toes for me, because I‘m rather anxious. With freshly washed heads and freshly cut hair (the kind hair-dresser Lisbeth has turned us from robbers into socially acceptable civilians!) we are again sitting in the blue-chaired Verandah Bar and the music cannot annoy us any more (because it‘s for the last time). We are recovering again from gruelling packing, because at 3 pm. all luggage has to be standing in front of our cabin door, and again we hope that this can be swished through the customs without any unpleasantness, especially as at the moment in Great Britain an epidemic of foot and mouth disease is raging.\n\n\n\n12.01.68 \n\nNgaio Unsere Liebsten, Nun kommen die ersten Grüsse aus Neuseeland, erste Grüsse aus Wellington, erste Grüsse aus Ngaio, erste Grüsse aus der neuer Heimat, erste Grüsse vom wundervollen, malerischen Hafen, erste Grüsse von grünen, dicken, immergrünen Bäumen; von Vögeln mit fächerartigen Schwänzen und von vielen blühenden Bäumen, besonders vom neuseeländischen Christmas Tree . . . erste Grüsse auch von meinen andern Eltern, von Betty und Hu, die wirklich ganz lieb und reizend zu mir sind: Nun geht es uns wieder gut, die stinkende „Fairsky“ segelt allein rauchend und wackelnd anderen Küsten zu, wir haben wirklich festen Grund und Boden unter unseren Füssen, und überall riecht es ganz besonders. Wir haben in einem Zimmer mit richtigen Fenstern geschlafen, mit Fenstern und frischer Luft. Wie herrlich ist dies nach 6 Wochen in jenem dunklen, stockdunklen kleinen Loch mit eiskalter „air conditioned“ Luft, die oben zur Decke hereinströmte und Kits Nase ständig belästigte. Doch jetzt ist dies alles vorbei. Auch der Zoll ging rasch und reibungslos von Statten, und da wären wir also mit unseren 9 Koffern und 3 Taschen, alles haben wir glücklich über die verschiedenen Meere geschafft, und bis jetzt scheint auch alles heil und ganz zu sein. Isn’t that good? Noch ein kleines Stücklein weiter müssen wir es schaffen, ein kleines Stücklein mehr Wasser, dies Ende Monat nach Christchurch. 41 Bücherpakete und zwei Bilderrollen müssen auch befördert werden.\n\nWisst Ihr auch, dass ich den Grossen Bären nicht mehr sehen kann, sondern das Southern Cross (besteht aus vier Sternen, sieht genau wie ein Papierdrachen ohne Schwanz aus)? Und wisst Ihr auch, dass der Mond auf dieser Seite umgekehrt steht? Man kann also bei zunehmendem Mond kein Z mehr formen, bei abnehmendem kein A mehr. Orion ist noch da, nur vollkommen auf dem Kopf. Auch ich stehe auf dem Kopf, und das gefällt mir.\n\n\n\n12.01.68 (Brigitte to Family)\n\nNgaio Dear Everybody Here come the first greetings from New Zealand, the first greetings from Wellington, the first greetings from Ngaio, the first greetings from my new homeland, the first greetings from the wonderful picturesque harbour, the first greetings from the thick, green evergreen trees, from birds with fan-like tails and from many blossoming trees, especially from the New Zealand Christmas Tree … the first greetings too from my other parents, from Betty and Hu, who are really so loving and kind to me: Now everything is good again, the stinking „Fairsky“ is sailing alone, smoking and wobbling towards other coasts, we really have stable ground under our feet and everywhere it smells so special. We could sleep in a room with real windows, with windows and fresh air. How magnificent this is after 6 weeks in a dark, pitch dark hole with ice cold „air conditioned“ air, which streams in from the ceiling and constantly attacks Kit‘s nose. But that is all past now. Even the customs went quickly and smoothly and there we stood with our 9 suitcases and 3 bags, everything which we have brought over the various seas seems to be well and complete. Isn‘t that good? Just a tiny bit further do we have to take it, a tiny bit more water at the end of this month to Christchurch. 41 book parcels and two picture rolls have to be sent too.\n\nDid you know that the Great Bear cannot be seen from here, instead the Southern Cross (made up of four stars, looks just like a paper kite without a tail)? And did you also know that the moon is upside down on this side? And therefore one can no longer make a Z from a waxing moon or an A from a waning one. Orion is here but standing on his head. I stand on my head too and I like it like that.",{"_type":375,"current":31256},"1966-chronicle-of-a-special-year","1966 Chronicle of a Special Year",{"_id":31259,"chapters":31260,"content":31287,"images":32317,"rawText":32318,"slug":32319,"title":32321},"dc201099-bad3-407d-ad8a-e65ec5b3d67c",[31261,31263,31265,31267,31269,31271,31274,31276,31278,31280,31282,31285],{"_key":31262,"text":3405},"5507bdce49a7",{"_key":31264,"text":18901},"b0bfef7b9cf0",{"_key":31266,"text":6481},"d15cbb5ff11a",{"_key":31268,"text":7911},"f72a952afe9e",{"_key":31270,"text":9418},"dd6ab0e13b80",{"_key":31272,"text":31273},"b84ac6d2ffe9","Ian Dando",{"_key":31275,"text":5436},"61b2909a044c",{"_key":31277,"text":5833},"8e5188bfe503",{"_key":31279,"text":1814},"509403c7bb44",{"_key":31281,"text":11468},"699da75bdd3a",{"_key":31283,"text":31284},"388d5bceeba0","Gennie de Lange",{"_key":31286,"text":309},"5fa8d3a26551",[31288,31297,31329,31337,31365,31373,31381,31388,31395,31404,31412,31427,31435,31443,31451,31458,31465,31474,31482,31490,31498,31506,31514,31522,31530,31538,31546,31553,31561,31568,31576,31584,31592,31600,31608,31616,31624,31632,31640,31648,31655,31663,31670,31677,31686,31702,31710,31733,31740,31748,31756,31763,31770,31779,31787,31794,31802,31810,31818,31825,31832,31843,31859,31867,31875,31882,31890,31898,31905,31912,31921,31929,31937,31945,31952,31960,31968,31975,31982,31991,31999,32006,32014,32022,32029,32036,32045,32053,32060,32068,32075,32083,32091,32098,32107,32118,32125,32140,32147,32155,32163,32170,32177,32186,32194,32202,32209,32217,32225,32232,32239,32248,32256,32264,32272,32280,32287,32295,32303,32310],{"_key":31262,"_type":9,"children":31289,"image":4,"markDefs":31294,"style":6894},[31290],{"_key":31291,"_type":13,"marks":31292,"text":3405},"b305f245a3fe0",[31293,15],"394ed1c8b51b",[31295],{"_key":31293,"_type":321,"reference":31296,"slug":3414,"type":326},{"_ref":3413,"_type":324},{"_key":31298,"_type":9,"children":31299,"image":4,"markDefs":31328,"style":18},"a889e4ac6601",[31300,31304,31308,31312,31316,31320,31324],{"_key":31301,"_type":13,"marks":31302,"text":31303},"d92b6672cde90",[],"He is also a ",{"_key":31305,"_type":13,"marks":31306,"text":31307},"d92b6672cde91",[73],"maestro of language",{"_key":31309,"_type":13,"marks":31310,"text":31311},"d92b6672cde92",[],".A fact I think that gives his compositions a reach and a depth that goes beyond what’s happening at the surface, where as Herakleitos said ‘deep equals true’. In short, one aspect of Kit’s ",{"_key":31313,"_type":13,"marks":31314,"text":31315},"d92b6672cde93",[73],"genius ",{"_key":31317,"_type":13,"marks":31318,"text":31319},"d92b6672cde94",[],"(in the classical sense of that word) is that he knows how in his work to ‘risk delight’.It is always clear I think that this is so. The ",{"_key":31321,"_type":13,"marks":31322,"text":31323},"d92b6672cde95",[73],"feeling quality ",{"_key":31325,"_type":13,"marks":31326,"text":31327},"d92b6672cde96",[],"of the work we do together owes a great deal to the musical intuition and sensitivity of his compositional imaginativeness. Working with Kit—and performers say this again and again—can be good, liberating ‘fun’, and sometimes serious fun, too.",[],{"_key":31330,"_type":9,"children":31331,"image":4,"markDefs":31336,"style":18},"39622183b3a0",[31332],{"_key":31333,"_type":13,"marks":31334,"text":31335},"4955ae93485d0",[],"He knows how to ‘play’ with the music of sounds, and words, and dance.This has the effect of ‘breathing life’ into otherwise musical conventions, and the sometimes flatness of prediction that formula music falls into.Hence, his adroit and I think very imaginative use of ‘chance systems’, which on the one hand provide a kind of formal structure and on the other create and re-create those ‘quick surprises’ and discoveries that truly can and do ‘shine a light in the ear’ as I think Coleridge suggested.",[],{"_key":31338,"_type":9,"children":31339,"image":4,"markDefs":31364,"style":18},"6204e2cfc213",[31340,31344,31348,31352,31356,31360],{"_key":31341,"_type":13,"marks":31342,"text":31343},"9acae19850060",[],"With a small bell-like ",{"_key":31345,"_type":13,"marks":31346,"text":31347},"9acae19850061",[73],"coda",{"_key":31349,"_type":13,"marks":31350,"text":31351},"9acae19850062",[],": for a poet, and a listener-spectator too, Kit’s acoustic imagination--his really quite acute sense of the acoustic association of ",{"_key":31353,"_type":13,"marks":31354,"text":31355},"9acae19850063",[73],"words and their inherent musicalness\u002Fmusicality ",{"_key":31357,"_type":13,"marks":31358,"text":31359},"9acae19850064",[],"is to my way of thinking how word-thought and music-thought, and the thoughtfulness of both remind us that when thought is sung and music made we have the poetry of music.And for that (as they say ‘that’s the ticket’), there is much to be celebrated here in the ‘music poetry’ of ",{"_key":31361,"_type":13,"marks":31362,"text":31363},"9acae19850065",[73],"Maestro Powell.",[],{"_key":31366,"_type":9,"children":31367,"image":4,"markDefs":31372,"style":18},"206127c49680",[31368],{"_key":31369,"_type":13,"marks":31370,"text":31371},"c3d6b6890a320",[],"Michael Harlow (Lectuer, Poet, Psychologist)",[],{"_key":31374,"_type":9,"children":31375,"image":4,"markDefs":31380,"style":18},"f06bc27f7bca",[31376],{"_key":31377,"_type":13,"marks":31378,"text":31379},"3b87e3cbcaff0",[],"Sept, 2012, Alexandra, NZ",[],{"_key":31382,"_type":9,"children":31383,"image":4,"markDefs":31387,"style":18},"371c01466959",[31384],{"_key":31385,"_type":13,"marks":31386,"text":25},"f82dee6c9cd70",[],[],{"_key":31389,"_type":9,"children":31390,"image":4,"markDefs":31394,"style":18},"62e36aea1eed",[31391],{"_key":31392,"_type":13,"marks":31393,"text":25},"7431cdd53d130",[],[],{"_key":31264,"_type":9,"children":31396,"image":4,"markDefs":31401,"style":6894},[31397],{"_key":31398,"_type":13,"marks":31399,"text":18901},"1c751377c3a00",[15,31400],"82adb0d9726f",[31402],{"_key":31400,"_type":321,"reference":31403,"slug":18912,"type":326},{"_ref":18911,"_type":324},{"_key":31405,"_type":9,"children":31406,"image":4,"markDefs":31411,"style":18},"f8b5b4f187d6",[31407],{"_key":31408,"_type":13,"marks":31409,"text":31410},"cfb9ace697750",[],". . . Then you go far away, and stay away. Back come more gifts, discs of your weighty, taut music: Maui, music for tape, a concerto for your son, a song cycle for your daughter: Whale, Koauau, the hilarious Various Pigs, Salmagundi . . .So you are never far away.",[],{"_key":31413,"_type":9,"children":31414,"image":4,"markDefs":31426,"style":18},"1a81d7ee4a69",[31415,31419,31422],{"_key":31416,"_type":13,"marks":31417,"text":31418},"7bbb5130cd260",[],". . .Seven years ago. You and Brigitte staying in our cottage overlooking the bay and the channel beyond and, anchored beyond that, Kapiti Island. We are to launch across and climb it. I don't make it, but you do and out of the trip comes ",{"_key":31420,"_type":13,"marks":31421,"text":19047},"7bbb5130cd261",[73],{"_key":31423,"_type":13,"marks":31424,"text":31425},"7bbb5130cd262",[]," for piano solo, your 111th work, four minutes of classical clarity and coherence, and sparkling liquid sound reminiscent of the French clavecin composers as well as Messiaen - is that too fanciful? - and mountain water tinkling down the hillside, and representations of our native birds frisking their tails and trilling and calling in the bush. You dedicate it to me. I am so touched.",[],{"_key":31428,"_type":9,"children":31429,"image":4,"markDefs":31434,"style":18},"3a183eca30a7",[31430],{"_key":31431,"_type":13,"marks":31432,"text":31433},"c84067553df30",[],"It's in Abelian form you say and the proportions of the whole are to be found in the sections. . .",[],{"_key":31436,"_type":9,"children":31437,"image":4,"markDefs":31442,"style":18},"327650b7986d",[31438],{"_key":31439,"_type":13,"marks":31440,"text":31441},"6d2dbc5864f70",[],"Barry Williams (Musicologist, Lectuer)",[],{"_key":31444,"_type":9,"children":31445,"image":4,"markDefs":31450,"style":18},"cef9ff60e3a0",[31446],{"_key":31447,"_type":13,"marks":31448,"text":31449},"f3aee1cb8e3c0",[],"August 2012, Paekakariki, NZ",[],{"_key":31452,"_type":9,"children":31453,"image":4,"markDefs":31457,"style":18},"d2d3bd311374",[31454],{"_key":31455,"_type":13,"marks":31456,"text":25},"b5fcfbfcdc310",[],[],{"_key":31459,"_type":9,"children":31460,"image":4,"markDefs":31464,"style":18},"8378364ca147",[31461],{"_key":31462,"_type":13,"marks":31463,"text":25},"358b803ac0ae",[],[],{"_key":31266,"_type":9,"children":31466,"image":4,"markDefs":31471,"style":6894},[31467],{"_key":31468,"_type":13,"marks":31469,"text":6481},"26fb570729130",[15,31470],"abe8cb93b793",[31472],{"_key":31470,"_type":321,"reference":31473,"slug":6501,"type":326},{"_ref":6500,"_type":324},{"_key":31475,"_type":9,"children":31476,"image":4,"markDefs":31481,"style":18},"f52ec460357e",[31477],{"_key":31478,"_type":13,"marks":31479,"text":31480},"08d03a1f2d520",[],"Persönliche Gedanken eines Sängers mehrerer seiner Werke über den Komponisten eben dieser Werke",[],{"_key":31483,"_type":9,"children":31484,"image":4,"markDefs":31489,"style":18},"d412300defaa",[31485],{"_key":31486,"_type":13,"marks":31487,"text":31488},"21d4fbb588970",[],"Was ich an Kit liebe:",[],{"_key":31491,"_type":9,"children":31492,"image":4,"markDefs":31497,"style":18},"65b4036a468d",[31493],{"_key":31494,"_type":13,"marks":31495,"text":31496},"ff6be7c282210",[],"Seine menschliche Wärme \u002F Seine Power und Bescheidenheit in einer erstaunlichen Abmischung \u002F Seine Grenzenlosigkeit \u002F Seinen Humor \u002F Seine Sinnlichkeit",[],{"_key":31499,"_type":9,"children":31500,"image":4,"markDefs":31505,"style":18},"c28298e436f4",[31501],{"_key":31502,"_type":13,"marks":31503,"text":31504},"fcab50f817a70",[],"Seine Unvoreingenommenheit \u002F Seinen Respekt für die menschlichen Schwächen",[],{"_key":31507,"_type":9,"children":31508,"image":4,"markDefs":31513,"style":18},"30608d656888",[31509],{"_key":31510,"_type":13,"marks":31511,"text":31512},"ed6c98852f430",[],"Seine Kindlichkeit, sowohl spielerisch als auch verletzlich \u002F Seine Verletzlichkeit",[],{"_key":31515,"_type":9,"children":31516,"image":4,"markDefs":31521,"style":18},"f5397a709fb0",[31517],{"_key":31518,"_type":13,"marks":31519,"text":31520},"40ff145d43500",[],"Seine rhythmische Kraft \u002F Seine Liebe zum Theater \u002F Seine Liebe fürs gemeinsame Schöpfen \u002F Seine Fähigkeit zuzuhören \u002F Seine Klarheit \u002F Seinen Mut nicht zu wissen",[],{"_key":31523,"_type":9,"children":31524,"image":4,"markDefs":31529,"style":18},"15bd843c204f",[31525],{"_key":31526,"_type":13,"marks":31527,"text":31528},"1e2923121dec0",[],"Seine Beharrlichkeit \u002F Seine stilistische Eigenständigkeit \u002F In Italia si dice: ha coglioni!",[],{"_key":31531,"_type":9,"children":31532,"image":4,"markDefs":31537,"style":18},"8e56e4cbc062",[31533],{"_key":31534,"_type":13,"marks":31535,"text":31536},"a4752ab8d0c90",[],"Seine Haare \u002F Seine Schrägheit \u002F Seinen Akzent",[],{"_key":31539,"_type":9,"children":31540,"image":4,"markDefs":31545,"style":18},"12f8056e7264",[31541],{"_key":31542,"_type":13,"marks":31543,"text":31544},"750b9c9a12aa0",[],"In Liebe",[],{"_key":31547,"_type":9,"children":31548,"image":4,"markDefs":31552,"style":18},"1cc4838ec51f",[31549],{"_key":31550,"_type":13,"marks":31551,"text":25},"afc0ff5e2b1a0",[],[],{"_key":31554,"_type":9,"children":31555,"image":4,"markDefs":31560,"style":18},"20dbdff0a376",[31556],{"_key":31557,"_type":13,"marks":31558,"text":31559},"35e1ce4c934f0",[],"Personal thoughts from a singer of several of his works about the composer of those same works",[],{"_key":31562,"_type":9,"children":31563,"image":4,"markDefs":31567,"style":18},"20dd021a7de7",[31564],{"_key":31565,"_type":13,"marks":31566,"text":25},"c168ace666160",[],[],{"_key":31569,"_type":9,"children":31570,"image":4,"markDefs":31575,"style":634},"14f8cc374750",[31571],{"_key":31572,"_type":13,"marks":31573,"text":31574},"ab21e3c90dc80",[],"What I love about Kit:",[],{"_key":31577,"_type":9,"children":31578,"image":4,"markDefs":31583,"style":634},"b8666ac1eb7d",[31579],{"_key":31580,"_type":13,"marks":31581,"text":31582},"89635d453b700",[],"His human warmth \u002F His power and modesty in an astonishing blend \u002F",[],{"_key":31585,"_type":9,"children":31586,"image":4,"markDefs":31591,"style":634},"446b4c9c1218",[31587],{"_key":31588,"_type":13,"marks":31589,"text":31590},"6000f8827f8a0",[],"His boundlessness \u002F His humor \u002F His sensuality",[],{"_key":31593,"_type":9,"children":31594,"image":4,"markDefs":31599,"style":634},"9d0dd0885e5c",[31595],{"_key":31596,"_type":13,"marks":31597,"text":31598},"e3f33274b0c90",[],"His open-mindedness \u002F His respect for human weaknesses",[],{"_key":31601,"_type":9,"children":31602,"image":4,"markDefs":31607,"style":634},"0a2ec0bfeb00",[31603],{"_key":31604,"_type":13,"marks":31605,"text":31606},"467432751e410",[],"His childlikeness, both playful and vulnerable \u002F His vulnerability",[],{"_key":31609,"_type":9,"children":31610,"image":4,"markDefs":31615,"style":634},"c7a8aff2784c",[31611],{"_key":31612,"_type":13,"marks":31613,"text":31614},"af2aa5cfe9f90",[],"His rhythmic power \u002F His love of theater \u002F His love of creating together \u002F",[],{"_key":31617,"_type":9,"children":31618,"image":4,"markDefs":31623,"style":634},"0e9e6dab59b2",[31619],{"_key":31620,"_type":13,"marks":31621,"text":31622},"91e10fc28da10",[],"His ability to listen \u002F His clarity \u002F His courage not to know",[],{"_key":31625,"_type":9,"children":31626,"image":4,"markDefs":31631,"style":634},"71a9916870af",[31627],{"_key":31628,"_type":13,"marks":31629,"text":31630},"5c7fb0138de10",[],"His persistence \u002F His stylistic independence \u002F In Italia si dice: ha coglioni!",[],{"_key":31633,"_type":9,"children":31634,"image":4,"markDefs":31639,"style":634},"9ece87ad0d82",[31635],{"_key":31636,"_type":13,"marks":31637,"text":31638},"bb103bd4be1d0",[],"His hair \u002F His weirdness \u002F His accent",[],{"_key":31641,"_type":9,"children":31642,"image":4,"markDefs":31647,"style":634},"760c4f9f1789",[31643],{"_key":31644,"_type":13,"marks":31645,"text":31646},"5ea4130ff0dc0",[],"Love",[],{"_key":31649,"_type":9,"children":31650,"image":4,"markDefs":31654,"style":634},"231de8fad09f",[31651],{"_key":31652,"_type":13,"marks":31653,"text":25},"320b6a9dbcd4",[],[],{"_key":31656,"_type":9,"children":31657,"image":4,"markDefs":31662,"style":18},"58f56f5d0b29",[31658],{"_key":31659,"_type":13,"marks":31660,"text":31661},"9277ec3ab75e0",[],"David Thorner (Singer, Painter, Teacher)",[],{"_key":31664,"_type":9,"children":31665,"image":4,"markDefs":31669,"style":18},"6a2c8d491c81",[31666],{"_key":31667,"_type":13,"marks":31668,"text":25},"7effddc888b50",[],[],{"_key":31671,"_type":9,"children":31672,"image":4,"markDefs":31676,"style":18},"393ed747a3d0",[31673],{"_key":31674,"_type":13,"marks":31675,"text":25},"adf8a60c90a70",[],[],{"_key":31268,"_type":9,"children":31678,"image":4,"markDefs":31683,"style":6894},[31679],{"_key":31680,"_type":13,"marks":31681,"text":7911},"7ae8ff8be7d70",[15,31682],"6e4a8d052d3c",[31684],{"_key":31682,"_type":321,"reference":31685,"slug":7919,"type":326},{"_ref":7918,"_type":324},{"_key":31687,"_type":9,"children":31688,"image":4,"markDefs":31701,"style":18},"f7bc625c9280",[31689,31693,31697],{"_key":31690,"_type":13,"marks":31691,"text":31692},"4cb17a21f2600",[],"Meine erste Begegnung mit Kit hatte ich 1997 bei der Mitwirkung der Uraufführung seines ",{"_key":31694,"_type":13,"marks":31695,"text":31696},"4cb17a21f2601",[15,73],"Dies Irae, ",{"_key":31698,"_type":13,"marks":31699,"text":31700},"4cb17a21f2602",[],"anlässlich derer ich auch sein Stück «Flötenspieler und Fledermäuse» für Flöte und Tonband zu spielen hatte. Kit besuchte mich zum ersten Mal, um das Stück, welches auch szenische Gesten vorschreibt, mit ihm durchzunehmen. Sofort war eine Atmosphäre gegenseitigen Vertrauens hergestellt, ich wusste gleich, wie er es wollte und er blieb auch neben mir im Raum, wann immer ich später alleine mit dem Stück war, auf der Bühne, beim Einstudieren oder Auffrischen.",[],{"_key":31703,"_type":9,"children":31704,"image":4,"markDefs":31709,"style":18},"e56a53f52744",[31705],{"_key":31706,"_type":13,"marks":31707,"text":31708},"bc501fee9b2c0",[],"Auf Grund dieser anregenden Erfahrungen gab 1998 ich Kit im Namen des Flötenensembles les joueurs de flûte den Auftrag für ein Oktett für Flöten. Er besuchte mich wieder in meinem Atelier in Aarau und liess sich alle Typen von Flöten demonstrieren - besonders auch die relativ neuen Kontrabassflöten in C und F, Flöten in B und F, die er begeistert und rapide erfasst hat. Dabei hatte er schon eine Menge konkrete Fragen parat, was geräuschhafte Spieltechniken betraf. Einiges wurde später in Korrespondenz nochmals verfeinert. Bei der ersten Probe mit dem Ensemble war er zugegen und hat mit seiner liebeswürdigen Art bald alle hinter sich gebracht, dabei durchaus streng bleibend, was seine Vorstellungen anging.",[],{"_key":31711,"_type":9,"children":31712,"image":4,"markDefs":31732,"style":634},"6ef2ad18ce11",[31713,31717,31720,31724,31728],{"_key":31714,"_type":13,"marks":31715,"text":31716},"62c68fb534c60",[],"My first encounter with Kit was in 1997 when I participated in the premiere of his ",{"_key":31718,"_type":13,"marks":31719,"text":2900},"62c68fb534c61",[73],{"_key":31721,"_type":13,"marks":31722,"text":31723},"62c68fb534c62",[],", where I also played his piece \"Flute Player and Bats\" for flute and tape. Kit visited me for the first time to go through the piece with him, which also requires scenic gestures. An atmosphere of mutual trust was immediately established; I knew right away how he wanted it, and he stayed in the room with me whenever I was later alone with the piece, on stage, rehearsing, or refreshing my skills. Based on these stimulating experiences, in 1998 I commissioned Kit, on behalf of the flute ensemble ",{"_key":31725,"_type":13,"marks":31726,"text":31727},"62c68fb534c63",[73],"les joueurs de flûte,",{"_key":31729,"_type":13,"marks":31730,"text":31731},"62c68fb534c64",[]," to write an octet for flutes. He visited me again in my studio in Aarau and had all types of flutes demonstrated to him – especially the relatively new double bass flutes in C and F, and flutes in Bb and F, which he enthusiastically and quickly mastered. He already had a lot of specific questions ready regarding noisy playing techniques. Some of them were later refined through correspondence. He was present at the first rehearsal with the ensemble and, with his amiable manner, quickly got everyone over with, while remaining quite strict about his ideas.",[],{"_key":31734,"_type":9,"children":31735,"image":4,"markDefs":31739,"style":18},"08ad9f6a03ee",[31736],{"_key":31737,"_type":13,"marks":31738,"text":25},"c912070d95eb0",[],[],{"_key":31741,"_type":9,"children":31742,"image":4,"markDefs":31747,"style":18},"65f9faea6e3d",[31743],{"_key":31744,"_type":13,"marks":31745,"text":31746},"b1748c9b866f0",[],"Dominique Hunziker (Flautist, Founder of “les joueurs de flute”, Painter)",[],{"_key":31749,"_type":9,"children":31750,"image":4,"markDefs":31755,"style":18},"10034833c047",[31751],{"_key":31752,"_type":13,"marks":31753,"text":31754},"eaad6b56cbb10",[],"Aarau, August 2012",[],{"_key":31757,"_type":9,"children":31758,"image":4,"markDefs":31762,"style":18},"a5f17d8ab6ab",[31759],{"_key":31760,"_type":13,"marks":31761,"text":25},"37d8cedefb830",[],[],{"_key":31764,"_type":9,"children":31765,"image":4,"markDefs":31769,"style":18},"48c48deccddb",[31766],{"_key":31767,"_type":13,"marks":31768,"text":25},"b99f28eb9a5e0",[],[],{"_key":31270,"_type":9,"children":31771,"image":4,"markDefs":31776,"style":6894},[31772],{"_key":31773,"_type":13,"marks":31774,"text":9418},"62e2a935a9e60",[15,31775],"1c68ab0524aa",[31777],{"_key":31775,"_type":321,"reference":31778,"slug":11907,"type":326},{"_ref":11906,"_type":324},{"_key":31780,"_type":9,"children":31781,"image":4,"markDefs":31786,"style":18},"4dd4634a074d",[31782],{"_key":31783,"_type":13,"marks":31784,"text":31785},"24b7c882a5740",[],"Kit Powells Vertonungen meiner Gedichte und kurzen Geschichten zeigen mir immer wieder ein fremdes Gesicht meiner eigenen Sprache. Sie illustrieren nicht die Vorlagen, sie scheinen sich an ihnen zu entzünden. Viele der musikalischen Bewegungen, vor allem der neuesten Stücke, haben tatsächlich etwas Flammendes. Sie bevorzugen die Vertikale. Kit Powells Kompositionen emanzipieren sich von meinen sprachlichen Gebilden, um in brüderlicher Nachbarschaft Eigenes zu errichten.",[],{"_key":31788,"_type":9,"children":31789,"image":4,"markDefs":31793,"style":18},"b1a8457ec351",[31790],{"_key":31791,"_type":13,"marks":31792,"text":25},"84320397df6d0",[],[],{"_key":31795,"_type":9,"children":31796,"image":4,"markDefs":31801,"style":634},"a41c6e049a11",[31797],{"_key":31798,"_type":13,"marks":31799,"text":31800},"2061c1023e2e0",[],"Kit Powell's musical settings of my poems and short stories repeatedly show me a foreign side of my own language. They don't illustrate the originals; they seem to ignite from them. Many of the musical movements, especially the most recent pieces, do indeed have something fiery about them. They favour the vertical. Kit Powell's compositions emancipate themselves from my linguistic constructs to create something of their own in brotherly proximity.",[],{"_key":31803,"_type":9,"children":31804,"image":4,"markDefs":31809,"style":18},"1f0d3e5e77d8",[31805],{"_key":31806,"_type":13,"marks":31807,"text":31808},"3258d1efd9ac0",[],"Jürg Schubiger (Writer, Psychologist)",[],{"_key":31811,"_type":9,"children":31812,"image":4,"markDefs":31817,"style":18},"8dd6af647031",[31813],{"_key":31814,"_type":13,"marks":31815,"text":31816},"e23d15ba1fcf0",[],"Zürich, Sept. 2012",[],{"_key":31819,"_type":9,"children":31820,"image":4,"markDefs":31824,"style":18},"c93acced9d37",[31821],{"_key":31822,"_type":13,"marks":31823,"text":25},"c251fc8e2ce40",[],[],{"_key":31826,"_type":9,"children":31827,"image":4,"markDefs":31831,"style":18},"2ad918be9b2a",[31828],{"_key":31829,"_type":13,"marks":31830,"text":25},"4c752305b5ed0",[],[],{"_key":31272,"_type":9,"children":31833,"image":4,"markDefs":31838,"style":6894},[31834],{"_key":31835,"_type":13,"marks":31836,"text":31273},"dda32f7a8b900",[15,31837],"716ad02024bb",[31839],{"_key":31837,"_type":321,"reference":31840,"slug":31842,"type":326},{"_ref":31841,"_type":324},"3e074a89-9fab-4ac9-9415-717c7768baca","ian-dando",{"_key":31844,"_type":9,"children":31845,"image":4,"markDefs":31858,"style":18},"319a8d8df899",[31846,31850,31854],{"_key":31847,"_type":13,"marks":31848,"text":31849},"7feb764a07bf0",[],"In 1979 when we were music colleagues in Christchurch New Zealand you told me: ",{"_key":31851,"_type":13,"marks":31852,"text":31853},"7feb764a07bf1",[73],"The whole of life is a multiplicity of chance systems. There are semblances of order. Chromosomes tell us to grow in different ways. But chance gives us the variety. I guess this is what I do with my compositions. I create systems. Chance then operates on these systems. ",{"_key":31855,"_type":13,"marks":31856,"text":31857},"7feb764a07bf2",[],"There’s Kit the composer ahead of his time in conservative New Zealand. . . .",[],{"_key":31860,"_type":9,"children":31861,"image":4,"markDefs":31866,"style":18},"ba406980b856",[31862],{"_key":31863,"_type":13,"marks":31864,"text":31865},"9573be0d2cc80",[],"Chance music which developed with Cage’s “Music of Changes” had many facets . . . Cage used tossing of coins and number charts to determine the durations, silences, pitches, dynamics and modes of attack in the work. This randomness is central to remove all conscious human control, inspiration and personality of the artist from the compositional process.",[],{"_key":31868,"_type":9,"children":31869,"image":4,"markDefs":31874,"style":18},"1d17d350f673",[31870],{"_key":31871,"_type":13,"marks":31872,"text":31873},"b8f8d2f93c5d0",[],"Nothing could be further from Powell’s aims. He knows precisely what he wants from chance. “Most of my music expresses my own feelings very strongly and the chance systems I devise are always intended to serve that purpose The aesthetic I strive for has a balance of logic and irrational, symmetry and chaos, order and surprise.”",[],{"_key":31876,"_type":9,"children":31877,"image":4,"markDefs":31881,"style":18},"937f0717e652",[31878],{"_key":31879,"_type":13,"marks":31880,"text":25},"ab68bcfd73a00",[],[],{"_key":31883,"_type":9,"children":31884,"image":4,"markDefs":31889,"style":18},"78211c6a7919",[31885],{"_key":31886,"_type":13,"marks":31887,"text":31888},"444be8e5ddaf0",[],"Ian Dando, (Lecturer, Music Critic)",[],{"_key":31891,"_type":9,"children":31892,"image":4,"markDefs":31897,"style":18},"e179871dfae4",[31893],{"_key":31894,"_type":13,"marks":31895,"text":31896},"b701e812bd740",[],"New Zealand, Sept. 2012",[],{"_key":31899,"_type":9,"children":31900,"image":4,"markDefs":31904,"style":18},"62d10b75e8d1",[31901],{"_key":31902,"_type":13,"marks":31903,"text":25},"12c5f31401130",[],[],{"_key":31906,"_type":9,"children":31907,"image":4,"markDefs":31911,"style":18},"f4732ec6bfd5",[31908],{"_key":31909,"_type":13,"marks":31910,"text":25},"fcacba997f440",[],[],{"_key":31275,"_type":9,"children":31913,"image":4,"markDefs":31918,"style":6894},[31914],{"_key":31915,"_type":13,"marks":31916,"text":5436},"b9bb29f3a1460",[15,31917],"858fa4321d68",[31919],{"_key":31917,"_type":321,"reference":31920,"slug":5468,"type":326},{"_ref":5467,"_type":324},{"_key":31922,"_type":9,"children":31923,"image":4,"markDefs":31928,"style":18},"2474e54a6883",[31924],{"_key":31925,"_type":13,"marks":31926,"text":31927},"e944336f31d30",[],"Was habe ich Dir nicht alles an wertvoller Inspiration zu verdanken! Seit unserer ersten Begegnung im Jahre 1981 an der Kanti Bülach, wo ich als 15-jähriger Gymnasiast Deinen Komponierkurs besuchte, sind über 30 Jahre vergangen, in deren Verlauf wir unsere freundschaftlichen Bande fortwährend pflegten und vertieften.",[],{"_key":31930,"_type":9,"children":31931,"image":4,"markDefs":31936,"style":18},"30b242f75f65",[31932],{"_key":31933,"_type":13,"marks":31934,"text":31935},"c6d3c7c0a20a0",[],"Wenn ich an die Anfänge unserer Bekanntschaft zurückdenke, fällt mir wieder ein, wie wir mit Revox-Spulen experimentierten, dabei die Magnettonbänder zerschnitten und die Stücke in anderer Reihenfolge und auch verkehrt herum wieder zusammenklebten zu faszinierenden Klangcollagen. Wenn ich meine Skizzen zur damaligen Gemeinschafts-arbeit »Christophorus«, einem Weihnachtsspiel, heute betrachte, kann ich etwa abschätzen, welche Aufgabe es für Dich gewesen sein muss, mich als Pädagoge zu begleiten undmeine wild wuchernden Fantasien und Ansprüche in praktisch realisierbare Bahnen zu lenken. Es ist Dir in hohem Masse gelungen, mich sanft aber bestimmt zu führen. Du warst mir immer – und bist es bis heute ­– ein künstlerisches und vor allem auch menschliches Vorbild. Deine unerschöpfliche Fähigkeit zu begeistern und Dein beinahe kindlich zu nennendes Vertrauen in das Potential Deiner Mitmenschen beeindrucken mich.",[],{"_key":31938,"_type":9,"children":31939,"image":4,"markDefs":31944,"style":634},"4c6f60e3e75c",[31940],{"_key":31941,"_type":13,"marks":31942,"text":31943},"d58a04e54ad20",[],"\nHow much valuable inspiration I owe you! Since our first meeting in 1981 at Kanti Bülach, where I attended your composition course as a 15-year-old high school student, over 30 years have passed, during which time we have continually cultivated and deepened our friendship. When I think back to the beginnings of our acquaintance, I remember how we experimented with Revox reels, cutting up the magnetic tapes and gluing the pieces back together in a different order and even upside down to create fascinating sound collages. When I look at my sketches for our collaborative work \"Christophorus,\" a Christmas play, today, I can appreciate what a task it must have been for you to accompany me as a teacher and to guide my wildly proliferating fantasies and aspirations into practically feasible paths. You succeeded greatly in guiding me gently but firmly. You have always been—and still are—an artistic and, above all, human role model for me. I am impressed by your inexhaustible ability to inspire and your almost childlike trust in the potential of your fellow human beings.",[],{"_key":31946,"_type":9,"children":31947,"image":4,"markDefs":31951,"style":18},"584e9c7eab28",[31948],{"_key":31949,"_type":13,"marks":31950,"text":25},"2f7c153fc8820",[],[],{"_key":31953,"_type":9,"children":31954,"image":4,"markDefs":31959,"style":18},"3807ffd65835",[31955],{"_key":31956,"_type":13,"marks":31957,"text":31958},"061f7e8e0e7d0",[],"André Fischer (Lectuer, Composer, Conductor)",[],{"_key":31961,"_type":9,"children":31962,"image":4,"markDefs":31967,"style":18},"1cd6d35cbc07",[31963],{"_key":31964,"_type":13,"marks":31965,"text":31966},"c12cdb5cf00c0",[],"Eglisau, Oktober 2012",[],{"_key":31969,"_type":9,"children":31970,"image":4,"markDefs":31974,"style":18},"f868c37790d9",[31971],{"_key":31972,"_type":13,"marks":31973,"text":25},"f9baa693d7c90",[],[],{"_key":31976,"_type":9,"children":31977,"image":4,"markDefs":31981,"style":18},"048872a31d87",[31978],{"_key":31979,"_type":13,"marks":31980,"text":25},"16e49c17a4f20",[],[],{"_key":31277,"_type":9,"children":31983,"image":4,"markDefs":31988,"style":6894},[31984],{"_key":31985,"_type":13,"marks":31986,"text":5833},"3ca37e9dd18c0",[15,31987],"1e0a2f3d746b",[31989],{"_key":31987,"_type":321,"reference":31990,"slug":5842,"type":326},{"_ref":5841,"_type":324},{"_key":31992,"_type":9,"children":31993,"image":4,"markDefs":31998,"style":18},"8d8ec1efd19c",[31994],{"_key":31995,"_type":13,"marks":31996,"text":31997},"e1184bdde41a0",[],"Kit's electroacoustic music always seemed to me effortless, but this cannot possibly be true. Electroacoustic music is always difficult, nothing sounds as one hopes the first time, and one works very slowly. But Kit eradicates any trace of difficulty and slowness from the music itself so that it seems as if it were just being invented. In addition, his electroacoustic music has a physicality which I greatly admire: it sounds as though it is being played that very moment on strange and wonderful instruments that we have neither seen nor heard before. The sound often sparkles with a freshness and liveliness which are far from the rule in electroacoustic music, and the gestures the music suggests--the movements our mind's eye attributes to the imaginary players of these imaginary and imaginative instruments--are evocative, poetic, often full of gentle humor and always captivating. Kit's electroacoustic compositions make up only a small part of his astonishingly rich list of works, but they constitute a body of completely original pieces whose composer has seemed to be able to convince the basically intractable medium of electronics to do precisely what he wants.",[],{"_key":32000,"_type":9,"children":32001,"image":4,"markDefs":32005,"style":18},"c8813390da16",[32002],{"_key":32003,"_type":13,"marks":32004,"text":25},"3f1004eb8cc70",[],[],{"_key":32007,"_type":9,"children":32008,"image":4,"markDefs":32013,"style":18},"330e8e6c92ba",[32009],{"_key":32010,"_type":13,"marks":32011,"text":32012},"b0d5152c2c6a0",[],"Gerald Bennett (Lectuer, Composer, Founder of the ICST)",[],{"_key":32015,"_type":9,"children":32016,"image":4,"markDefs":32021,"style":18},"276858617f0f",[32017],{"_key":32018,"_type":13,"marks":32019,"text":32020},"2aaa207fba420",[],"Muttenz, October 2012",[],{"_key":32023,"_type":9,"children":32024,"image":4,"markDefs":32028,"style":18},"f7f07b865289",[32025],{"_key":32026,"_type":13,"marks":32027,"text":25},"94f17d06a5b60",[],[],{"_key":32030,"_type":9,"children":32031,"image":4,"markDefs":32035,"style":18},"f5b04aba278b",[32032],{"_key":32033,"_type":13,"marks":32034,"text":25},"8830776e0f980",[],[],{"_key":31279,"_type":9,"children":32037,"image":4,"markDefs":32042,"style":6894},[32038],{"_key":32039,"_type":13,"marks":32040,"text":1814},"f4a0fe94b5380",[15,32041],"36bb2f5167b5",[32043],{"_key":32041,"_type":321,"reference":32044,"slug":1834,"type":326},{"_ref":1833,"_type":324},{"_key":32046,"_type":9,"children":32047,"image":4,"markDefs":32052,"style":18},"bcbcfb871674",[32048],{"_key":32049,"_type":13,"marks":32050,"text":32051},"987a940b5d6b0",[],". . . From a simple beginning in providing noises off, and some short linking pieces for O’Casey’s “Juno and the Paycock” done at Linwood, to productions of highly complex plays such as Bertolt Brecht’s “Mother Courage”, which was performed in conjunction between the Christchurch College of Education and the University of Canterbury, New Zealand, Kit’s music was original and at the same time perfectly in keeping with the spirit and underlying meaning of the script as interpreted by me and other directors with whom Kit worked. One of these was John Kim who undertook some enormous dramatic projects with High School pupils, for example an adaptation of “The Odyssey”, and another from history called “Harold and William” concerning the Norman invasion of England in 1066. Kit’s music added tremendous depth to these pieces which had been arrived at in part by an improvisational dramatic process in which pupils helped to build the text as they studied the source material, and Kit’s well tuned ear enabled him to provide some great music for these shows. . .",[],{"_key":32054,"_type":9,"children":32055,"image":4,"markDefs":32059,"style":18},"e4e81df01c00",[32056],{"_key":32057,"_type":13,"marks":32058,"text":25},"8dd0bd8fe2bb0",[],[],{"_key":32061,"_type":9,"children":32062,"image":4,"markDefs":32067,"style":18},"91807ec2b0c2",[32063],{"_key":32064,"_type":13,"marks":32065,"text":32066},"91821f5dd20d0",[],"To sum up, it has always been a great pleasure to work with Kit on the various dramatic performances we have undertaken. . . It has been a many and varied road, most of it now well in the past apart from some visuals I provided for Kit’s recent piece on Maui’s fishing up of the North Island which has received an in house performance by the New Zealand Symphony Orchestra.",[],{"_key":32069,"_type":9,"children":32070,"image":4,"markDefs":32074,"style":18},"08f34338ef22",[32071],{"_key":32072,"_type":13,"marks":32073,"text":25},"b827307e84920",[],[],{"_key":32076,"_type":9,"children":32077,"image":4,"markDefs":32082,"style":18},"cb6e1ee413f6",[32078],{"_key":32079,"_type":13,"marks":32080,"text":32081},"2fe7b67ca9850",[],"Don McAra (Lecturer, Play Producer, Painter)",[],{"_key":32084,"_type":9,"children":32085,"image":4,"markDefs":32090,"style":18},"4efd672fb509",[32086],{"_key":32087,"_type":13,"marks":32088,"text":32089},"d60ccc0bf1f70",[],"Christchurch, NZ, June 2012",[],{"_key":32092,"_type":9,"children":32093,"image":4,"markDefs":32097,"style":18},"e4dbfd73fda9",[32094],{"_key":32095,"_type":13,"marks":32096,"text":25},"83768ada02580",[],[],{"_key":31281,"_type":9,"children":32099,"image":4,"markDefs":32104,"style":6894},[32100],{"_key":32101,"_type":13,"marks":32102,"text":11468},"029fabe146340",[15,32103],"0d4880eb3069",[32105],{"_key":32103,"_type":321,"reference":32106,"slug":11485,"type":326},{"_ref":11484,"_type":324},{"_key":32108,"_type":9,"children":32109,"image":4,"markDefs":32117,"style":18},"8a476b0952e4",[32110,32113],{"_key":32111,"_type":13,"marks":32112,"text":2020},"7c3d2dc4d1520",[15],{"_key":32114,"_type":13,"marks":32115,"text":32116},"7c3d2dc4d1521",[]," . . As our friendship grew I found in him more surprising contradictions.An obvious one was that, though employed principally as a mathematics teacher, Kit's contribution to the school was far greater in the areas of music and drama.With several other talented teachers he inspired students to write, produce and perform an annual musical drama of a scale and standard unheard of at secondary school level.Under Kit's leadership students composed and performed the music (and sometimes invented unconventional 'instruments' for the purpose).",[],{"_key":32119,"_type":9,"children":32120,"image":4,"markDefs":32124,"style":18},"9251b21d4476",[32121],{"_key":32122,"_type":13,"marks":32123,"text":25},"809cfe9bf1450",[],[],{"_key":32126,"_type":9,"children":32127,"image":4,"markDefs":32139,"style":18},"5c236d3d41fd",[32128,32132,32135],{"_key":32129,"_type":13,"marks":32130,"text":32131},"39cc72baea700",[],"I think all Kit's friends are aware of his perseverance - sometimes to the point of stubbornness. One of his stubbornly held beliefs is that everyone is capable of musical expression at some level. He applied this belief to me, despite my accounts of regular rejection by music teachers and choirmasters as being un-musical beyond any redemption. To my delight and pride he eventually had me perform (not well, but without totally disgracing myself) in a small choir of students and staff which he assembled to sing excerpts from his opera ",{"_key":32133,"_type":13,"marks":32134,"text":2803},"39cc72baea701",[73],{"_key":32136,"_type":13,"marks":32137,"text":32138},"39cc72baea702",[],", though after one brief 'season' involving two or three performances we both felt the point had been adequately made! That he managed to make me sing in tune at all is a testament to his great talent as a teacher.\"",[],{"_key":32141,"_type":9,"children":32142,"image":4,"markDefs":32146,"style":18},"e41fbff158b4",[32143],{"_key":32144,"_type":13,"marks":32145,"text":25},"bb6e8446e8880",[],[],{"_key":32148,"_type":9,"children":32149,"image":4,"markDefs":32154,"style":18},"c500df4ade26",[32150],{"_key":32151,"_type":13,"marks":32152,"text":32153},"04b76fcde7360",[],"Philip Woollaston (Teacher, Politician, Wine Grower)",[],{"_key":32156,"_type":9,"children":32157,"image":4,"markDefs":32162,"style":18},"afa6d58147c2",[32158],{"_key":32159,"_type":13,"marks":32160,"text":32161},"5d4a2a4249a10",[],"Upper Moutere, NZ, Sept. 2012",[],{"_key":32164,"_type":9,"children":32165,"image":4,"markDefs":32169,"style":18},"0a30b13d61d0",[32166],{"_key":32167,"_type":13,"marks":32168,"text":25},"58a3824687bc0",[],[],{"_key":32171,"_type":9,"children":32172,"image":4,"markDefs":32176,"style":18},"2115de332973",[32173],{"_key":32174,"_type":13,"marks":32175,"text":25},"c08b295360460",[],[],{"_key":31283,"_type":9,"children":32178,"image":4,"markDefs":32183,"style":6894},[32179],{"_key":32180,"_type":13,"marks":32181,"text":31284},"f5601444187a0",[15,32182],"250eec9a1b1f",[32184],{"_key":32182,"_type":321,"reference":32185,"slug":4623,"type":326},{"_ref":4622,"_type":324},{"_key":32187,"_type":9,"children":32188,"image":4,"markDefs":32193,"style":18},"f837d8c299c3",[32189],{"_key":32190,"_type":13,"marks":32191,"text":32192},"04cdc55f2b460",[],"Any children who were lucky enough to come under Kit’s spell were privileged. They learnt that it is possible to be creative musically with found objects, and this way of approaching a subject could be applied to life itself. . .",[],{"_key":32195,"_type":9,"children":32196,"image":4,"markDefs":32201,"style":18},"d6f215850f94",[32197],{"_key":32198,"_type":13,"marks":32199,"text":32200},"4160759d925c0",[],"These compositions were often played on instruments they had constructed from objects that they had found, like pipes and tubes of every kind length and shape and size. Wondrous sounds came out of corrugated caterpillar plastic pipes and flutes made from abandoned tubes. They weren’t restricted to conventional instruments or sounds. Afterwards when I came to collect them they would have hopped out into the garden and be striding about on stilts, so even walking was topsy-turvy and unconventional, enabling them to approach life from an inventive point of view.",[],{"_key":32203,"_type":9,"children":32204,"image":4,"markDefs":32208,"style":18},"29ea3ae6ce91",[32205],{"_key":32206,"_type":13,"marks":32207,"text":25},"8ffad6592d250",[],[],{"_key":32210,"_type":9,"children":32211,"image":4,"markDefs":32216,"style":18},"0adcaf6b45d9",[32212],{"_key":32213,"_type":13,"marks":32214,"text":32215},"028c006b7c040",[],"Gennie de Lange (Ceramic Artist)",[],{"_key":32218,"_type":9,"children":32219,"image":4,"markDefs":32224,"style":18},"00ff044cf3f8",[32220],{"_key":32221,"_type":13,"marks":32222,"text":32223},"1819368d1e260",[],"Auckland, NZ, Oct. 2012",[],{"_key":32226,"_type":9,"children":32227,"image":4,"markDefs":32231,"style":18},"9c2cdfe75f8b",[32228],{"_key":32229,"_type":13,"marks":32230,"text":25},"5a6dbcb907e6",[],[],{"_key":32233,"_type":9,"children":32234,"image":4,"markDefs":32238,"style":18},"796a41b491fb",[32235],{"_key":32236,"_type":13,"marks":32237,"text":25},"7898a087ac05",[],[],{"_key":31286,"_type":9,"children":32240,"image":4,"markDefs":32245,"style":6894},[32241],{"_key":32242,"_type":13,"marks":32243,"text":309},"ca13d320b82e0",[32244,15],"906c3de912d0",[32246],{"_key":32244,"_type":321,"reference":32247,"slug":325,"type":326},{"_ref":323,"_type":324},{"_key":32249,"_type":9,"children":32250,"image":4,"markDefs":32255,"style":18},"9b76eda053fc",[32251],{"_key":32252,"_type":13,"marks":32253,"text":32254},"b964bc228ebe0",[],". . . We performed ‘The Ballad of Reading Gaol’ late in the week and the excited reception it received was overwhelming. The applause seemed to go on endlessly and my memory of Kit facing the standing ovation with a mixture of pride, modesty and surprise has accompanied me ever since. It was also a bonding moment, so that Kit and I, even when we have our disagreements and temperamental conflicts, remain staunch friends.",[],{"_key":32257,"_type":9,"children":32258,"image":4,"markDefs":32263,"style":18},"93644e5f3b51",[32259],{"_key":32260,"_type":13,"marks":32261,"text":32262},"112e24a559e10",[],"A few weeks later, ‘The Ballad of Reading Gaol’ was recorded for broadcasting with the National Orchestra (now the New Zealand Symphony Orchestra) conducted by John Hopkins. Performing with the country’s only professional orchestra under its distinguished conductor was a little intimidating and very satisfying. No doubt Kit, who assisted at rehearsals and listened to the performance in the studio, shared those feelings.",[],{"_key":32265,"_type":9,"children":32266,"image":4,"markDefs":32271,"style":18},"2bedb9d9a10e",[32267],{"_key":32268,"_type":13,"marks":32269,"text":32270},"1be3c7de4d360",[],"Kit wrote two works for me – to be performed by me and others. The first of these was “Nelson Songs”, which had its first performance at a conference for “The New Literatures in English” at Laufen in Bavaria. The work is a setting of poems by Michael Harlow, whose speaking voice can be heard on the accompanying tape, mixed with electronic sounds. We made several recordings of the work, in Cologne, Wuppertal, Zurich and Wellington.",[],{"_key":32273,"_type":9,"children":32274,"image":4,"markDefs":32279,"style":18},"65f48837120e",[32275],{"_key":32276,"_type":13,"marks":32277,"text":32278},"b78a09e4761f0",[],"The other work Kit wrote for me and which I was privileged to premiere was “Father’s Telescope”, again using Harlow poems. It, too, was performed in Europe and New Zealand, and the most notable recording used the actor Barry Empson for the spoken text which is in dialogue with the singer. . . .",[],{"_key":32281,"_type":9,"children":32282,"image":4,"markDefs":32286,"style":18},"87cff6569add",[32283],{"_key":32284,"_type":13,"marks":32285,"text":25},"6173cfb23ab60",[],[],{"_key":32288,"_type":9,"children":32289,"image":4,"markDefs":32294,"style":18},"2b80f3c72ebf",[32290],{"_key":32291,"_type":13,"marks":32292,"text":32293},"c503fa4363460",[],"Nelson Wattie (Singer, Writer, Lexicographer, Translator)",[],{"_key":32296,"_type":9,"children":32297,"image":4,"markDefs":32302,"style":18},"26cb000efce8",[32298],{"_key":32299,"_type":13,"marks":32300,"text":32301},"5e8e47ae4bad0",[],"Wellington, NZ,Sept. 2012",[],{"_key":32304,"_type":9,"children":32305,"image":4,"markDefs":32309,"style":18},"c9480f02b740",[32306],{"_key":32307,"_type":13,"marks":32308,"text":25},"546b776698a90",[],[],{"_key":32311,"_type":9,"children":32312,"image":4,"markDefs":32316,"style":18},"6453b48e4cd7",[32313],{"_key":32314,"_type":13,"marks":32315,"text":25},"c2304baa2b6f0",[],[],[],"Michael Harlow\n\nHe is also a maestro of language.A fact I think that gives his compositions a reach and a depth that goes beyond what’s happening at the surface, where as Herakleitos said ‘deep equals true’. In short, one aspect of Kit’s genius (in the classical sense of that word) is that he knows how in his work to ‘risk delight’.It is always clear I think that this is so. The feeling quality of the work we do together owes a great deal to the musical intuition and sensitivity of his compositional imaginativeness. Working with Kit—and performers say this again and again—can be good, liberating ‘fun’, and sometimes serious fun, too.\n\nHe knows how to ‘play’ with the music of sounds, and words, and dance.This has the effect of ‘breathing life’ into otherwise musical conventions, and the sometimes flatness of prediction that formula music falls into.Hence, his adroit and I think very imaginative use of ‘chance systems’, which on the one hand provide a kind of formal structure and on the other create and re-create those ‘quick surprises’ and discoveries that truly can and do ‘shine a light in the ear’ as I think Coleridge suggested.\n\nWith a small bell-like coda: for a poet, and a listener-spectator too, Kit’s acoustic imagination--his really quite acute sense of the acoustic association of words and their inherent musicalness\u002Fmusicality is to my way of thinking how word-thought and music-thought, and the thoughtfulness of both remind us that when thought is sung and music made we have the poetry of music.And for that (as they say ‘that’s the ticket’), there is much to be celebrated here in the ‘music poetry’ of Maestro Powell.\n\nMichael Harlow (Lectuer, Poet, Psychologist)\n\nSept, 2012, Alexandra, NZ\n\n\n\n\n\nBarry Williams\n\n. . . Then you go far away, and stay away. Back come more gifts, discs of your weighty, taut music: Maui, music for tape, a concerto for your son, a song cycle for your daughter: Whale, Koauau, the hilarious Various Pigs, Salmagundi . . .So you are never far away.\n\n. . .Seven years ago. You and Brigitte staying in our cottage overlooking the bay and the channel beyond and, anchored beyond that, Kapiti Island. We are to launch across and climb it. I don't make it, but you do and out of the trip comes Kapiti for piano solo, your 111th work, four minutes of classical clarity and coherence, and sparkling liquid sound reminiscent of the French clavecin composers as well as Messiaen - is that too fanciful? - and mountain water tinkling down the hillside, and representations of our native birds frisking their tails and trilling and calling in the bush. You dedicate it to me. I am so touched.\n\nIt's in Abelian form you say and the proportions of the whole are to be found in the sections. . .\n\nBarry Williams (Musicologist, Lectuer)\n\nAugust 2012, Paekakariki, NZ\n\n\n\n\n\nDavid Thorner\n\nPersönliche Gedanken eines Sängers mehrerer seiner Werke über den Komponisten eben dieser Werke\n\nWas ich an Kit liebe:\n\nSeine menschliche Wärme \u002F Seine Power und Bescheidenheit in einer erstaunlichen Abmischung \u002F Seine Grenzenlosigkeit \u002F Seinen Humor \u002F Seine Sinnlichkeit\n\nSeine Unvoreingenommenheit \u002F Seinen Respekt für die menschlichen Schwächen\n\nSeine Kindlichkeit, sowohl spielerisch als auch verletzlich \u002F Seine Verletzlichkeit\n\nSeine rhythmische Kraft \u002F Seine Liebe zum Theater \u002F Seine Liebe fürs gemeinsame Schöpfen \u002F Seine Fähigkeit zuzuhören \u002F Seine Klarheit \u002F Seinen Mut nicht zu wissen\n\nSeine Beharrlichkeit \u002F Seine stilistische Eigenständigkeit \u002F In Italia si dice: ha coglioni!\n\nSeine Haare \u002F Seine Schrägheit \u002F Seinen Akzent\n\nIn Liebe\n\n\n\nPersonal thoughts from a singer of several of his works about the composer of those same works\n\n\n\nWhat I love about Kit:\n\nHis human warmth \u002F His power and modesty in an astonishing blend \u002F\n\nHis boundlessness \u002F His humor \u002F His sensuality\n\nHis open-mindedness \u002F His respect for human weaknesses\n\nHis childlikeness, both playful and vulnerable \u002F His vulnerability\n\nHis rhythmic power \u002F His love of theater \u002F His love of creating together \u002F\n\nHis ability to listen \u002F His clarity \u002F His courage not to know\n\nHis persistence \u002F His stylistic independence \u002F In Italia si dice: ha coglioni!\n\nHis hair \u002F His weirdness \u002F His accent\n\nLove\n\n\n\nDavid Thorner (Singer, Painter, Teacher)\n\n\n\n\n\nDominique Hunziker\n\nMeine erste Begegnung mit Kit hatte ich 1997 bei der Mitwirkung der Uraufführung seines Dies Irae, anlässlich derer ich auch sein Stück «Flötenspieler und Fledermäuse» für Flöte und Tonband zu spielen hatte. Kit besuchte mich zum ersten Mal, um das Stück, welches auch szenische Gesten vorschreibt, mit ihm durchzunehmen. Sofort war eine Atmosphäre gegenseitigen Vertrauens hergestellt, ich wusste gleich, wie er es wollte und er blieb auch neben mir im Raum, wann immer ich später alleine mit dem Stück war, auf der Bühne, beim Einstudieren oder Auffrischen.\n\nAuf Grund dieser anregenden Erfahrungen gab 1998 ich Kit im Namen des Flötenensembles les joueurs de flûte den Auftrag für ein Oktett für Flöten. Er besuchte mich wieder in meinem Atelier in Aarau und liess sich alle Typen von Flöten demonstrieren - besonders auch die relativ neuen Kontrabassflöten in C und F, Flöten in B und F, die er begeistert und rapide erfasst hat. Dabei hatte er schon eine Menge konkrete Fragen parat, was geräuschhafte Spieltechniken betraf. Einiges wurde später in Korrespondenz nochmals verfeinert. Bei der ersten Probe mit dem Ensemble war er zugegen und hat mit seiner liebeswürdigen Art bald alle hinter sich gebracht, dabei durchaus streng bleibend, was seine Vorstellungen anging.\n\nMy first encounter with Kit was in 1997 when I participated in the premiere of his Dies Irae, where I also played his piece \"Flute Player and Bats\" for flute and tape. Kit visited me for the first time to go through the piece with him, which also requires scenic gestures. An atmosphere of mutual trust was immediately established; I knew right away how he wanted it, and he stayed in the room with me whenever I was later alone with the piece, on stage, rehearsing, or refreshing my skills. Based on these stimulating experiences, in 1998 I commissioned Kit, on behalf of the flute ensemble les joueurs de flûte, to write an octet for flutes. He visited me again in my studio in Aarau and had all types of flutes demonstrated to him – especially the relatively new double bass flutes in C and F, and flutes in Bb and F, which he enthusiastically and quickly mastered. He already had a lot of specific questions ready regarding noisy playing techniques. Some of them were later refined through correspondence. He was present at the first rehearsal with the ensemble and, with his amiable manner, quickly got everyone over with, while remaining quite strict about his ideas.\n\n\n\nDominique Hunziker (Flautist, Founder of “les joueurs de flute”, Painter)\n\nAarau, August 2012\n\n\n\n\n\nJürg Schubiger\n\nKit Powells Vertonungen meiner Gedichte und kurzen Geschichten zeigen mir immer wieder ein fremdes Gesicht meiner eigenen Sprache. Sie illustrieren nicht die Vorlagen, sie scheinen sich an ihnen zu entzünden. Viele der musikalischen Bewegungen, vor allem der neuesten Stücke, haben tatsächlich etwas Flammendes. Sie bevorzugen die Vertikale. Kit Powells Kompositionen emanzipieren sich von meinen sprachlichen Gebilden, um in brüderlicher Nachbarschaft Eigenes zu errichten.\n\n\n\nKit Powell's musical settings of my poems and short stories repeatedly show me a foreign side of my own language. They don't illustrate the originals; they seem to ignite from them. Many of the musical movements, especially the most recent pieces, do indeed have something fiery about them. They favour the vertical. Kit Powell's compositions emancipate themselves from my linguistic constructs to create something of their own in brotherly proximity.\n\nJürg Schubiger (Writer, Psychologist)\n\nZürich, Sept. 2012\n\n\n\n\n\nIan Dando\n\nIn 1979 when we were music colleagues in Christchurch New Zealand you told me: The whole of life is a multiplicity of chance systems. There are semblances of order. Chromosomes tell us to grow in different ways. But chance gives us the variety. I guess this is what I do with my compositions. I create systems. Chance then operates on these systems. There’s Kit the composer ahead of his time in conservative New Zealand. . . .\n\nChance music which developed with Cage’s “Music of Changes” had many facets . . . Cage used tossing of coins and number charts to determine the durations, silences, pitches, dynamics and modes of attack in the work. This randomness is central to remove all conscious human control, inspiration and personality of the artist from the compositional process.\n\nNothing could be further from Powell’s aims. He knows precisely what he wants from chance. “Most of my music expresses my own feelings very strongly and the chance systems I devise are always intended to serve that purpose The aesthetic I strive for has a balance of logic and irrational, symmetry and chaos, order and surprise.”\n\n\n\nIan Dando, (Lecturer, Music Critic)\n\nNew Zealand, Sept. 2012\n\n\n\n\n\nAndré Fischer\n\nWas habe ich Dir nicht alles an wertvoller Inspiration zu verdanken! Seit unserer ersten Begegnung im Jahre 1981 an der Kanti Bülach, wo ich als 15-jähriger Gymnasiast Deinen Komponierkurs besuchte, sind über 30 Jahre vergangen, in deren Verlauf wir unsere freundschaftlichen Bande fortwährend pflegten und vertieften.\n\nWenn ich an die Anfänge unserer Bekanntschaft zurückdenke, fällt mir wieder ein, wie wir mit Revox-Spulen experimentierten, dabei die Magnettonbänder zerschnitten und die Stücke in anderer Reihenfolge und auch verkehrt herum wieder zusammenklebten zu faszinierenden Klangcollagen. Wenn ich meine Skizzen zur damaligen Gemeinschafts-arbeit »Christophorus«, einem Weihnachtsspiel, heute betrachte, kann ich etwa abschätzen, welche Aufgabe es für Dich gewesen sein muss, mich als Pädagoge zu begleiten undmeine wild wuchernden Fantasien und Ansprüche in praktisch realisierbare Bahnen zu lenken. Es ist Dir in hohem Masse gelungen, mich sanft aber bestimmt zu führen. Du warst mir immer – und bist es bis heute ­– ein künstlerisches und vor allem auch menschliches Vorbild. Deine unerschöpfliche Fähigkeit zu begeistern und Dein beinahe kindlich zu nennendes Vertrauen in das Potential Deiner Mitmenschen beeindrucken mich.\n\n\nHow much valuable inspiration I owe you! Since our first meeting in 1981 at Kanti Bülach, where I attended your composition course as a 15-year-old high school student, over 30 years have passed, during which time we have continually cultivated and deepened our friendship. When I think back to the beginnings of our acquaintance, I remember how we experimented with Revox reels, cutting up the magnetic tapes and gluing the pieces back together in a different order and even upside down to create fascinating sound collages. When I look at my sketches for our collaborative work \"Christophorus,\" a Christmas play, today, I can appreciate what a task it must have been for you to accompany me as a teacher and to guide my wildly proliferating fantasies and aspirations into practically feasible paths. You succeeded greatly in guiding me gently but firmly. You have always been—and still are—an artistic and, above all, human role model for me. I am impressed by your inexhaustible ability to inspire and your almost childlike trust in the potential of your fellow human beings.\n\n\n\nAndré Fischer (Lectuer, Composer, Conductor)\n\nEglisau, Oktober 2012\n\n\n\n\n\nGerald Bennett\n\nKit's electroacoustic music always seemed to me effortless, but this cannot possibly be true. Electroacoustic music is always difficult, nothing sounds as one hopes the first time, and one works very slowly. But Kit eradicates any trace of difficulty and slowness from the music itself so that it seems as if it were just being invented. In addition, his electroacoustic music has a physicality which I greatly admire: it sounds as though it is being played that very moment on strange and wonderful instruments that we have neither seen nor heard before. The sound often sparkles with a freshness and liveliness which are far from the rule in electroacoustic music, and the gestures the music suggests--the movements our mind's eye attributes to the imaginary players of these imaginary and imaginative instruments--are evocative, poetic, often full of gentle humor and always captivating. Kit's electroacoustic compositions make up only a small part of his astonishingly rich list of works, but they constitute a body of completely original pieces whose composer has seemed to be able to convince the basically intractable medium of electronics to do precisely what he wants.\n\n\n\nGerald Bennett (Lectuer, Composer, Founder of the ICST)\n\nMuttenz, October 2012\n\n\n\n\n\nDon McAra\n\n. . . From a simple beginning in providing noises off, and some short linking pieces for O’Casey’s “Juno and the Paycock” done at Linwood, to productions of highly complex plays such as Bertolt Brecht’s “Mother Courage”, which was performed in conjunction between the Christchurch College of Education and the University of Canterbury, New Zealand, Kit’s music was original and at the same time perfectly in keeping with the spirit and underlying meaning of the script as interpreted by me and other directors with whom Kit worked. One of these was John Kim who undertook some enormous dramatic projects with High School pupils, for example an adaptation of “The Odyssey”, and another from history called “Harold and William” concerning the Norman invasion of England in 1066. Kit’s music added tremendous depth to these pieces which had been arrived at in part by an improvisational dramatic process in which pupils helped to build the text as they studied the source material, and Kit’s well tuned ear enabled him to provide some great music for these shows. . .\n\n\n\nTo sum up, it has always been a great pleasure to work with Kit on the various dramatic performances we have undertaken. . . It has been a many and varied road, most of it now well in the past apart from some visuals I provided for Kit’s recent piece on Maui’s fishing up of the North Island which has received an in house performance by the New Zealand Symphony Orchestra.\n\n\n\nDon McAra (Lecturer, Play Producer, Painter)\n\nChristchurch, NZ, June 2012\n\n\n\nPhilip Woollaston\n\n. . . As our friendship grew I found in him more surprising contradictions.An obvious one was that, though employed principally as a mathematics teacher, Kit's contribution to the school was far greater in the areas of music and drama.With several other talented teachers he inspired students to write, produce and perform an annual musical drama of a scale and standard unheard of at secondary school level.Under Kit's leadership students composed and performed the music (and sometimes invented unconventional 'instruments' for the purpose).\n\n\n\nI think all Kit's friends are aware of his perseverance - sometimes to the point of stubbornness. One of his stubbornly held beliefs is that everyone is capable of musical expression at some level. He applied this belief to me, despite my accounts of regular rejection by music teachers and choirmasters as being un-musical beyond any redemption. To my delight and pride he eventually had me perform (not well, but without totally disgracing myself) in a small choir of students and staff which he assembled to sing excerpts from his opera The Fisherman and his Wife, though after one brief 'season' involving two or three performances we both felt the point had been adequately made! That he managed to make me sing in tune at all is a testament to his great talent as a teacher.\"\n\n\n\nPhilip Woollaston (Teacher, Politician, Wine Grower)\n\nUpper Moutere, NZ, Sept. 2012\n\n\n\n\n\nGennie de Lange\n\nAny children who were lucky enough to come under Kit’s spell were privileged. They learnt that it is possible to be creative musically with found objects, and this way of approaching a subject could be applied to life itself. . .\n\nThese compositions were often played on instruments they had constructed from objects that they had found, like pipes and tubes of every kind length and shape and size. Wondrous sounds came out of corrugated caterpillar plastic pipes and flutes made from abandoned tubes. They weren’t restricted to conventional instruments or sounds. Afterwards when I came to collect them they would have hopped out into the garden and be striding about on stilts, so even walking was topsy-turvy and unconventional, enabling them to approach life from an inventive point of view.\n\n\n\nGennie de Lange (Ceramic Artist)\n\nAuckland, NZ, Oct. 2012\n\n\n\n\n\nNelson Wattie\n\n. . . We performed ‘The Ballad of Reading Gaol’ late in the week and the excited reception it received was overwhelming. The applause seemed to go on endlessly and my memory of Kit facing the standing ovation with a mixture of pride, modesty and surprise has accompanied me ever since. It was also a bonding moment, so that Kit and I, even when we have our disagreements and temperamental conflicts, remain staunch friends.\n\nA few weeks later, ‘The Ballad of Reading Gaol’ was recorded for broadcasting with the National Orchestra (now the New Zealand Symphony Orchestra) conducted by John Hopkins. Performing with the country’s only professional orchestra under its distinguished conductor was a little intimidating and very satisfying. No doubt Kit, who assisted at rehearsals and listened to the performance in the studio, shared those feelings.\n\nKit wrote two works for me – to be performed by me and others. The first of these was “Nelson Songs”, which had its first performance at a conference for “The New Literatures in English” at Laufen in Bavaria. The work is a setting of poems by Michael Harlow, whose speaking voice can be heard on the accompanying tape, mixed with electronic sounds. We made several recordings of the work, in Cologne, Wuppertal, Zurich and Wellington.\n\nThe other work Kit wrote for me and which I was privileged to premiere was “Father’s Telescope”, again using Harlow poems. It, too, was performed in Europe and New Zealand, and the most notable recording used the actor Barry Empson for the spoken text which is in dialogue with the singer. . . .\n\n\n\nNelson Wattie (Singer, Writer, Lexicographer, Translator)\n\nWellington, NZ,Sept. 2012\n\n\n\n",{"_type":375,"current":32320},"75-birthday-wishes-memories-and-thoughts-from-old-friends","75. Birthday Wishes, Memories and Thoughts from Old Friends (Dec. 2012)",{"_id":32323,"chapters":32324,"content":32325,"images":32543,"rawText":32544,"slug":32545,"title":32547},"918e74ba-5d06-4191-814d-1cef7f06533c",[],[32326,32334,32341,32349,32356,32364,32371,32379,32386,32394,32401,32409,32416,32424,32431,32439,32446,32454,32461,32469,32476,32483,32491,32498,32506,32513,32521,32529,32536],{"_key":32327,"_type":9,"children":32328,"image":4,"markDefs":32333,"style":18},"07c83522b636",[32329],{"_key":32330,"_type":13,"marks":32331,"text":32332},"7306ccdd25eb0",[],"I suppose I started when I should have been practising the piano and preferred to invent my own things instead. I suppose too I must have been learning \"theory\" at the same time, but this was a sort of drudgery which one \"had to do\" - it did not seem to have anything to do with music. Hopeless as I was (and still am) at the piano, it at least was music and so the Bach 2-part inventions which I adored inspired one of my first compositions. I think I was quite lucky that the theory had so little effect on me - especially the harmony. It meant I didn't have to shake off much traditional harmony later.",[],{"_key":32335,"_type":9,"children":32336,"image":4,"markDefs":32340,"style":18},"cb6a372e4a24",[32337],{"_key":32338,"_type":13,"marks":32339,"text":25},"afe8e79676b40",[],[],{"_key":32342,"_type":9,"children":32343,"image":4,"markDefs":32348,"style":18},"c079ac0fe723",[32344],{"_key":32345,"_type":13,"marks":32346,"text":32347},"4cc540f6a01d0",[],"My first years at university were mainly involved with a science degree, but I kept on writing for myself and for friends I played with. Victoria's Musoc played my stuff, even although I was a science student and I could always take my work to Douglas Lilburn and know that I would get a sympathetic and thoughtful response. Even when the student reviewers were not helpful: \"... and then we had a quartet movement by a mathematician and it sounded like it!\", Douglas always was. He was a sort of anchor, a rock. I don't suppose I took work to him more than half a dozen times, but I always had the feeling that he was there and would help me if I needed it. Now, it strikes me as rather presumptuous that I would just knock on the study door of New Zealand's foremost composer and ask his opinion about my latest piece, but he was so accepting and encouraging and ruthlessly honest it didn't seem strange to me at all at the time.",[],{"_key":32350,"_type":9,"children":32351,"image":4,"markDefs":32355,"style":18},"9ec10864c1a1",[32352],{"_key":32353,"_type":13,"marks":32354,"text":25},"172a53b7ba7e0",[],[],{"_key":32357,"_type":9,"children":32358,"image":4,"markDefs":32363,"style":18},"24a92347ed30",[32359],{"_key":32360,"_type":13,"marks":32361,"text":32362},"029e2db982810",[],"From 1959 - 1964 I started going to the Cambridge summer schools. In retrospect I see this as the most important part of my education as a composer. No other courses that I attended came anywhere near the usefulness of the composers group in the Cambridge music schools. I was lucky that in my first year many of the class were also fairly inexperienced. Ron Tremain was a bit shocked, I think, at our ignorance, and devoted the afternoons to listening to Bartók and Stravinsky - all new experiences for me  aged 22!). He also taught us about 12 tone composition and we each wrote a variation on a 12 note theme he offered.",[],{"_key":32365,"_type":9,"children":32366,"image":4,"markDefs":32370,"style":18},"506cae946abe",[32367],{"_key":32368,"_type":13,"marks":32369,"text":25},"5519f3854e610",[],[],{"_key":32372,"_type":9,"children":32373,"image":4,"markDefs":32378,"style":18},"27736c71cf5c",[32374],{"_key":32375,"_type":13,"marks":32376,"text":32377},"ca4d553e159f0",[],"Each following Cambridge school I turned up with a piece ready for performance and the pieces got more ambitious as the years went by: \"Reading Gaol\" (for Baritone and Orchestra), performed by Nelson Wattie with the Cambridge Orchestra, a Clarinet Quintet, beautifully performed by Ken Wilson, who was also in the composers' group.",[],{"_key":32380,"_type":9,"children":32381,"image":4,"markDefs":32385,"style":18},"0795cb909c64",[32382],{"_key":32383,"_type":13,"marks":32384,"text":25},"05a33984b8080",[],[],{"_key":32387,"_type":9,"children":32388,"image":4,"markDefs":32393,"style":18},"3ce9e091155b",[32389],{"_key":32390,"_type":13,"marks":32391,"text":32392},"d52d1dad0b3e0",[],"The last two years were under the tutelage of Larry Pruden. He would spend hours going through scores with a fine toothed comb and was extremely helpful. My second year with him saw the performance of my Violin Concerto, the solo part played by Marjorie Dumbleton.",[],{"_key":32395,"_type":9,"children":32396,"image":4,"markDefs":32400,"style":18},"3b7b5448175d",[32397],{"_key":32398,"_type":13,"marks":32399,"text":25},"9f34b239cf210",[],[],{"_key":32402,"_type":9,"children":32403,"image":4,"markDefs":32408,"style":18},"3cdd8e9c7738",[32404],{"_key":32405,"_type":13,"marks":32406,"text":32407},"54c23994bed50",[],"In 1961 I came to Christchurch to the Teachers' College and then from 1962 - 1965 I taught as a maths teacher at Linwood High School. At the same time I did the rest of the B.Mus. I'd started at Victoria. Curiously, when I came to the final\nyear and discussed what works I could offer as composition exercises, the Violin Concerto was unacceptable. I was encouraged to hand in the more conservative Clarinet Quintet, a Psalm setting for SATB, and“Kuza Nama\", a cycle for Baritone and Piano with text from the Rubaiyat of Omar Khayyam. This last I heard for the first time in 1981 It wasn't usual in those days for student exercises to be performed.",[],{"_key":32410,"_type":9,"children":32411,"image":4,"markDefs":32415,"style":18},"d16719efbd56",[32412],{"_key":32413,"_type":13,"marks":32414,"text":25},"0fa70cb6e2700",[],[],{"_key":32417,"_type":9,"children":32418,"image":4,"markDefs":32423,"style":18},"121265e75ec0",[32419],{"_key":32420,"_type":13,"marks":32421,"text":32422},"7c79df99cce00",[],"Rather than thinking of remedying this, my heart was set on seeing the other side of the world and studying further in Europe. So in the spring of 1966 I enrolled at the University for Foreigners in Perugia. It was here I met Brigitte. After the three months language and culture course, we toured Italy together, then she left me at 'The Accademia Chigiana' in Siena for two months (where I studied composition with Goffredo Petrassi) and at the end of that year we were married in Switzerland.",[],{"_key":32425,"_type":9,"children":32426,"image":4,"markDefs":32430,"style":18},"1707bc85f499",[32427],{"_key":32428,"_type":13,"marks":32429,"text":25},"a66841dd4d5d0",[],[],{"_key":32432,"_type":9,"children":32433,"image":4,"markDefs":32438,"style":18},"9dfc831683f7",[32434],{"_key":32435,"_type":13,"marks":32436,"text":32437},"ccef4fa02e800",[],"For Petrassi I wrote \"Due movimenti per quattro stromenti\", for Piccolo, Clarinet, Cello and Piano - a fairly strict 12 note work. I see I've left this work off the list in the CANZ bibliography. It's probably best left off. I think I must have been quite spoilt by my earlier teachers, the care they took with their help and advice. Petrassi was friendly, but lazy as a teacher. On the first day he said: \"In Siena\ndovete scoprire Simone Martini\" - then he disappeared for a week or two, and so I went out and discovered Simone Martini, and Duccio, and the Lorenzettis. My lasting impression of Siena is a visual one with music well in the background.",[],{"_key":32440,"_type":9,"children":32441,"image":4,"markDefs":32445,"style":18},"7fc804b6163a",[32442],{"_key":32443,"_type":13,"marks":32444,"text":25},"a995e8f7ac050",[],[],{"_key":32447,"_type":9,"children":32448,"image":4,"markDefs":32453,"style":18},"7d06f99765f7",[32449],{"_key":32450,"_type":13,"marks":32451,"text":32452},"ca4a9e756ed60",[],"I had to wait until the following year before I was to learn very much new. This was at Darmstadt in 1967. Stockhausen was there and produced his Mikrophonie II” Ligetti gave a series of lectures - I remember especially his description of how\nhe used clusters. Pousseur was describing his opera \"Mon Faust” and how the audience could control the direction successive acts could take, and Penderecki was invited but couldn't come and was replaced at the last minute by Earle Brown who talked about his \"Available Forms\" Ideas of clusters, chance procedures, open forms, live electronics, parameters it was like the experience at my first Cambridge school where I met Bartók, Stravinsky and Schönberg for the first time. Although this Darmstadt course was a very passive one for me, I fed on these ideas for years afterwards. I bought scores and records and books and gradually absorbed some of these ideas into my own musical vocabulary.",[],{"_key":32455,"_type":9,"children":32456,"image":4,"markDefs":32460,"style":18},"0cda349ebcfd",[32457],{"_key":32458,"_type":13,"marks":32459,"text":25},"a16166a19d9a0",[],[],{"_key":32462,"_type":9,"children":32463,"image":4,"markDefs":32468,"style":18},"31a4e00d3a8e",[32464],{"_key":32465,"_type":13,"marks":32466,"text":32467},"4cd55b4058ba0",[],"In 1968 I was back at Linwood High School, still a maths teacher but talking about Total Theatre. In the next four years we produced four major stage works: The Odyssey, Harold and William. Simplicius, and Akhnaton. The first of these scores I wrote entirely, but then as I got more and more involved in music education (I was actually teaching some school music now!), I tried to involve the pupils in the writing and improvisation of parts of these stage works. ",[],{"_key":32470,"_type":9,"children":32471,"image":4,"markDefs":32475,"style":18},"9ed972aa462b",[32472],{"_key":32465,"_type":13,"marks":32473,"text":32474},[],"Although this probably did a lot of good educationally, I think the first two of these four total theatre pieces are the better musically. At the same time I must admit to having learnt a tremendous amount from my pupil composers:\nThe singing of clusters for instance through tuned plastic\ntubes - something I was to use years later in \"The Ever-circling Light\" - was first tried out in the performance of a pupil's piece for “Simplicius”.",[],{"_key":32477,"_type":9,"children":32478,"image":4,"markDefs":32482,"style":18},"aa934995401b",[32479],{"_key":32480,"_type":13,"marks":32481,"text":25},"a234dc3db2d80",[],[],{"_key":32484,"_type":9,"children":32485,"image":4,"markDefs":32490,"style":18},"c4cd15ad1999",[32486],{"_key":32487,"_type":13,"marks":32488,"text":32489},"4f0cef35fddf0",[],"About this time I was invited to write a piece for the CSIM demonstration concert. At Linwood High School we had had a tape recorder which could play backwards and I was interested to try and translate this 'played-backwards\" effect onto\nconventional instruments. The piece was \"Palindrome\" for 5 Orchestras, and it also made a feature of the spatial separation of the orchestras as they were set out in the stadium for that concert. The piece was a good one I think but dreadful to rehearse. The poor children in each of the orchestras had no idea until the final rehearsal what the total piece was like - for them it was like rehearsing one\nfragment of a jig-saw puzzle. Probably because of the success of this piece I was invited to form an experimental group of children percussionists to perform in the Christchurch Primary Schools Festival. The first of these \"Creative\nPercussion\" groups was in 1973 and continued until 1979. Although the children were creating the music, I was learning a great deal about percussion instruments. As the years went by and I felt obliged to produce \"different\" sounds in each concert. I looked for new sounds in “found instruments” (stone, metal, wood, glass, etc.) and encouraged the children to do likewise. This has had an obvious impact on my own work, especially \"Stone Poem\", \"Devotion to the Small\", and \"Piece of 4\", and to a lesser extent \"The Ever-circling Light\", all of which use percussion prominently - both conventional instruments and found ones.",[],{"_key":32492,"_type":9,"children":32493,"image":4,"markDefs":32497,"style":18},"0bb879bbec61",[32494],{"_key":32495,"_type":13,"marks":32496,"text":25},"08d2619bdf690",[],[],{"_key":32499,"_type":9,"children":32500,"image":4,"markDefs":32505,"style":18},"d4413f5bc4fe",[32501],{"_key":32502,"_type":13,"marks":32503,"text":32504},"28e2e2b419990",[],"In 1975 I left Linwood for the Teachers' College. I had been working on a Comic Opera \"The Fisherman and his Wife\" (Story from Grimm's Fairy Tales). I finished it in my first few months at the College, but it was not performed until November of the following year: It is the only one of my school works that has been performed in other schools. \nThis is rather because the Linwood Total Theatre works, for all the prodigious effort, were occasional pieces and, would require massive rewriting to be successful in another context. \n\"The Fisherman and his Wife\" is a success, I believe, because it will fit into any context, and not necessarily a school one. At the same time it is a lot less adventurous musically than those earlier stage works.",[],{"_key":32507,"_type":9,"children":32508,"image":4,"markDefs":32512,"style":18},"8d33419856b8",[32509],{"_key":32510,"_type":13,"marks":32511,"text":25},"316149e9368a0",[],[],{"_key":32514,"_type":9,"children":32515,"image":4,"markDefs":32520,"style":18},"0df9de14b17f",[32516],{"_key":32517,"_type":13,"marks":32518,"text":32519},"71ed352127ab0",[],"Later in 1975 I joined the Royal Christchurch Musical Society (as a second tenor), and several of my pieces in the next few years were to be for this group, often burlesques for a special occasion: \"Salve Robert Field-Dodgson”, \"Serenade for Dr. Griffith's 85th Birthday\" and \"The Pink Panther's Picnic\". This last was produced (with considerable effort) at a concert with the Skellerup Woolston Band in 1979, and resulted in my being invited to write a piece for the New Zealand Army Band. I was not keen to make a name for myself in writing music potpourris, and so the piece I wrote was, I think, a compromise. \n\"Hubert the Clockmaker” is largely entertainment music, but it has its serious side too with its themes of time and old age. The RCMS also commissioned a serious piece from me which was to be \"The Ever-circling Light\". The score was finished in January 1980, ready for a performance in May or June, I was responsible for training the percussion ensemble, and I found an able and enthusiastic group from among my own music students at the Teachers' College. We were already well into rehearsals when the choir decided to postpone the first performance until after my return from overseas (we were to leave in August 1980 for a year's study leave). \nThe net result was that I had a keen group of players with nothing to work for. My friend and colleague, poet Michael Harlow and I got together and planned a piece using a selection of his \"small\" poems. One of the \"percussionists\" was an\nexcellent singer (Jillian Bartram) and \"Devotion to the Small\" was written for this group and performed and recorded for radio just before our departure for Europe.\nJust after we left \"Hubert the Clockmaker” had its first performance and I heard it first on tape in Switzerland, where I had the spoken part translated and broadcast on Swiss radio. \nWhen we returned we found that \"Devotion to the Small” had received a Mobil award for the best recorded New Zealand musical piece in 1981 and the NZSO were asking for an orchestral version of \"Hubert the Clockmaker\".\n",[],{"_key":32522,"_type":9,"children":32523,"image":4,"markDefs":32528,"style":18},"44ff1d600f3f",[32524],{"_key":32525,"_type":13,"marks":32526,"text":32527},"c6cc7805ec8c",[],"Kit Powell, 1981",[],{"_key":32530,"_type":9,"children":32531,"image":4,"markDefs":32535,"style":18},"ac3225d7b2ed",[32532],{"_key":32533,"_type":13,"marks":32534,"text":25},"4b5d0cca7c8b0",[],[],{"_key":32537,"_type":9,"children":32538,"image":4,"markDefs":32542,"style":18},"671963e41976",[32539],{"_key":32540,"_type":13,"marks":32541,"text":4878},"8e350acd91120",[],[],[],"I suppose I started when I should have been practising the piano and preferred to invent my own things instead. I suppose too I must have been learning \"theory\" at the same time, but this was a sort of drudgery which one \"had to do\" - it did not seem to have anything to do with music. Hopeless as I was (and still am) at the piano, it at least was music and so the Bach 2-part inventions which I adored inspired one of my first compositions. I think I was quite lucky that the theory had so little effect on me - especially the harmony. It meant I didn't have to shake off much traditional harmony later.\n\n\n\nMy first years at university were mainly involved with a science degree, but I kept on writing for myself and for friends I played with. Victoria's Musoc played my stuff, even although I was a science student and I could always take my work to Douglas Lilburn and know that I would get a sympathetic and thoughtful response. Even when the student reviewers were not helpful: \"... and then we had a quartet movement by a mathematician and it sounded like it!\", Douglas always was. He was a sort of anchor, a rock. I don't suppose I took work to him more than half a dozen times, but I always had the feeling that he was there and would help me if I needed it. Now, it strikes me as rather presumptuous that I would just knock on the study door of New Zealand's foremost composer and ask his opinion about my latest piece, but he was so accepting and encouraging and ruthlessly honest it didn't seem strange to me at all at the time.\n\n\n\nFrom 1959 - 1964 I started going to the Cambridge summer schools. In retrospect I see this as the most important part of my education as a composer. No other courses that I attended came anywhere near the usefulness of the composers group in the Cambridge music schools. I was lucky that in my first year many of the class were also fairly inexperienced. Ron Tremain was a bit shocked, I think, at our ignorance, and devoted the afternoons to listening to Bartók and Stravinsky - all new experiences for me  aged 22!). He also taught us about 12 tone composition and we each wrote a variation on a 12 note theme he offered.\n\n\n\nEach following Cambridge school I turned up with a piece ready for performance and the pieces got more ambitious as the years went by: \"Reading Gaol\" (for Baritone and Orchestra), performed by Nelson Wattie with the Cambridge Orchestra, a Clarinet Quintet, beautifully performed by Ken Wilson, who was also in the composers' group.\n\n\n\nThe last two years were under the tutelage of Larry Pruden. He would spend hours going through scores with a fine toothed comb and was extremely helpful. My second year with him saw the performance of my Violin Concerto, the solo part played by Marjorie Dumbleton.\n\n\n\nIn 1961 I came to Christchurch to the Teachers' College and then from 1962 - 1965 I taught as a maths teacher at Linwood High School. At the same time I did the rest of the B.Mus. I'd started at Victoria. Curiously, when I came to the final\nyear and discussed what works I could offer as composition exercises, the Violin Concerto was unacceptable. I was encouraged to hand in the more conservative Clarinet Quintet, a Psalm setting for SATB, and“Kuza Nama\", a cycle for Baritone and Piano with text from the Rubaiyat of Omar Khayyam. This last I heard for the first time in 1981 It wasn't usual in those days for student exercises to be performed.\n\n\n\nRather than thinking of remedying this, my heart was set on seeing the other side of the world and studying further in Europe. So in the spring of 1966 I enrolled at the University for Foreigners in Perugia. It was here I met Brigitte. After the three months language and culture course, we toured Italy together, then she left me at 'The Accademia Chigiana' in Siena for two months (where I studied composition with Goffredo Petrassi) and at the end of that year we were married in Switzerland.\n\n\n\nFor Petrassi I wrote \"Due movimenti per quattro stromenti\", for Piccolo, Clarinet, Cello and Piano - a fairly strict 12 note work. I see I've left this work off the list in the CANZ bibliography. It's probably best left off. I think I must have been quite spoilt by my earlier teachers, the care they took with their help and advice. Petrassi was friendly, but lazy as a teacher. On the first day he said: \"In Siena\ndovete scoprire Simone Martini\" - then he disappeared for a week or two, and so I went out and discovered Simone Martini, and Duccio, and the Lorenzettis. My lasting impression of Siena is a visual one with music well in the background.\n\n\n\nI had to wait until the following year before I was to learn very much new. This was at Darmstadt in 1967. Stockhausen was there and produced his Mikrophonie II” Ligetti gave a series of lectures - I remember especially his description of how\nhe used clusters. Pousseur was describing his opera \"Mon Faust” and how the audience could control the direction successive acts could take, and Penderecki was invited but couldn't come and was replaced at the last minute by Earle Brown who talked about his \"Available Forms\" Ideas of clusters, chance procedures, open forms, live electronics, parameters it was like the experience at my first Cambridge school where I met Bartók, Stravinsky and Schönberg for the first time. Although this Darmstadt course was a very passive one for me, I fed on these ideas for years afterwards. I bought scores and records and books and gradually absorbed some of these ideas into my own musical vocabulary.\n\n\n\nIn 1968 I was back at Linwood High School, still a maths teacher but talking about Total Theatre. In the next four years we produced four major stage works: The Odyssey, Harold and William. Simplicius, and Akhnaton. The first of these scores I wrote entirely, but then as I got more and more involved in music education (I was actually teaching some school music now!), I tried to involve the pupils in the writing and improvisation of parts of these stage works. \n\nAlthough this probably did a lot of good educationally, I think the first two of these four total theatre pieces are the better musically. At the same time I must admit to having learnt a tremendous amount from my pupil composers:\nThe singing of clusters for instance through tuned plastic\ntubes - something I was to use years later in \"The Ever-circling Light\" - was first tried out in the performance of a pupil's piece for “Simplicius”.\n\n\n\nAbout this time I was invited to write a piece for the CSIM demonstration concert. At Linwood High School we had had a tape recorder which could play backwards and I was interested to try and translate this 'played-backwards\" effect onto\nconventional instruments. The piece was \"Palindrome\" for 5 Orchestras, and it also made a feature of the spatial separation of the orchestras as they were set out in the stadium for that concert. The piece was a good one I think but dreadful to rehearse. The poor children in each of the orchestras had no idea until the final rehearsal what the total piece was like - for them it was like rehearsing one\nfragment of a jig-saw puzzle. Probably because of the success of this piece I was invited to form an experimental group of children percussionists to perform in the Christchurch Primary Schools Festival. The first of these \"Creative\nPercussion\" groups was in 1973 and continued until 1979. Although the children were creating the music, I was learning a great deal about percussion instruments. As the years went by and I felt obliged to produce \"different\" sounds in each concert. I looked for new sounds in “found instruments” (stone, metal, wood, glass, etc.) and encouraged the children to do likewise. This has had an obvious impact on my own work, especially \"Stone Poem\", \"Devotion to the Small\", and \"Piece of 4\", and to a lesser extent \"The Ever-circling Light\", all of which use percussion prominently - both conventional instruments and found ones.\n\n\n\nIn 1975 I left Linwood for the Teachers' College. I had been working on a Comic Opera \"The Fisherman and his Wife\" (Story from Grimm's Fairy Tales). I finished it in my first few months at the College, but it was not performed until November of the following year: It is the only one of my school works that has been performed in other schools. \nThis is rather because the Linwood Total Theatre works, for all the prodigious effort, were occasional pieces and, would require massive rewriting to be successful in another context. \n\"The Fisherman and his Wife\" is a success, I believe, because it will fit into any context, and not necessarily a school one. At the same time it is a lot less adventurous musically than those earlier stage works.\n\n\n\nLater in 1975 I joined the Royal Christchurch Musical Society (as a second tenor), and several of my pieces in the next few years were to be for this group, often burlesques for a special occasion: \"Salve Robert Field-Dodgson”, \"Serenade for Dr. Griffith's 85th Birthday\" and \"The Pink Panther's Picnic\". This last was produced (with considerable effort) at a concert with the Skellerup Woolston Band in 1979, and resulted in my being invited to write a piece for the New Zealand Army Band. I was not keen to make a name for myself in writing music potpourris, and so the piece I wrote was, I think, a compromise. \n\"Hubert the Clockmaker” is largely entertainment music, but it has its serious side too with its themes of time and old age. The RCMS also commissioned a serious piece from me which was to be \"The Ever-circling Light\". The score was finished in January 1980, ready for a performance in May or June, I was responsible for training the percussion ensemble, and I found an able and enthusiastic group from among my own music students at the Teachers' College. We were already well into rehearsals when the choir decided to postpone the first performance until after my return from overseas (we were to leave in August 1980 for a year's study leave). \nThe net result was that I had a keen group of players with nothing to work for. My friend and colleague, poet Michael Harlow and I got together and planned a piece using a selection of his \"small\" poems. One of the \"percussionists\" was an\nexcellent singer (Jillian Bartram) and \"Devotion to the Small\" was written for this group and performed and recorded for radio just before our departure for Europe.\nJust after we left \"Hubert the Clockmaker” had its first performance and I heard it first on tape in Switzerland, where I had the spoken part translated and broadcast on Swiss radio. \nWhen we returned we found that \"Devotion to the Small” had received a Mobil award for the best recorded New Zealand musical piece in 1981 and the NZSO were asking for an orchestral version of \"Hubert the Clockmaker\".\n\n\nKit Powell, 1981\n\n\n\n\n",{"_type":375,"current":32546},"compositional-beginnings","Compositional Beginnings ",{"_id":32549,"chapters":32550,"content":32551,"images":32910,"rawText":32913,"slug":32914,"title":32916},"de71ff5e-0c7d-46ef-aa64-fa24dd7a83b5",[],[32552,32560,32568,32575,32594,32601,32609,32616,32624,32633,32641,32648,32666,32673,32689,32697,32704,32712,32719,32737,32744,32772,32779,32787,32794,32822,32829,32837,32844,32862,32869,32877,32884,32902],{"_key":32553,"_type":9,"children":32554,"image":4,"markDefs":32559,"style":18},"70be800a2d44",[32555],{"_key":32556,"_type":13,"marks":32557,"text":32558},"c07900b5c8d90",[],"In the last two years two features of my composition have become more prominent:\n",[],{"_key":32561,"_type":9,"children":32562,"image":4,"markDefs":32567,"style":18},"1b7cf233bb35",[32563],{"_key":32564,"_type":13,"marks":32565,"text":32566},"05cb5ebd1f320",[],"1. the use of found and home-made instruments and\n2. the use of chance.",[],{"_key":32569,"_type":9,"children":32570,"image":4,"markDefs":32574,"style":18},"9ff0350200df",[32571],{"_key":32572,"_type":13,"marks":32573,"text":25},"1f9b788115eb0",[],[],{"_key":32576,"_type":9,"children":32577,"image":4,"markDefs":32591,"style":18},"a50dbaf6094c",[32578,32582,32587],{"_key":32579,"_type":13,"marks":32580,"text":32581},"b5b3d4241b230",[],"The first of these works was “",{"_key":32583,"_type":13,"marks":32584,"text":32586},"26f3afae3f12",[32585],"9983e755dd79","The Ever-circling Light",{"_key":32588,"_type":13,"marks":32589,"text":32590},"127c83dfac7d",[],"” commissioned by the Royal Christchurch Musical Society in 1980 and first performed in July 1982. My main aim was to write a “New Zealand\" piece about the land, its people and its weathers. I chose texts from traditional Māori poetry which would serve this purpose and arranged them in movements to show a New Zealand day as I saw it. Thus the macro-form is largely programmatic, but chance processes were used to determine details of the micro-form. I shall describe two uses of chance systems in 'The Ever-circling Light\" which typify most other uses.",[32592],{"_key":32585,"_type":321,"reference":32593,"slug":2343,"type":510},{"_ref":2342,"_type":324},{"_key":32595,"_type":9,"children":32596,"image":4,"markDefs":32600,"style":18},"48827a674608",[32597],{"_key":32598,"_type":13,"marks":32599,"text":25},"3f1abaf431980",[],[],{"_key":32602,"_type":9,"children":32603,"image":4,"markDefs":32608,"style":18},"9b42f02195cd",[32604],{"_key":32605,"_type":13,"marks":32606,"text":32607},"e5697c5cf7780",[],"The quiet introduction of \"night sounds\" is subdivided into \"bars\" whose proportions are derived from the Fibonacci Series:1, 2, 3, 5, 8, 13, 21, 34 .... I wrote 6 of these numbers (1, 2, 3, 5, 8, 34) on the sides of a die and rolled it until, calling the numbers seconds and each roll one bar, they added up to a minute and a half. The number of instruments playing at the beginning of each bar was found by rolling an ordinary die, and which instruments by rolling another.",[],{"_key":32610,"_type":9,"children":32611,"image":4,"markDefs":32615,"style":18},"5bea9ea4ff2c",[32612],{"_key":32613,"_type":13,"marks":32614,"text":25},"904c951040160",[],[],{"_key":32617,"_type":9,"children":32618,"image":4,"markDefs":32623,"style":18},"3f2d53022525",[32619],{"_key":32620,"_type":13,"marks":32621,"text":32622},"ee0238298aa00",[],"A similar process was used in the last movement, in which each singer of the chorus (except the basses) sings only one note. The note is taken from the harmonic series of a low F and the plastic tube which each singer has is tuned to his or her note. For the whole movement (Waiata Tangi) I used random number tables to decide how many seconds each singer would alternately sing and rest. Over this pattern I imposed another pattern - like a solid inverted V (see diagram). All durations outside this V were rejected, and the voices which were thus made redundant were then required to sing the \"Waiata\". This was chanted on one note, a D flat, especially chosen to contrast with notes in the harmonic series of the low F.",[],{"_key":32625,"_type":500,"caption":32626,"image":32627,"markDefs":4},"228d6c5fd6f0","Schematic diagram of \"Waiata Tangi\"",{"caption":4,"id":32628,"meta":32629,"parentID":4,"parentType":3456,"url":32632},"7ae914821771d30e23ad89d3b2494cff30d2c3c8",{"_type":506,"aspectRatio":32630,"height":32631,"width":1313},2.1279620853080567,422,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F7ae914821771d30e23ad89d3b2494cff30d2c3c8-898x422.jpg",{"_key":32634,"_type":9,"children":32635,"image":4,"markDefs":32640,"style":18},"e48e41700fcb",[32636],{"_key":32637,"_type":13,"marks":32638,"text":32639},"c3fd4ce9d62c0",[],"One important experimental feature of \"The Ever-circling Light\" probably failed. The abstract voice sounds, which are heard first in the introduction, are intended as a simple fore-taste of the richer and more complex palette of fricative sounds used in \"Rimurimu\". In the introduction one hears just 'f' and 's' fricatives, but in \"Rimurimu\" are added 'sh' and 'ch', each being filtered by the mouth shape, between the shape for 'i' and for 'u'. In the introduction the chorus is divided into two stereo groups, in \"Rimurimu\" into four groups. The text, half whispered, is superimposed (in 4-way stereo) over this, and all is heard against a background of delicate percussion sounds plus the long notes from the four solo sopranos. Some listeners responded very positively to this movement, others felt it didn't say anything new that the opening \"night sounds\" had not already said. This is probably a valid response, due mainly to the inability of the chorus to differentiate clearly between 'sh' and 'ch' ' and the half-whispered words. I now think the movement would be improved if, as well as four solo sopranos, there were four solo speakers, so that the text could be clearly projected and the chorus could concentrate on the filtering of the fricative sounds.",[],{"_key":32642,"_type":9,"children":32643,"image":4,"markDefs":32647,"style":18},"f8f8b7d188d5",[32644],{"_key":32645,"_type":13,"marks":32646,"text":25},"916502a7f4430",[],[],{"_key":32649,"_type":9,"children":32650,"image":4,"markDefs":32663,"style":18},"68c9126db977",[32651,32655,32659],{"_key":32652,"_type":13,"marks":32653,"text":32654},"7dca39aa2e000",[],"\"",{"_key":32656,"_type":13,"marks":32657,"text":4687},"affa1d274d3c",[32658],"dad98ebd6c27",{"_key":32660,"_type":13,"marks":32661,"text":32662},"84108765211f",[],"” contrasts deliberately with \"The Ever-circling Light\". There is one solo voice instead of a large choir, and all the large percussion is avoided in favour of small instruments, including many found and home-made instruments. These are arranged on two large stands, so that some of the gongs and bells can also be played by the solo singer, while the rest of the battery is managed by five percussionists. The texts are a selection of six small poems by Michael Harlow, whose themes are also \"small\".\n",[32664],{"_key":32658,"_type":321,"reference":32665,"slug":4904,"type":510},{"_ref":4640,"_type":324},{"_key":32667,"_type":9,"children":32668,"image":4,"markDefs":32672,"style":18},"eede61f6cb14",[32669],{"_key":32670,"_type":13,"marks":32671,"text":25},"1c720ee1e6ec0",[],[],{"_key":32674,"_type":9,"children":32675,"image":4,"markDefs":32688,"style":18},"f6a3d70832e3",[32676,32680,32684],{"_key":32677,"_type":13,"marks":32678,"text":32679},"49f9a30855610",[],"To a large extent the texts determine the shape of each movement, e.g. the short lines of \"Andacht zum Kleinen' are emphasized by breaks in the singer's line. In the second movement \"Stone Poem\", the text even determines the Instruments: each of the five percussionists has two large stones, which are gradually replaced by the softer sounding clay chimes. In \"Contemplating the letter O\" ' the singer does just this through a range of emotional Os from sadness, shock, surprise, interest and ecstasy, while the percussionists supply both accompaniment and text. The fourth movement, like the other even-numbered movements, has a strong \"tonic\", which is superimposed onto the graphic notation. In this movement the singer tries to break away from this tonic, making small jumps at first, but only really succeeding on the very last note. This, note is one of the few big sounds in the whole piece. It is sung fortissimo and supported by two bullroarers, two bowed (Chladne) plates and a vibraslap. This \"different\" note is an example of the contrast principle on a micro-level which I discussed during the planning period of the piece with poet Michael Harlow: \"The lateral leap which throws the whole structure into relief\". The fifth movement is an example of the same principle on a macro-level. It stands apart from the other movements by the use of conventional notation and of repetition of various parameters: words, rhythms, even melodic fragments. The number of repetitions of the percussion ",{"_key":32681,"_type":13,"marks":32682,"text":32683},"49f9a30855611",[73],"ostinati",{"_key":32685,"_type":13,"marks":32686,"text":32687},"49f9a30855612",[]," and durations of rests were determined by chance, but the number of instruments playing was determined by me. The \"lateral leap\" in the last movement is given by the percussionists in the form of a brief cadenza. \"Devotion to the Small\" was recorded in 1980 by Radio New Zealand, with Jillian Bartram singing the solo part. The recording, directed by Dorothy Hitch, was awarded the Mobil prize for the best recorded New Zealand Musical Work in 1981.",[],{"_key":32690,"_type":9,"children":32691,"image":4,"markDefs":32696,"style":18},"cec920ee18f7",[32692],{"_key":32693,"_type":13,"marks":32694,"text":32695},"278cf47255630",[],"Shortly after this recording I left with my family for study leave In Switzerland.\n",[],{"_key":32698,"_type":9,"children":32699,"image":4,"markDefs":32703,"style":18},"5c0bba0fc233",[32700],{"_key":32701,"_type":13,"marks":32702,"text":25},"a8e1daa934bf0",[],[],{"_key":32705,"_type":9,"children":32706,"image":4,"markDefs":32711,"style":18},"b71d8c06df43",[32707],{"_key":32708,"_type":13,"marks":32709,"text":32710},"0373fc6c1bde0",[],"Many of the Swiss compositions between August 1980 and December 1981 show my preoccupation with chance methods. The only exceptions are the \"Ten Duos for two Celli\" and the 'Four Ostinati\" for flute, violin and cello (which are in fact reworkings of four of the cello duos), and \"Christophorus\".",[],{"_key":32713,"_type":9,"children":32714,"image":4,"markDefs":32718,"style":18},"f10185558dfe",[32715],{"_key":32716,"_type":13,"marks":32717,"text":25},"5cd2093533e20",[],[],{"_key":32720,"_type":9,"children":32721,"image":4,"markDefs":32734,"style":18},"2b298d01d87d",[32722,32726,32730],{"_key":32723,"_type":13,"marks":32724,"text":32725},"0cec0b9be7c80",[],"Both the \"Divertimento for Piano Flute Violin and Cello (November 1980) and \"",{"_key":32727,"_type":13,"marks":32728,"text":5898},"6cbfea99eee7",[32729],"8258a31232ed",{"_key":32731,"_type":13,"marks":32732,"text":32733},"621c5cc55728",[],"\" (February 1981) use chance extensively, the latter almost entirely, but the former was an attempt to apply chance methods to traditional material. In the first movement of the \"Divertimento\" vaguely tonal fragments are ordered by chance, producing a sort of Bartokian texture. The second, a slow movement, is a set of variations on a tune devised from hymn numbers, written down while waiting in Zürich's Fraumünster for a concert by Gheorghe Zamfir. The third movement is a limping minuet and trio, 2\u002F4 and 3\u002F4 bars occurring randomly, and triadic harmonies are thrown by chance against a melody which constantly tries to adjust to this curious chord pattern. The fourth movement is a synthesis of all previous material in the form of a fugue. \"Nothing but Switzerland and Lemonade” (September 1981) which was also written for the same trio of flute, violin and cello, plus a solo speaker, is a setting of five prose poems by Michael Harlow, whose book with this title appeared while we were in Switzerland. The form of each movement follows the poem and, with the exception of the last movement, the pitches and often durations are determined by chance. The last movement – a setting of the title poem – is a burlesque which distorts fragments of three Swiss folk songs.",[32735],{"_key":32729,"_type":321,"reference":32736,"slug":6001,"type":510},{"_ref":5879,"_type":324},{"_key":32738,"_type":9,"children":32739,"image":4,"markDefs":32743,"style":18},"02523a2e0880",[32740],{"_key":32741,"_type":13,"marks":32742,"text":25},"bfedd75e9a5b0",[],[],{"_key":32745,"_type":9,"children":32746,"image":4,"markDefs":32767,"style":18},"e5c2b714678d",[32747,32751,32755,32759,32763],{"_key":32748,"_type":13,"marks":32749,"text":32750},"2f767eac05ba0",[],"My studies in Switzerland on musical creativity with children centred on two places: the Konservatorium in Zürich where music teachers are trained, and the local Gymnasium where the music teacher, Hans Egli, allowed me to experiment.\n The “",{"_key":32752,"_type":13,"marks":32753,"text":5336},"0e4e3dc2edc3",[32754],"cc5bd0712c41",{"_key":32756,"_type":13,"marks":32757,"text":32758},"85fa2dfc6986",[],"” for spoken chorus were dedicated to him. He also arranged for their publication with Pan Verlag, Zürich, and the same company also published my booklet for teachers: \"",{"_key":32760,"_type":13,"marks":32761,"text":5364},"0b7f90048906",[32762],"21463b7e6dc1",{"_key":32764,"_type":13,"marks":32765,"text":32766},"7db179c715b1",[],"\" (Music with Found Objects).\n",[32768,32770],{"_key":32754,"_type":321,"reference":32769,"slug":5396,"type":510},{"_ref":5292,"_type":324},{"_key":32762,"_type":321,"reference":32771,"slug":5373,"type":3456},{"_ref":5372,"_type":324},{"_key":32773,"_type":9,"children":32774,"image":4,"markDefs":32778,"style":18},"37bda74a90a6",[32775],{"_key":32776,"_type":13,"marks":32777,"text":25},"52c916ae73750",[],[],{"_key":32780,"_type":9,"children":32781,"image":4,"markDefs":32786,"style":18},"6a32df42b18d",[32782],{"_key":32783,"_type":13,"marks":32784,"text":32785},"47afb83fd9c70",[],"The \"Galgenlieder (Gallows Songs) are settings of ten of Christian Morgenstern's famous cycle of poems by the same name. They exploit the possibilities of a spoken chorus, divided 5, A, B plus a part for solo male spoken voice. In addition to the normal spoken mode one hears shouted voices (\"Bundeslied\" and end of \"Wiegenlied\"), whispered (“die Trichter\" and \"Das Wiesel”), croaking or cracked voice (\"KM 21'), mouth pops (\"Fisches Nachtgesang\") and various hissing sounds (\"Das Knie\", \"Galgenberg\").The movements are arranged to contrast with one another and to reinforce Morgenstern's credo: \"one sees the world differently from the gallows\". Thus the solo speaker, who is dressed as a hangman, behaves rather as a philosopher, jester, or preacher. The reversal of the normal is best heard in the \"Galgenkindes Wiegenlied\" (Cradle Song), which grows to an overwhelming volume and finishes with eight fierce snare drum rim shots, calculated to wake any normal baby. Perhaps the most original movement is the setting of the now famous in the history of concrete poetry \"Fisches Nachtgesang\" (Fish's Night Song): I have interpreted Morgenstern's symbols fairly literally, viz. – = mouth pop by closing the lips suddenly, and ‿= pop sound by opening the lips. To this I have marked the beginning of the last four lines of the poem by a mouth pop made with the finger. The only accompaniment is the similar sounding temple blocks, whose chance determined entries contrast with the very regular shape of the mouth pops. In the surrealistic \"Das Knie\" (The Knee) the hangman speaks and the chorus accompanies. This accompaniment shows a different chance system: The words bimm, bamm, bumm, were each put twice on the sides of a die. When the die repeated a word consecutively, this was interpreted as the end of a line. Instead of actually repeating the word, I tied the last two notes of the line together. I stopped when the accompaniment was slightly longer than the time needed to read one verse slowly. With each new verse the pitch of the chorus clusters (the words are actually sung o an indefinite note) rises and the attack changes. The movement finishes on a fricative sound already heard in \"The Ever-circling Light\". Similar fricative voice sounds are used as an accompaniment to the hangman's speaking in the last movement \"Galgenberg\" (The Mount of Gallows): \"You will understand life better when you've learnt to understand a gallows-brother\". Elsewhere Morgenstern explains what a gallows-brother is: One knows what a \"mulus\" is, that enviable between-state between school and university. Well then, a gallows-brother is a between-state between man and the universe - nothing more\"",[],{"_key":32788,"_type":9,"children":32789,"image":4,"markDefs":32793,"style":18},"d277ada793d1",[32790],{"_key":32791,"_type":13,"marks":32792,"text":25},"331509bbb9aa0",[],[],{"_key":32795,"_type":9,"children":32796,"image":4,"markDefs":32817,"style":18},"333a8ccf14f4",[32797,32801,32805,32809,32813],{"_key":32798,"_type":13,"marks":32799,"text":32800},"3f45ff5960a20",[],"At the Konservatorium I met composer ",{"_key":32802,"_type":13,"marks":32803,"text":5833},"7ac90fbda5f4",[32804],"ff407c2af2b4",{"_key":32806,"_type":13,"marks":32807,"text":32808},"57047ed9a43f",[]," and went with him to the Bourges Studio for Experimental Music, which inspired the other two Swiss works \"",{"_key":32810,"_type":13,"marks":32811,"text":5759},"526c769011e9",[32812],"2a7a28fd8fc6",{"_key":32814,"_type":13,"marks":32815,"text":32816},"4c87bc1afaaf",[],"\" and \"Krähenalles\".",[32818,32820],{"_key":32804,"_type":321,"reference":32819,"slug":5842,"type":326},{"_ref":5841,"_type":324},{"_key":32812,"_type":321,"reference":32821,"slug":5874,"type":510},{"_ref":5740,"_type":324},{"_key":32823,"_type":9,"children":32824,"image":4,"markDefs":32828,"style":18},"539dd1008eab",[32825],{"_key":32826,"_type":13,"marks":32827,"text":25},"96c6ab6bbdec0",[],[],{"_key":32830,"_type":9,"children":32831,"image":4,"markDefs":32836,"style":18},"c1b9040fb057",[32832],{"_key":32833,"_type":13,"marks":32834,"text":32835},"05261d6a85ba0",[],"\"Piece of 4” was originally intended as my contribution to a group composition proposed by Gerald Bennett to fulfil his commission from the Bourges Studio. Bennett later decided that it would involve more rehearsal time than he had available and replaced it with the clarinet version of \"Krähenalles\". \"Piece of 4\" was intended for the four remaining members of the Bennett composition group after I would have returned to New Zealand. Each of the four players is required to find four found-instruments which he plays according to various chance systems, supplied by rods and cards. The sounds they make are picked up by 4 microphones and taken to a vocoder or synthesizer, which allows three of the signals to be modified by the fourth. I met the vocoder at the Bourges Studio in the spring of 1981 and wrote \"Piece of 4\" between then and our return to the Studio in autumn. This time I was disappointed with the vocoder and decided to replace it with a synthesizer. The sounds from the synthesizer are fed to a tape recorder, which sends a large tape loop past four other tape recorders in play-back mode, which are controlled by chance via each of the four players. The main musical concept in \"Piece of 4\" is the idea of adjustment This involves one player changing one or more of the parameters of his own music to approach musically the corresponding parameters in another sound source (i.e. tape sound, or music of another player). During rehearsals for the first performance in the McDougall Art Gallery Christchurch on 4th June 1982, I decided that the movement of the players should also be a parameter for adjustment. This had a major effect on the piece, giving it a strong dramatic element.\n",[],{"_key":32838,"_type":9,"children":32839,"image":4,"markDefs":32843,"style":18},"12619fffdda6",[32840],{"_key":32841,"_type":13,"marks":32842,"text":25},"5259e54f935e0",[],[],{"_key":32845,"_type":9,"children":32846,"image":4,"markDefs":32859,"style":18},"62399b60b3ef",[32847,32851,32855],{"_key":32848,"_type":13,"marks":32849,"text":32850},"6b81d39eddd50",[],"“",{"_key":32852,"_type":13,"marks":32853,"text":5768},"ecd9aa7c9e0f",[32854],"568b1d908afb",{"_key":32856,"_type":13,"marks":32857,"text":32858},"ceb9cece5b06",[],"” for solo flute (or clarinet) and magnetic tape was written for my sister-in-law Gudrun Racine. The tape which runs for the duration of the piece (12 win.) was realised at the Bourges Studio in autumn 1981, and the piece was first performed by Gudrun Racine in Zürich in May 1982, and then immediately afterwards in the clarinet version as part of the collective Bennett piece \"lm Hause des Sanften: Das Durch-beissen\" at the Bourges Festival in June 1982.",[32860],{"_key":32854,"_type":321,"reference":32861,"slug":5777,"type":510},{"_ref":5776,"_type":324},{"_key":32863,"_type":9,"children":32864,"image":4,"markDefs":32868,"style":18},"087ff3a0aaf3",[32865],{"_key":32866,"_type":13,"marks":32867,"text":25},"52740e191c930",[],[],{"_key":32870,"_type":9,"children":32871,"image":4,"markDefs":32876,"style":18},"d213a3cde60e",[32872],{"_key":32873,"_type":13,"marks":32874,"text":32875},"a3be1d1ef2590",[],"The proportions of the piece are all derived from the poem \"Krähenalles \" by Renaud Racine. The poem describes the dream worlds of the young poet just before waking, when he is transferred from one state to another by a crow. His reading of the poem is heard fragmented on the tape, while the other two sound sources for the tape are flute sounds and crow sounds. These were filtered and transposed to make the tape collage, which accompanies the solo instrument.",[],{"_key":32878,"_type":9,"children":32879,"image":4,"markDefs":32883,"style":18},"20e6d816316f",[32880],{"_key":32881,"_type":13,"marks":32882,"text":25},"ba96808e1f220",[],[],{"_key":32885,"_type":9,"children":32886,"image":4,"markDefs":32899,"style":18},"46d8d7a3c3f3",[32887,32891,32895],{"_key":32888,"_type":13,"marks":32889,"text":32890},"29d60a5cab360",[],"While writing \"Krähenalles \" I invented a formal system, which arose from the desire to have the overall form of the whole piece reflected in each of the sections. In this case \"Krähenalles\" is divided into seven sections, whose proportions are derived from the original poem. I then divided each of the seven sections in the same proportions and found that, if I labelled the larger sections I, II, ... VII and the sub-sections i, ii, iii ... vii, then the durations of sub-sections (II, iii) and (III, ii), for example, were equal (this is in fact easily verified mathematically). I started to see this whole framework as an ",{"_key":32892,"_type":13,"marks":32893,"text":20268},"b54954b6911d",[32894],"504214472eaf",{"_key":32896,"_type":13,"marks":32897,"text":32898},"a2e12f59eb5f",[]," Group and decided to use the same material in corresponding sections. This I did only in part, as I later decided to overlap some of the sections, which meant that sometimes two sets of material would claim right to one section, and I was forced to make a compromise. This compromise is, however, I feel, the strength of the piece. Had I followed the Abelian symmetry slavishly, the repetition would have been too obvious. I have since used this Abelian form with children who grasped it quickly and who could later identify sections easily. I am presently planning a new piece which will use the overlapping version of Abelian form\non a much larger scale.\n",[32900],{"_key":32894,"_type":321,"reference":32901,"slug":6039,"type":528},{"_ref":6038,"_type":324},{"_key":32903,"_type":9,"children":32904,"image":4,"markDefs":32909,"style":18},"55b7105e361d",[32905],{"_key":32906,"_type":13,"marks":32907,"text":32908},"c5f6b8c38be9",[],"Kit Powell 1983",[],[32911],{"caption":32626,"id":32628,"meta":32912,"parentID":32549,"parentType":3456,"url":32632},{"_type":506,"aspectRatio":32630,"height":32631,"width":1313},"In the last two years two features of my composition have become more prominent:\n\n\n1. the use of found and home-made instruments and\n2. the use of chance.\n\n\n\nThe first of these works was “The Ever-circling Light” commissioned by the Royal Christchurch Musical Society in 1980 and first performed in July 1982. My main aim was to write a “New Zealand\" piece about the land, its people and its weathers. I chose texts from traditional Māori poetry which would serve this purpose and arranged them in movements to show a New Zealand day as I saw it. Thus the macro-form is largely programmatic, but chance processes were used to determine details of the micro-form. I shall describe two uses of chance systems in 'The Ever-circling Light\" which typify most other uses.\n\n\n\nThe quiet introduction of \"night sounds\" is subdivided into \"bars\" whose proportions are derived from the Fibonacci Series:1, 2, 3, 5, 8, 13, 21, 34 .... I wrote 6 of these numbers (1, 2, 3, 5, 8, 34) on the sides of a die and rolled it until, calling the numbers seconds and each roll one bar, they added up to a minute and a half. The number of instruments playing at the beginning of each bar was found by rolling an ordinary die, and which instruments by rolling another.\n\n\n\nA similar process was used in the last movement, in which each singer of the chorus (except the basses) sings only one note. The note is taken from the harmonic series of a low F and the plastic tube which each singer has is tuned to his or her note. For the whole movement (Waiata Tangi) I used random number tables to decide how many seconds each singer would alternately sing and rest. Over this pattern I imposed another pattern - like a solid inverted V (see diagram). All durations outside this V were rejected, and the voices which were thus made redundant were then required to sing the \"Waiata\". This was chanted on one note, a D flat, especially chosen to contrast with notes in the harmonic series of the low F.\n\nOne important experimental feature of \"The Ever-circling Light\" probably failed. The abstract voice sounds, which are heard first in the introduction, are intended as a simple fore-taste of the richer and more complex palette of fricative sounds used in \"Rimurimu\". In the introduction one hears just 'f' and 's' fricatives, but in \"Rimurimu\" are added 'sh' and 'ch', each being filtered by the mouth shape, between the shape for 'i' and for 'u'. In the introduction the chorus is divided into two stereo groups, in \"Rimurimu\" into four groups. The text, half whispered, is superimposed (in 4-way stereo) over this, and all is heard against a background of delicate percussion sounds plus the long notes from the four solo sopranos. Some listeners responded very positively to this movement, others felt it didn't say anything new that the opening \"night sounds\" had not already said. This is probably a valid response, due mainly to the inability of the chorus to differentiate clearly between 'sh' and 'ch' ' and the half-whispered words. I now think the movement would be improved if, as well as four solo sopranos, there were four solo speakers, so that the text could be clearly projected and the chorus could concentrate on the filtering of the fricative sounds.\n\n\n\n\"Devotion to the Small” contrasts deliberately with \"The Ever-circling Light\". There is one solo voice instead of a large choir, and all the large percussion is avoided in favour of small instruments, including many found and home-made instruments. These are arranged on two large stands, so that some of the gongs and bells can also be played by the solo singer, while the rest of the battery is managed by five percussionists. The texts are a selection of six small poems by Michael Harlow, whose themes are also \"small\".\n\n\n\n\nTo a large extent the texts determine the shape of each movement, e.g. the short lines of \"Andacht zum Kleinen' are emphasized by breaks in the singer's line. In the second movement \"Stone Poem\", the text even determines the Instruments: each of the five percussionists has two large stones, which are gradually replaced by the softer sounding clay chimes. In \"Contemplating the letter O\" ' the singer does just this through a range of emotional Os from sadness, shock, surprise, interest and ecstasy, while the percussionists supply both accompaniment and text. The fourth movement, like the other even-numbered movements, has a strong \"tonic\", which is superimposed onto the graphic notation. In this movement the singer tries to break away from this tonic, making small jumps at first, but only really succeeding on the very last note. This, note is one of the few big sounds in the whole piece. It is sung fortissimo and supported by two bullroarers, two bowed (Chladne) plates and a vibraslap. This \"different\" note is an example of the contrast principle on a micro-level which I discussed during the planning period of the piece with poet Michael Harlow: \"The lateral leap which throws the whole structure into relief\". The fifth movement is an example of the same principle on a macro-level. It stands apart from the other movements by the use of conventional notation and of repetition of various parameters: words, rhythms, even melodic fragments. The number of repetitions of the percussion ostinati and durations of rests were determined by chance, but the number of instruments playing was determined by me. The \"lateral leap\" in the last movement is given by the percussionists in the form of a brief cadenza. \"Devotion to the Small\" was recorded in 1980 by Radio New Zealand, with Jillian Bartram singing the solo part. The recording, directed by Dorothy Hitch, was awarded the Mobil prize for the best recorded New Zealand Musical Work in 1981.\n\nShortly after this recording I left with my family for study leave In Switzerland.\n\n\n\n\nMany of the Swiss compositions between August 1980 and December 1981 show my preoccupation with chance methods. The only exceptions are the \"Ten Duos for two Celli\" and the 'Four Ostinati\" for flute, violin and cello (which are in fact reworkings of four of the cello duos), and \"Christophorus\".\n\n\n\nBoth the \"Divertimento for Piano Flute Violin and Cello (November 1980) and \"Three Chance Pieces for Piano\" (February 1981) use chance extensively, the latter almost entirely, but the former was an attempt to apply chance methods to traditional material. In the first movement of the \"Divertimento\" vaguely tonal fragments are ordered by chance, producing a sort of Bartokian texture. The second, a slow movement, is a set of variations on a tune devised from hymn numbers, written down while waiting in Zürich's Fraumünster for a concert by Gheorghe Zamfir. The third movement is a limping minuet and trio, 2\u002F4 and 3\u002F4 bars occurring randomly, and triadic harmonies are thrown by chance against a melody which constantly tries to adjust to this curious chord pattern. The fourth movement is a synthesis of all previous material in the form of a fugue. \"Nothing but Switzerland and Lemonade” (September 1981) which was also written for the same trio of flute, violin and cello, plus a solo speaker, is a setting of five prose poems by Michael Harlow, whose book with this title appeared while we were in Switzerland. The form of each movement follows the poem and, with the exception of the last movement, the pitches and often durations are determined by chance. The last movement – a setting of the title poem – is a burlesque which distorts fragments of three Swiss folk songs.\n\n\n\nMy studies in Switzerland on musical creativity with children centred on two places: the Konservatorium in Zürich where music teachers are trained, and the local Gymnasium where the music teacher, Hans Egli, allowed me to experiment.\n The “Galgenlieder” for spoken chorus were dedicated to him. He also arranged for their publication with Pan Verlag, Zürich, and the same company also published my booklet for teachers: \"Musik mit gefundenen Gegenständen\" (Music with Found Objects).\n\n\n\n\nThe \"Galgenlieder (Gallows Songs) are settings of ten of Christian Morgenstern's famous cycle of poems by the same name. They exploit the possibilities of a spoken chorus, divided 5, A, B plus a part for solo male spoken voice. In addition to the normal spoken mode one hears shouted voices (\"Bundeslied\" and end of \"Wiegenlied\"), whispered (“die Trichter\" and \"Das Wiesel”), croaking or cracked voice (\"KM 21'), mouth pops (\"Fisches Nachtgesang\") and various hissing sounds (\"Das Knie\", \"Galgenberg\").The movements are arranged to contrast with one another and to reinforce Morgenstern's credo: \"one sees the world differently from the gallows\". Thus the solo speaker, who is dressed as a hangman, behaves rather as a philosopher, jester, or preacher. The reversal of the normal is best heard in the \"Galgenkindes Wiegenlied\" (Cradle Song), which grows to an overwhelming volume and finishes with eight fierce snare drum rim shots, calculated to wake any normal baby. Perhaps the most original movement is the setting of the now famous in the history of concrete poetry \"Fisches Nachtgesang\" (Fish's Night Song): I have interpreted Morgenstern's symbols fairly literally, viz. – = mouth pop by closing the lips suddenly, and ‿= pop sound by opening the lips. To this I have marked the beginning of the last four lines of the poem by a mouth pop made with the finger. The only accompaniment is the similar sounding temple blocks, whose chance determined entries contrast with the very regular shape of the mouth pops. In the surrealistic \"Das Knie\" (The Knee) the hangman speaks and the chorus accompanies. This accompaniment shows a different chance system: The words bimm, bamm, bumm, were each put twice on the sides of a die. When the die repeated a word consecutively, this was interpreted as the end of a line. Instead of actually repeating the word, I tied the last two notes of the line together. I stopped when the accompaniment was slightly longer than the time needed to read one verse slowly. With each new verse the pitch of the chorus clusters (the words are actually sung o an indefinite note) rises and the attack changes. The movement finishes on a fricative sound already heard in \"The Ever-circling Light\". Similar fricative voice sounds are used as an accompaniment to the hangman's speaking in the last movement \"Galgenberg\" (The Mount of Gallows): \"You will understand life better when you've learnt to understand a gallows-brother\". Elsewhere Morgenstern explains what a gallows-brother is: One knows what a \"mulus\" is, that enviable between-state between school and university. Well then, a gallows-brother is a between-state between man and the universe - nothing more\"\n\n\n\nAt the Konservatorium I met composer Gerald Bennett and went with him to the Bourges Studio for Experimental Music, which inspired the other two Swiss works \"Piece of 4\" and \"Krähenalles\".\n\n\n\n\"Piece of 4” was originally intended as my contribution to a group composition proposed by Gerald Bennett to fulfil his commission from the Bourges Studio. Bennett later decided that it would involve more rehearsal time than he had available and replaced it with the clarinet version of \"Krähenalles\". \"Piece of 4\" was intended for the four remaining members of the Bennett composition group after I would have returned to New Zealand. Each of the four players is required to find four found-instruments which he plays according to various chance systems, supplied by rods and cards. The sounds they make are picked up by 4 microphones and taken to a vocoder or synthesizer, which allows three of the signals to be modified by the fourth. I met the vocoder at the Bourges Studio in the spring of 1981 and wrote \"Piece of 4\" between then and our return to the Studio in autumn. This time I was disappointed with the vocoder and decided to replace it with a synthesizer. The sounds from the synthesizer are fed to a tape recorder, which sends a large tape loop past four other tape recorders in play-back mode, which are controlled by chance via each of the four players. The main musical concept in \"Piece of 4\" is the idea of adjustment This involves one player changing one or more of the parameters of his own music to approach musically the corresponding parameters in another sound source (i.e. tape sound, or music of another player). During rehearsals for the first performance in the McDougall Art Gallery Christchurch on 4th June 1982, I decided that the movement of the players should also be a parameter for adjustment. This had a major effect on the piece, giving it a strong dramatic element.\n\n\n\n\n“Krähenalles” for solo flute (or clarinet) and magnetic tape was written for my sister-in-law Gudrun Racine. The tape which runs for the duration of the piece (12 win.) was realised at the Bourges Studio in autumn 1981, and the piece was first performed by Gudrun Racine in Zürich in May 1982, and then immediately afterwards in the clarinet version as part of the collective Bennett piece \"lm Hause des Sanften: Das Durch-beissen\" at the Bourges Festival in June 1982.\n\n\n\nThe proportions of the piece are all derived from the poem \"Krähenalles \" by Renaud Racine. The poem describes the dream worlds of the young poet just before waking, when he is transferred from one state to another by a crow. His reading of the poem is heard fragmented on the tape, while the other two sound sources for the tape are flute sounds and crow sounds. These were filtered and transposed to make the tape collage, which accompanies the solo instrument.\n\n\n\nWhile writing \"Krähenalles \" I invented a formal system, which arose from the desire to have the overall form of the whole piece reflected in each of the sections. In this case \"Krähenalles\" is divided into seven sections, whose proportions are derived from the original poem. I then divided each of the seven sections in the same proportions and found that, if I labelled the larger sections I, II, ... VII and the sub-sections i, ii, iii ... vii, then the durations of sub-sections (II, iii) and (III, ii), for example, were equal (this is in fact easily verified mathematically). I started to see this whole framework as an Abelian Group and decided to use the same material in corresponding sections. This I did only in part, as I later decided to overlap some of the sections, which meant that sometimes two sets of material would claim right to one section, and I was forced to make a compromise. This compromise is, however, I feel, the strength of the piece. Had I followed the Abelian symmetry slavishly, the repetition would have been too obvious. I have since used this Abelian form with children who grasped it quickly and who could later identify sections easily. I am presently planning a new piece which will use the overlapping version of Abelian form\non a much larger scale.\n\n\nKit Powell 1983",{"_type":375,"current":32915},"compositions-of-the-early-80s","Compositions of the early 80s",{"_id":5372,"chapters":32918,"content":32919,"images":33043,"rawText":33050,"slug":33051,"title":33052},[],[32920,32938,32985,32993,33016,33025,33034],{"_key":32921,"_type":9,"children":32922,"image":4,"markDefs":32935,"style":18},"19e7e6607101",[32923,32927,32931],{"_key":32924,"_type":13,"marks":32925,"text":32926},"0f90cb04b628",[],"In 1968 I was invited to write a piece for the Christchurch School of Instrumental Music demonstration concert. At ",{"_key":32928,"_type":13,"marks":32929,"text":1034},"7703f2b20c02",[32930],"adc0d3221d8d",{"_key":32932,"_type":13,"marks":32933,"text":32934},"9db507986c2f",[]," we had had a tape recorder which could play backwards and I was interested to try and translate this “played-backwards” effect onto conventional instruments. The piece was Palindrome for 5 Orchestras, and it also made a feature of the spatial separation of the orchestras as they were set out in the stadium for that concert. The piece was a good one I think but dreadful to rehearse. The poor children in each of the orchestras had no idea until the final rehearsal what the total piece was like - for them it was like rehearsing one fragment of a jig-saw puzzle.",[32936],{"_key":32930,"_type":321,"reference":32937,"slug":2878,"type":968},{"_ref":2877,"_type":324},{"_key":32939,"_type":9,"children":32940,"image":4,"markDefs":32976,"style":18},"22e7ec8cfc7d",[32941,32945,32949,32952,32956,32960,32964,32968,32972],{"_key":32942,"_type":13,"marks":32943,"text":32944},"533b3a56470b0",[],"Probably because of the success of this piece I was invited to form an experimental group of children percussionists to perform in the Christchurch Primary Schools Festival. The first of these “Creative Percussion” groups was in 1973 and continued until 1979. Although the children were creating the music, I was learning a great deal about percussion instruments. As the years went by and I felt obliged to produce “different” sounds in each concert. I looked for new sounds in found instruments (stone, metal, wood, glass, etc.) and encouraged the children to do likewise. This has had an obvious impact on my own work, especially ",{"_key":32946,"_type":13,"marks":32947,"text":3535},"34386c0231a7",[32948],"cbb04c0a4d86",{"_key":32950,"_type":13,"marks":32951,"text":2617},"ee029b78cb95",[],{"_key":32953,"_type":13,"marks":32954,"text":4687},"7bca5f2208b3",[32955],"cdc755828bd4",{"_key":32957,"_type":13,"marks":32958,"text":32959},"4e9b4c42202e",[],", and ",{"_key":32961,"_type":13,"marks":32962,"text":5759},"ac85ba1b5f35",[32963],"cfbb35fa1c7b",{"_key":32965,"_type":13,"marks":32966,"text":32967},"a7d470cfd437",[],", and to a lesser extent ",{"_key":32969,"_type":13,"marks":32970,"text":4378},"d7666b3ba116",[32971],"9beeca7ffa85",{"_key":32973,"_type":13,"marks":32974,"text":32975},"4fdd220f03f0",[],", all of which use percussion prominently - both conventional instruments and found ones.",[32977,32979,32981,32983],{"_key":32948,"_type":321,"reference":32978,"slug":3612,"type":510},{"_ref":3357,"_type":324},{"_key":32955,"_type":321,"reference":32980,"slug":4904,"type":510},{"_ref":4640,"_type":324},{"_key":32963,"_type":321,"reference":32982,"slug":5874,"type":510},{"_ref":5740,"_type":324},{"_key":32971,"_type":321,"reference":32984,"slug":2343,"type":510},{"_ref":2342,"_type":324},{"_key":32986,"_type":9,"children":32987,"image":4,"markDefs":32992,"style":18},"fd9a02798763",[32988],{"_key":32989,"_type":13,"marks":32990,"text":32991},"d2c1da7b7aea0",[],"In 1980 \u002F 81 during my sabbatical leave in Europe I was invited to write a booklet for teachers about how to make music with found objects. It was an opportunity to put down in writing all I had learned working with children over the previous years. The book is divided up according to materials: Stones, Wood, Plastic, Metal, Tubes and Glass and shows what sort of objects to choose, how to make the sound and how to put pieces together with them. The text was written in Switzerland (I wrote it in English and Brigitte translated it into German) and the photos were made in NZ at the teachers College in Christchurch after our return.",[],{"_key":32994,"_type":9,"children":32995,"image":4,"markDefs":33012,"style":18},"37acd28ca299",[32996,33000,33004,33008],{"_key":32997,"_type":13,"marks":32998,"text":5364},"36c8fb441d100",[32999],"7573d0b078ac",{"_key":33001,"_type":13,"marks":33002,"text":33003},"36c8fb441d101",[]," was published by ",{"_key":33005,"_type":13,"marks":33006,"text":5315},"36c8fb441d102",[33007],"74e34587f13e",{"_key":33009,"_type":13,"marks":33010,"text":33011},"36c8fb441d103",[]," 1982 and is still listed in their catalogue.",[33013,33015],{"_key":32999,"_type":316,"href":33014},"https:\u002F\u002Fpan-verlag.com\u002Fshop\u002Fprodukt\u002F163-Kit-Powell-Musik-mit-gefundenen-Gegenst%C3%A4nden\u002F",{"_key":33007,"_type":316,"href":5324},{"_key":33017,"_type":500,"alt":5364,"caption":5364,"image":33018,"markDefs":4,"position":4586,"size":3496},"252f37dd6a76",{"caption":4,"id":33019,"meta":33020,"parentID":4,"parentType":3456,"url":33024},"0a0391a7ecda97b70ad3d9f3715a6b01edea16dd",{"_type":506,"aspectRatio":33021,"height":33022,"width":33023},0.7039800995024875,402,283,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F0a0391a7ecda97b70ad3d9f3715a6b01edea16dd-283x402.jpg",{"_key":33026,"_type":500,"caption":33027,"image":33028,"markDefs":4,"position":4597,"size":3496},"036ab9185233","Making high (above) and low (below) sounds with stones",{"caption":4,"id":33029,"meta":33030,"parentID":4,"parentType":3456,"url":33033},"04047fa7b32a6e5e2871d09f7e4595bea0ffb507",{"_type":506,"aspectRatio":33031,"height":4714,"width":33032},0.6225,249,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F04047fa7b32a6e5e2871d09f7e4595bea0ffb507-249x400.jpg",{"_key":33035,"_type":500,"caption":33036,"image":33037,"markDefs":4,"position":3495,"size":1662},"1c21cf82bdda","These 'gongs' were found at the Railway Workshops in Christchurch and beaten with smaller and larger domes in the middle to sound different from each other.",{"caption":4,"id":33038,"meta":33039,"parentID":4,"parentType":3456,"url":33042},"701e48fe1e2403815bd7c5a1f1a5ee2ea4deea1d",{"_type":506,"aspectRatio":33040,"height":20001,"width":33041},1.5238095238095237,576,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F701e48fe1e2403815bd7c5a1f1a5ee2ea4deea1d-576x378.jpg",[33044,33046,33048],{"caption":5364,"id":33019,"meta":33045,"parentID":5372,"parentType":3456,"url":33024},{"_type":506,"aspectRatio":33021,"height":33022,"width":33023},{"caption":33027,"id":33029,"meta":33047,"parentID":5372,"parentType":3456,"url":33033},{"_type":506,"aspectRatio":33031,"height":4714,"width":33032},{"caption":33036,"id":33038,"meta":33049,"parentID":5372,"parentType":3456,"url":33042},{"_type":506,"aspectRatio":33040,"height":20001,"width":33041},"In 1968 I was invited to write a piece for the Christchurch School of Instrumental Music demonstration concert. At Linwood High School we had had a tape recorder which could play backwards and I was interested to try and translate this “played-backwards” effect onto conventional instruments. The piece was Palindrome for 5 Orchestras, and it also made a feature of the spatial separation of the orchestras as they were set out in the stadium for that concert. The piece was a good one I think but dreadful to rehearse. The poor children in each of the orchestras had no idea until the final rehearsal what the total piece was like - for them it was like rehearsing one fragment of a jig-saw puzzle.\n\nProbably because of the success of this piece I was invited to form an experimental group of children percussionists to perform in the Christchurch Primary Schools Festival. The first of these “Creative Percussion” groups was in 1973 and continued until 1979. Although the children were creating the music, I was learning a great deal about percussion instruments. As the years went by and I felt obliged to produce “different” sounds in each concert. I looked for new sounds in found instruments (stone, metal, wood, glass, etc.) and encouraged the children to do likewise. This has had an obvious impact on my own work, especially Stone Poem, Devotion to the Small, and Piece of 4, and to a lesser extent The Ever-Circling Light, all of which use percussion prominently - both conventional instruments and found ones.\n\nIn 1980 \u002F 81 during my sabbatical leave in Europe I was invited to write a booklet for teachers about how to make music with found objects. It was an opportunity to put down in writing all I had learned working with children over the previous years. The book is divided up according to materials: Stones, Wood, Plastic, Metal, Tubes and Glass and shows what sort of objects to choose, how to make the sound and how to put pieces together with them. The text was written in Switzerland (I wrote it in English and Brigitte translated it into German) and the photos were made in NZ at the teachers College in Christchurch after our return.\n\nMusik mit gefundenen Gegenständen was published by Pan Verlag 1982 and is still listed in their catalogue.",{"_type":375,"current":5373},"Found Objects - Musik mit gefundenen Gegenständen",{"_id":3454,"chapters":33054,"content":33055,"images":33276,"rawText":33279,"slug":33280,"title":33281},[],[33056,33072,33080,33088,33096,33103,33121,33144,33152,33160,33168,33176,33184,33192,33200,33208,33216,33231,33239,33254,33262],{"_key":33057,"_type":9,"children":33058,"image":4,"markDefs":33071,"style":18},"aee160ddc0d2",[33059,33063,33067],{"_key":33060,"_type":13,"marks":33061,"text":33062},"2fb0bded7394",[],"The following was published in the New Zealand Quarterly ",{"_key":33064,"_type":13,"marks":33065,"text":33066},"f7b7331408b2",[73],"LANDFALL 120",{"_key":33068,"_type":13,"marks":33069,"text":33070},"cc3c63931d03",[]," December 1976",[],{"_key":33073,"_type":500,"image":33074,"markDefs":4,"size":1662},"f039dcf5f9b3",{"caption":4,"id":33075,"meta":33076,"parentID":4,"parentType":3456,"url":33079},"acf7bbbf8be7f172977e7a03e03212957c97c679",{"_type":506,"aspectRatio":33077,"height":4715,"width":33078},1.7677642980935875,1020,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Facf7bbbf8be7f172977e7a03e03212957c97c679-1020x577.jpg",{"_key":33081,"_type":9,"children":33082,"image":4,"markDefs":33087,"style":634},"8a5bbac8e1d0",[33083],{"_key":33084,"_type":13,"marks":33085,"text":33086},"b0190672db51",[15],"Interview with composer Kit Powell",[],{"_key":33089,"_type":9,"children":33090,"image":4,"markDefs":33095,"style":634},"d0fc53100391",[33091],{"_key":33092,"_type":13,"marks":33093,"text":33094},"718f8118b5070",[],"Interviewed by J. A. Moreau",[],{"_key":33097,"_type":9,"children":33098,"image":4,"markDefs":33102,"style":18},"b3c8741c5f23",[33099],{"_key":33100,"_type":13,"marks":33101,"text":25},"a270b84a1547",[],[],{"_key":33104,"_type":9,"children":33105,"image":4,"markDefs":33118,"style":634},"66d99dd35613",[33106,33110,33114],{"_key":33107,"_type":13,"marks":33108,"text":33109},"a1312f4d6c340",[],"J.A.M. What led you to write ",{"_key":33111,"_type":13,"marks":33112,"text":3535},"55bbb413989d",[33113],"6dacb35c4037",{"_key":33115,"_type":13,"marks":33116,"text":33117},"e669362a016f",[]," with its unusual combination of traditional instruments and ‘untraditional’ stones?",[33119],{"_key":33113,"_type":321,"reference":33120,"slug":3612,"type":510},{"_ref":3357,"_type":324},{"_key":33122,"_type":9,"children":33123,"image":4,"markDefs":33143,"style":634},"776b06654cab",[33124,33128,33131,33135,33139],{"_key":33125,"_type":13,"marks":33126,"text":33127},"391d17b6d0bb0",[],"K.P. I was commissioned by APRA to write a piece for one of the Christchurch Sonic Circus's concerts. A number of groups of musicians available for these concerts were mentioned, among them the ",{"_key":33129,"_type":13,"marks":33130,"text":3389},"391d17b6d0bb1",[73],{"_key":33132,"_type":13,"marks":33133,"text":33134},"391d17b6d0bb2",[],". I thought I would like to write something for double wind (i.e. two wind quintets), so my first thoughts were just for this wind group. During this ‘first-thoughts’ time the Powell family visited the Harlow family at the farm they live on in South Canterbury. We went for a walk together one afternoon and on the way home Michael invented a game that said: ‘one may only walk on stones.’ We all played it very seriously, throwing bridges of stones across difficult terrain, and pole vaulting from one stony area to another. The stones became so important to us during that hour that we decided we had ",{"_key":33136,"_type":13,"marks":33137,"text":33138},"391d17b6d0bb3",[73],"lived a stone poem",{"_key":33140,"_type":13,"marks":33141,"text":33142},"391d17b6d0bb4",[],". We went on to conceive of a whole stone culture. We would run a course in which students filmed living stone poems, built stone sculpture, stone mobiles, stone pictures, wrote stories and poems about stones, and naturally, made stone music. From that time on the wind piece and the stone music became one.",[],{"_key":33145,"_type":9,"children":33146,"image":4,"markDefs":33151,"style":634},"3240ea08a196",[33147],{"_key":33148,"_type":13,"marks":33149,"text":33150},"13731f8582740",[],"J.A.M. Were there any technical problems with the stones?",[],{"_key":33153,"_type":9,"children":33154,"image":4,"markDefs":33159,"style":634},"521f5a4ebedc",[33155],{"_key":33156,"_type":13,"marks":33157,"text":33158},"2470ad9d1c2f0",[],"K.P. Oh, yes. Apart from the problem of glueing them to strings, we were to discover a big difference between stones which ring and those that don't. And sadly there are more that don't, but we became very attached to those that do. We were constantly searching for good stones; Michael in the farm river-bed and I on my way to and from work. A. colleague of my wife who must have recognized me fossicking near Sunnyside asked her: does your husband often pick up stones near the mental hospital?",[],{"_key":33161,"_type":9,"children":33162,"image":4,"markDefs":33167,"style":634},"b4d1e758ccf5",[33163],{"_key":33164,"_type":13,"marks":33165,"text":33166},"b02e7bfafa0d0",[],"J.A.M. Did you conceive of the stone curtain as a primarily sound convenience?",[],{"_key":33169,"_type":9,"children":33170,"image":4,"markDefs":33175,"style":634},"797e929df9e7",[33171],{"_key":33172,"_type":13,"marks":33173,"text":33174},"4d282dc612ca0",[],"K.P. No, we thought it would look good; and the side lighting enhanced this too. There were a number of stones in the curtain which had no ring, but we left them there because of their visual impact.",[],{"_key":33177,"_type":9,"children":33178,"image":4,"markDefs":33183,"style":634},"0b84641514cf",[33179],{"_key":33180,"_type":13,"marks":33181,"text":33182},"36be871fdd300",[],"J.A.M. Why did you give each of the wind players a copy of the full score instead of writing parts for each instrument?",[],{"_key":33185,"_type":9,"children":33186,"image":4,"markDefs":33191,"style":634},"110fc550bd27",[33187],{"_key":33188,"_type":13,"marks":33189,"text":33190},"0798795f48100",[],"K.P. I did in fact try to write parts but I found it ridiculously difficult to do well enough. You see, I had deliberately used a seconds time scale with lines to show approximate duration of notes (rather than the traditional minims and crotchets) so that there would be no feeling of beat. I had also hoped that if a player felt a note needed to last a little longer (or shorter), then he could let this happen. This would mean, though, that the other players would need to have a copy of the other parts as well to make the necessary adjustments to be able to come in at the right time. I actually wrote one part with a reduction of the other nine parts plus stone parts on it, but it took me over three hours to write and I didn't have 30 hours to spend writing such parts for the double quintet, and besides the end result wasn't as clear as a reduced version of the full score.",[],{"_key":33193,"_type":9,"children":33194,"image":4,"markDefs":33199,"style":634},"ab8e0c6b738b",[33195],{"_key":33196,"_type":13,"marks":33197,"text":33198},"71caa9c0ffa60",[],"J.A.M. What place, if any, does ‘chance’ have in Stone Poem?",[],{"_key":33201,"_type":9,"children":33202,"image":4,"markDefs":33207,"style":634},"f589f32c4ace",[33203],{"_key":33204,"_type":13,"marks":33205,"text":33206},"23d99e8517970",[],"K.P. As I have already mentioned, I had hoped that durational elements could have been varied according to the whim of the players, but to be able to feel comfortable doing this the group would have needed many hours more rehearsal time than was available. There were moments where pitch is shown only approximately (I write tiny note heads) and the players play what lies under their fingers. There is another use of chance in the fast middle section. Here it is a compositional device rather than a performance variable. Each instrument has a rhythmic unit of 6, 7, 11 or 13 bars of I. Because each of these rhythmic units contains several bars of rests, and because the units are always being repeated out of phase, as it were with one another, the rest bars are allowing ‘different arrangements of the remaining timbres to emerge from the texture in an ever-changing and unpredictable way. A particular example may make this clear. There is a bar here where the rests in the clarinet, horn, and bassoon parts have coincided, leaving the oboe and flute playing alone. In the next bar there are no rests and so all 5 timbres are heard combined, and in the next, the flute and oboe have rests so we hear the combination: clarinet, horn and bassoon, and so on.",[],{"_key":33209,"_type":9,"children":33210,"image":4,"markDefs":33215,"style":634},"41521d50ecac",[33211],{"_key":33212,"_type":13,"marks":33213,"text":33214},"55161edcd2760",[],"J.A.M. Do you, in fact, see a musical text (as Erik Satie did) as being influenced by calligraphy as an allied art form? Is there some kind of suggestion that visual notation influences the psychology of musicianship . . . ?",[],{"_key":33217,"_type":9,"children":33218,"image":4,"markDefs":33230,"style":634},"c4529aa5e495",[33219,33223,33226],{"_key":33220,"_type":13,"marks":33221,"text":33222},"002a03d5600c0",[],"K.P. Perhaps if I explain the way I work I can answer both these questions. I usually start by drawing a rough outline of what I hear in a simple graphic notation. In the case of ",{"_key":33224,"_type":13,"marks":33225,"text":3535},"002a03d5600c1",[15],{"_key":33227,"_type":13,"marks":33228,"text":33229},"002a03d5600c2",[],", where the final version is still in graphic notation, the composition process is one of improving on successive graphic versions of the piece. When I wrote the ‘final version’ (and indeed this has always happened to me when writing out a fair copy of my own work) the whole texture seemed to come much clearer to me to the extent that I had to repair parts that appeared only then as needing repair. So although clarity is uppermost in my mind when I write such a score, I do also enjoy the look of a well written score and this visual aesthetic puts me in a receptive frame of mind for the music it represents. I have always believed players respond similarly. An experimental work can be very daunting to a player looking at his part for the first time. I have always (i.e. after a few early ‘debacles’) taken this player-psychology very seriously. The player needs to feel secure even before he makes the first sound. One way of giving him security is by presenting him with a clear and beautiful part that will make him want to realise the music behind it to the best of his ability. Sadly, I didn't achieve this objective as well as I had hoped with Stone Poem. Having decided to give all the players copies of the full score, it had to be reduced to a size they could manage on their stands and the reduction process blurred some of the original score's clarity.",[],{"_key":33232,"_type":9,"children":33233,"image":4,"markDefs":33238,"style":634},"58fe3d5dfd0f",[33234],{"_key":33235,"_type":13,"marks":33236,"text":33237},"12895e3e0ecc0",[],"J.A.M. Could you comment on the role played by ‘improvisation’ in the score—from both the stone-poetry and instrumental side?",[],{"_key":33240,"_type":9,"children":33241,"image":4,"markDefs":33253,"style":634},"0216514bc568",[33242,33246,33249],{"_key":33243,"_type":13,"marks":33244,"text":33245},"a840bbfb14480",[],"K.P. I see considerable scope for improvisation in ",{"_key":33247,"_type":13,"marks":33248,"text":3535},"a840bbfb14481",[15],{"_key":33250,"_type":13,"marks":33251,"text":33252},"a840bbfb14482",[],", especially in the stone and spoken parts, but also in the wind parts. I encouraged the wind players to take liberties, especially with the durational elements of the score, but with the time we had available for rehearsal they were unhappy to risk this—wisely I think. The score contains a communication system where at key points in the piece one player will Q-in other players. For this to work well the group would have to know the work and each other very well, but one would need months of rehearsal time for this. It was quite different with the voice and stone parts, though. Michael and I seemed to work well together, and we often met and improvised with the stones, so that by the performance we were playing a rehearsed improvisation. The words emerged in these early improvisation sessions. We tried and rejected chanting and reading literal stone poems, but finally settled on the words for stone in English, German, Italian and Greek plus fragmentations of these.",[],{"_key":33255,"_type":9,"children":33256,"image":4,"markDefs":33261,"style":634},"40fa3c6563dd",[33257],{"_key":33258,"_type":13,"marks":33259,"text":33260},"dba0268b895a0",[],"J.A.M. Have you been influenced by any particular styles?",[],{"_key":33263,"_type":9,"children":33264,"image":4,"markDefs":33275,"style":634},"0ae95c06044a",[33265,33269,33272],{"_key":33266,"_type":13,"marks":33267,"text":33268},"b092e729d7310",[],"K.P. There is a tone row which I suppose means Schönberg, but I can't really hear any Schonberg in the piece. The 7\u002F8 metre group as it is in 3 + 2 + 2 quavers is Bartok, but all the other elements are very un-Bartokish. More significant is my interest recently in Japanese music, in particular Shakuhachi music. This Japanese flute is capable of a wide dynamic range, notes start with beautiful breathy attacks, and then often glissando over a whole tone. Also Japanese music does not have harmony in the western sense, the textures are very sparse and when instruments do sound together, the resulting harmonic effect seems accidental and unimportant. No doubt this is a fairly naive view of Japanese music, but it is important in that it was the view that shaped my thinking during the writing of ",{"_key":33270,"_type":13,"marks":33271,"text":3535},"b092e729d7311",[15],{"_key":33273,"_type":13,"marks":33274,"text":2020},"b092e729d7312",[],[],[33277],{"caption":4,"id":33075,"meta":33278,"parentID":3454,"parentType":3456,"url":33079},{"_type":506,"aspectRatio":33077,"height":4715,"width":33078},"The following was published in the New Zealand Quarterly LANDFALL 120 December 1976\n\nInterview with composer Kit Powell\n\nInterviewed by J. A. Moreau\n\n\n\nJ.A.M. What led you to write Stone Poem with its unusual combination of traditional instruments and ‘untraditional’ stones?\n\nK.P. I was commissioned by APRA to write a piece for one of the Christchurch Sonic Circus's concerts. A number of groups of musicians available for these concerts were mentioned, among them the Ilam Wind Ensemble. I thought I would like to write something for double wind (i.e. two wind quintets), so my first thoughts were just for this wind group. During this ‘first-thoughts’ time the Powell family visited the Harlow family at the farm they live on in South Canterbury. We went for a walk together one afternoon and on the way home Michael invented a game that said: ‘one may only walk on stones.’ We all played it very seriously, throwing bridges of stones across difficult terrain, and pole vaulting from one stony area to another. The stones became so important to us during that hour that we decided we had lived a stone poem. We went on to conceive of a whole stone culture. We would run a course in which students filmed living stone poems, built stone sculpture, stone mobiles, stone pictures, wrote stories and poems about stones, and naturally, made stone music. From that time on the wind piece and the stone music became one.\n\nJ.A.M. Were there any technical problems with the stones?\n\nK.P. Oh, yes. Apart from the problem of glueing them to strings, we were to discover a big difference between stones which ring and those that don't. And sadly there are more that don't, but we became very attached to those that do. We were constantly searching for good stones; Michael in the farm river-bed and I on my way to and from work. A. colleague of my wife who must have recognized me fossicking near Sunnyside asked her: does your husband often pick up stones near the mental hospital?\n\nJ.A.M. Did you conceive of the stone curtain as a primarily sound convenience?\n\nK.P. No, we thought it would look good; and the side lighting enhanced this too. There were a number of stones in the curtain which had no ring, but we left them there because of their visual impact.\n\nJ.A.M. Why did you give each of the wind players a copy of the full score instead of writing parts for each instrument?\n\nK.P. I did in fact try to write parts but I found it ridiculously difficult to do well enough. You see, I had deliberately used a seconds time scale with lines to show approximate duration of notes (rather than the traditional minims and crotchets) so that there would be no feeling of beat. I had also hoped that if a player felt a note needed to last a little longer (or shorter), then he could let this happen. This would mean, though, that the other players would need to have a copy of the other parts as well to make the necessary adjustments to be able to come in at the right time. I actually wrote one part with a reduction of the other nine parts plus stone parts on it, but it took me over three hours to write and I didn't have 30 hours to spend writing such parts for the double quintet, and besides the end result wasn't as clear as a reduced version of the full score.\n\nJ.A.M. What place, if any, does ‘chance’ have in Stone Poem?\n\nK.P. As I have already mentioned, I had hoped that durational elements could have been varied according to the whim of the players, but to be able to feel comfortable doing this the group would have needed many hours more rehearsal time than was available. There were moments where pitch is shown only approximately (I write tiny note heads) and the players play what lies under their fingers. There is another use of chance in the fast middle section. Here it is a compositional device rather than a performance variable. Each instrument has a rhythmic unit of 6, 7, 11 or 13 bars of I. Because each of these rhythmic units contains several bars of rests, and because the units are always being repeated out of phase, as it were with one another, the rest bars are allowing ‘different arrangements of the remaining timbres to emerge from the texture in an ever-changing and unpredictable way. A particular example may make this clear. There is a bar here where the rests in the clarinet, horn, and bassoon parts have coincided, leaving the oboe and flute playing alone. In the next bar there are no rests and so all 5 timbres are heard combined, and in the next, the flute and oboe have rests so we hear the combination: clarinet, horn and bassoon, and so on.\n\nJ.A.M. Do you, in fact, see a musical text (as Erik Satie did) as being influenced by calligraphy as an allied art form? Is there some kind of suggestion that visual notation influences the psychology of musicianship . . . ?\n\nK.P. Perhaps if I explain the way I work I can answer both these questions. I usually start by drawing a rough outline of what I hear in a simple graphic notation. In the case of Stone Poem, where the final version is still in graphic notation, the composition process is one of improving on successive graphic versions of the piece. When I wrote the ‘final version’ (and indeed this has always happened to me when writing out a fair copy of my own work) the whole texture seemed to come much clearer to me to the extent that I had to repair parts that appeared only then as needing repair. So although clarity is uppermost in my mind when I write such a score, I do also enjoy the look of a well written score and this visual aesthetic puts me in a receptive frame of mind for the music it represents. I have always believed players respond similarly. An experimental work can be very daunting to a player looking at his part for the first time. I have always (i.e. after a few early ‘debacles’) taken this player-psychology very seriously. The player needs to feel secure even before he makes the first sound. One way of giving him security is by presenting him with a clear and beautiful part that will make him want to realise the music behind it to the best of his ability. Sadly, I didn't achieve this objective as well as I had hoped with Stone Poem. Having decided to give all the players copies of the full score, it had to be reduced to a size they could manage on their stands and the reduction process blurred some of the original score's clarity.\n\nJ.A.M. Could you comment on the role played by ‘improvisation’ in the score—from both the stone-poetry and instrumental side?\n\nK.P. I see considerable scope for improvisation in Stone Poem, especially in the stone and spoken parts, but also in the wind parts. I encouraged the wind players to take liberties, especially with the durational elements of the score, but with the time we had available for rehearsal they were unhappy to risk this—wisely I think. The score contains a communication system where at key points in the piece one player will Q-in other players. For this to work well the group would have to know the work and each other very well, but one would need months of rehearsal time for this. It was quite different with the voice and stone parts, though. Michael and I seemed to work well together, and we often met and improvised with the stones, so that by the performance we were playing a rehearsed improvisation. The words emerged in these early improvisation sessions. We tried and rejected chanting and reading literal stone poems, but finally settled on the words for stone in English, German, Italian and Greek plus fragmentations of these.\n\nJ.A.M. Have you been influenced by any particular styles?\n\nK.P. There is a tone row which I suppose means Schönberg, but I can't really hear any Schonberg in the piece. The 7\u002F8 metre group as it is in 3 + 2 + 2 quavers is Bartok, but all the other elements are very un-Bartokish. More significant is my interest recently in Japanese music, in particular Shakuhachi music. This Japanese flute is capable of a wide dynamic range, notes start with beautiful breathy attacks, and then often glissando over a whole tone. Also Japanese music does not have harmony in the western sense, the textures are very sparse and when instruments do sound together, the resulting harmonic effect seems accidental and unimportant. No doubt this is a fairly naive view of Japanese music, but it is important in that it was the view that shaped my thinking during the writing of Stone Poem.",{"_type":375,"current":3455},"J. A. Moreau Interview",{"_id":33283,"chapters":33284,"content":33285,"images":33556,"rawText":33559,"slug":33560,"title":33562},"d613867d-c8e3-4059-94a2-dc3ab381bc90",[],[33286,33318,33327,33335,33342,33354,33362,33374,33381,33393,33405,33417,33429,33441,33449,33475,33509,33533,33541,33549],{"_key":33287,"_type":9,"children":33288,"image":4,"markDefs":33317,"style":18},"69afd8791ae2",[33289,33293,33297,33301,33305,33309,33313],{"_key":33290,"_type":13,"marks":33291,"text":33292},"74c0c347c825",[],"The books of the series ",{"_key":33294,"_type":13,"marks":33295,"text":33296},"eba037b88f19",[15],"Sound and Sense",{"_key":33298,"_type":13,"marks":33299,"text":33300},"a1cf7db9a583",[]," were published by ",{"_key":33302,"_type":13,"marks":33303,"text":33304},"733745b03ea9",[15],"Reed Education",{"_key":33306,"_type":13,"marks":33307,"text":33308},"b84ca414eba9",[]," and used in New Zealand secondary schools for the ",{"_key":33310,"_type":13,"marks":33311,"text":33312},"b71c525ea427",[73],"School Certificate Music Syllabus",{"_key":33314,"_type":13,"marks":33315,"text":33316},"a777b0f2a3ee",[]," during the late 70s and 80s. They are now out of print.",[],{"_key":33319,"_type":500,"image":33320,"markDefs":4},"c76577bf51da",{"caption":4,"id":33321,"meta":33322,"parentID":4,"parentType":3456,"url":33326},"402aa8ca377f8b9bd2a0becab53c45a4483d4460",{"_type":506,"aspectRatio":33323,"height":33324,"width":33325},1.3825665859564165,1652,2284,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F402aa8ca377f8b9bd2a0becab53c45a4483d4460-2284x1652.jpg",{"_key":33328,"_type":9,"children":33329,"image":4,"markDefs":33334,"style":18},"e1f5cac51d99",[33330],{"_key":33331,"_type":13,"marks":33332,"text":33333},"a8d3bb94bbd5",[],"Text from Back Cover:",[],{"_key":33336,"_type":9,"children":33337,"image":4,"markDefs":33341,"style":18},"49ec9b3ac3f0",[33338],{"_key":33339,"_type":13,"marks":33340,"text":25},"e075dc89e6330",[],[],{"_key":33343,"_type":9,"children":33344,"image":4,"markDefs":33353,"style":634},"7054fdf4fb60",[33345,33349],{"_key":33346,"_type":13,"marks":33347,"text":33348},"40b5b614d3b30",[15],"General Editor",{"_key":33350,"_type":13,"marks":33351,"text":33352},"40b5b614d3b31",[],": Guy E. Jansen, Senior Lecturer and Head of Music Department, Christchurch Teachers’ College, Secondary Division.",[],{"_key":33355,"_type":9,"children":33356,"image":4,"markDefs":33361,"style":634},"678f1c01e1f5",[33357],{"_key":33358,"_type":13,"marks":33359,"text":33360},"a4d42e297c1e0",[],"Guy Jansen is well-known in musical circles in New Zealand. He has served on the PPTA Music Curriculum Panel, the Department of Education committees responsible for revising the Core Music and School Certificate Music Prescriptions, and the Universities Entrance Board Music Revision Committee. He is editor of Looking at Music Education and Workbook for the UE Music Prescription 1973-75.",[],{"_key":33363,"_type":9,"children":33364,"image":4,"markDefs":33373,"style":634},"82e8d0397ff9",[33365,33369],{"_key":33366,"_type":13,"marks":33367,"text":33368},"32645ad13a340",[15],"The Series",{"_key":33370,"_type":13,"marks":33371,"text":33372},"32645ad13a341",[],": The series is intended as a general introduction to the history and structure of music and its basic concepts of rhythm, timbre, dynamics, form, texture, melody, harmony and style. It is suitable for the general reader as well as the specialist and may be used with Fourth and Fifth forms in New Zealand to cover the new School Certificate Prescription. The emphasis of the series is on discovery of musical concepts through directed creative activity. There are five titles in the series.",[],{"_key":33375,"_type":9,"children":33376,"image":4,"markDefs":33380,"style":634},"811dd642ebab",[33377],{"_key":33378,"_type":13,"marks":33379,"text":25},"c4dffd20b7f60",[],[],{"_key":33382,"_type":9,"children":33383,"image":4,"level":382,"listItem":4456,"markDefs":33392,"style":18},"491b3083d9ed",[33384,33388],{"_key":33385,"_type":13,"marks":33386,"text":33387},"f34500c556710",[15],"Aural Perception",{"_key":33389,"_type":13,"marks":33390,"text":33391},"f34500c556711",[],", Maurice Larsen, Senior Lecturer in Music, Auckland Secondary Teachers’ College.",[],{"_key":33394,"_type":9,"children":33395,"image":4,"level":382,"listItem":4456,"markDefs":33404,"style":18},"8e3d4f675eb5",[33396,33400],{"_key":33397,"_type":13,"marks":33398,"text":33399},"3dcd5495b4010",[15],"The Language of Music",{"_key":33401,"_type":13,"marks":33402,"text":33403},"3dcd5495b4011",[],", Norman Daniels, Headmaster, Cathedral Grammar School, Christchurch.",[],{"_key":33406,"_type":9,"children":33407,"image":4,"level":382,"listItem":4456,"markDefs":33416,"style":18},"e6e955b3b8a5",[33408,33412],{"_key":33409,"_type":13,"marks":33410,"text":33411},"ae683b7e6ff60",[15],"Musical Design",{"_key":33413,"_type":13,"marks":33414,"text":33415},"ae683b7e6ff61",[],", Kit Powell, Linwood High School, Christchurch.",[],{"_key":33418,"_type":9,"children":33419,"image":4,"level":382,"listItem":4456,"markDefs":33428,"style":18},"62e7f28c9540",[33420,33424],{"_key":33421,"_type":13,"marks":33422,"text":33423},"71205c7dbb1b0",[15],"Musical Textures",{"_key":33425,"_type":13,"marks":33426,"text":33427},"71205c7dbb1b1",[],", David Sell, Senior Lecturer in Music, Canterbury University, Christchurch.",[],{"_key":33430,"_type":9,"children":33431,"image":4,"level":382,"listItem":4456,"markDefs":33440,"style":18},"f374db91f9c0",[33432,33436],{"_key":33433,"_type":13,"marks":33434,"text":33435},"5b853beb69740",[15],"The Literature of Music",{"_key":33437,"_type":13,"marks":33438,"text":33439},"5b853beb69741",[],", Robert Field-Dodgson, Director of Music, Christ's College, Christchurch.",[],{"_key":33442,"_type":9,"children":33443,"image":4,"markDefs":33448,"style":634},"50545bb7899b",[33444],{"_key":33445,"_type":13,"marks":33446,"text":33447},"c6c02e6f3f4a0",[],"A teacher's guide and a set of E.P. records containing essential musical examples will be published.",[],{"_key":33450,"_type":9,"children":33451,"image":4,"markDefs":33472,"style":18},"4a668f06d4a4",[33452,33456,33460,33464,33468],{"_key":33453,"_type":13,"marks":33454,"text":33455},"a08121c885f10",[],"Guy Jansen was at that time Senior Lecturer in Music at the ",{"_key":33457,"_type":13,"marks":33458,"text":3260},"5e24312ce002",[33459],"f71a29bfb02e",{"_key":33461,"_type":13,"marks":33462,"text":33463},"6963023a749c",[],". I had met him earlier at my first visit to the ",{"_key":33465,"_type":13,"marks":33466,"text":33467},"a08121c885f13",[73],"Cambridge Music School",{"_key":33469,"_type":13,"marks":33470,"text":33471},"a08121c885f14",[],". When he left the Teachers College in 1975, Frank Dennis moved into Guy's position and I into Frank's.",[33473],{"_key":33459,"_type":321,"reference":33474,"slug":3287,"type":968},{"_ref":3286,"_type":324},{"_key":33476,"_type":9,"children":33477,"image":4,"markDefs":33506,"style":18},"25947c8bfdeb",[33478,33482,33486,33490,33494,33498,33502],{"_key":33479,"_type":13,"marks":33480,"text":33481},"b9249620a2dd0",[],"David Sell was also involved in the ",{"_key":33483,"_type":13,"marks":33484,"text":33485},"b9249620a2dd1",[73],"Contemporary Music Society",{"_key":33487,"_type":13,"marks":33488,"text":33489},"b9249620a2dd2",[]," and instrumental in the commissioning of ",{"_key":33491,"_type":13,"marks":33492,"text":3535},"6afa77e3d417",[33493],"ca7e193d0ab2",{"_key":33495,"_type":13,"marks":33496,"text":33497},"c6c7b2ac4de7",[],". He was also on the committee which appointed me to the position as ",{"_key":33499,"_type":13,"marks":33500,"text":33501},"b9249620a2dd5",[73],"Lecturer",{"_key":33503,"_type":13,"marks":33504,"text":33505},"b9249620a2dd6",[]," at the Teachers College.",[33507],{"_key":33493,"_type":321,"reference":33508,"slug":3612,"type":510},{"_ref":3357,"_type":324},{"_key":33510,"_type":9,"children":33511,"image":4,"markDefs":33530,"style":18},"7ecb7009a118",[33512,33516,33519,33523,33527],{"_key":33513,"_type":13,"marks":33514,"text":33515},"b483997d74a00",[],"Robert Field-Dodgeson was best known in Christchurch in those years as conductor of the ",{"_key":33517,"_type":13,"marks":33518,"text":4483},"b483997d74a01",[73],{"_key":33520,"_type":13,"marks":33521,"text":33522},"b483997d74a02",[]," which later commissioned ",{"_key":33524,"_type":13,"marks":33525,"text":4378},"bc31d1ac1217",[33526],"1da682e02f96",{"_key":33528,"_type":13,"marks":33529,"text":2020},"ac9d9ad1137d",[],[33531],{"_key":33526,"_type":321,"reference":33532,"slug":2343,"type":510},{"_ref":2342,"_type":324},{"_key":33534,"_type":9,"children":33535,"image":4,"markDefs":33540,"style":18},"ab4ca78b6017",[33536],{"_key":33537,"_type":13,"marks":33538,"text":33539},"57d44dae5bbc0",[],"\nInstagram June 2020",[],{"_key":33542,"_type":9,"children":33543,"image":4,"markDefs":33548,"style":18},"ff7e98b7dea1",[33544],{"_key":33545,"_type":13,"marks":33546,"text":33547},"cbb507e412130",[],"graysongilmour\n…stumbled upon this series of music books last week, which in hindsight completely blew my teenage brain \u002F reshaped my understanding of ‘music’. From memory, these 1970s resources simply gathered dust when I was at high school, but being a total nerd I’d often read through them! Admittedly, I even ended up stealing the 7” out of the back of vol. 4 and sampling Stockhausen from it for my first solo EP (lol)… ❤️ #music #typography #design #graphicscore #graphicnotation #sampling #1970s",[],{"_key":33550,"_type":9,"children":33551,"image":4,"markDefs":33555,"style":18},"0fe752ec5270",[33552],{"_key":33553,"_type":13,"marks":33554,"text":4878},"102016e8f274",[],[],[33557],{"caption":4,"id":33321,"meta":33558,"parentID":33283,"parentType":3456,"url":33326},{"_type":506,"aspectRatio":33323,"height":33324,"width":33325},"The books of the series Sound and Sense were published by Reed Education and used in New Zealand secondary schools for the School Certificate Music Syllabus during the late 70s and 80s. They are now out of print.\n\nText from Back Cover:\n\n\n\nGeneral Editor: Guy E. Jansen, Senior Lecturer and Head of Music Department, Christchurch Teachers’ College, Secondary Division.\n\nGuy Jansen is well-known in musical circles in New Zealand. He has served on the PPTA Music Curriculum Panel, the Department of Education committees responsible for revising the Core Music and School Certificate Music Prescriptions, and the Universities Entrance Board Music Revision Committee. He is editor of Looking at Music Education and Workbook for the UE Music Prescription 1973-75.\n\nThe Series: The series is intended as a general introduction to the history and structure of music and its basic concepts of rhythm, timbre, dynamics, form, texture, melody, harmony and style. It is suitable for the general reader as well as the specialist and may be used with Fourth and Fifth forms in New Zealand to cover the new School Certificate Prescription. The emphasis of the series is on discovery of musical concepts through directed creative activity. There are five titles in the series.\n\n\n\nAural Perception, Maurice Larsen, Senior Lecturer in Music, Auckland Secondary Teachers’ College.\n\nThe Language of Music, Norman Daniels, Headmaster, Cathedral Grammar School, Christchurch.\n\nMusical Design, Kit Powell, Linwood High School, Christchurch.\n\nMusical Textures, David Sell, Senior Lecturer in Music, Canterbury University, Christchurch.\n\nThe Literature of Music, Robert Field-Dodgson, Director of Music, Christ's College, Christchurch.\n\nA teacher's guide and a set of E.P. records containing essential musical examples will be published.\n\nGuy Jansen was at that time Senior Lecturer in Music at the Christchurch Teachers College. I had met him earlier at my first visit to the Cambridge Music School. When he left the Teachers College in 1975, Frank Dennis moved into Guy's position and I into Frank's.\n\nDavid Sell was also involved in the Contemporary Music Society and instrumental in the commissioning of Stone Poem. He was also on the committee which appointed me to the position as Lecturer at the Teachers College.\n\nRobert Field-Dodgeson was best known in Christchurch in those years as conductor of the Royal Christchurch Musical Society which later commissioned The Ever-Circling Light.\n\n\nInstagram June 2020\n\ngraysongilmour\n…stumbled upon this series of music books last week, which in hindsight completely blew my teenage brain \u002F reshaped my understanding of ‘music’. From memory, these 1970s resources simply gathered dust when I was at high school, but being a total nerd I’d often read through them! Admittedly, I even ended up stealing the 7” out of the back of vol. 4 and sampling Stockhausen from it for my first solo EP (lol)… ❤️ #music #typography #design #graphicscore #graphicnotation #sampling #1970s\n\n\n",{"_type":375,"current":33561},"musical-design-sound-and-sense","Musical Design - Sound and Sense",{"_id":7521,"chapters":33564,"content":33565,"images":33677,"rawText":33680,"slug":33681,"title":33682},[],[33566,33576,33584,33604,33615,33623,33638,33646,33654,33662,33670],{"_key":33567,"_type":9,"children":33568,"image":4,"markDefs":33572,"style":18},"0dd0a40879a5",[33569],{"_key":33570,"_type":13,"marks":33571,"text":25},"4e6377d19fd10",[],[33573],{"_key":33574,"_type":316,"href":33575},"69a8c2b1b8c2","https:\u002F\u002Fsounz.org.nz\u002Fcontributors\u002F1012",{"_key":33577,"_type":500,"image":33578,"markDefs":4,"size":22182},"24d190ebbc05",{"caption":4,"id":33579,"meta":33580,"parentID":4,"parentType":3456,"url":33583},"d016ac84bd53d4b1e8ee9a325d7a2472f7022935",{"_type":506,"aspectRatio":33581,"height":33582,"width":22950},1.4906284454244763,907,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fd016ac84bd53d4b1e8ee9a325d7a2472f7022935-1352x907.jpg",{"_key":33585,"_type":9,"children":33586,"image":4,"markDefs":33602,"style":18},"6525b6b9b71f",[33587,33591,33595,33598],{"_key":33588,"_type":13,"marks":33589,"text":33590},"fb0548ff16b3",[],"Review of ",{"_key":33592,"_type":13,"marks":33593,"text":33594},"4e6377d19fd11",[73],"Quite by Chance",{"_key":33596,"_type":13,"marks":33597,"text":4219},"4e6377d19fd12",[],{"_key":33599,"_type":13,"marks":33600,"text":33601},"5a98c4d76fd0",[33574],"Rod Biss",[33603],{"_key":33574,"_type":316,"href":33575},{"_key":33605,"_type":9,"children":33606,"image":4,"markDefs":33614,"style":634},"6f8754ec5f9e",[33607,33611],{"_key":33608,"_type":13,"marks":33609,"text":33610},"3920cf74abea0",[],"Kit Powell: ",{"_key":33612,"_type":13,"marks":33613,"text":33594},"3920cf74abea1",[73],[],{"_key":33616,"_type":9,"children":33617,"image":4,"markDefs":33622,"style":634},"868c5253622f",[33618],{"_key":33619,"_type":13,"marks":33620,"text":33621},"54f7a0f043bb0",[],"New Zealand born Kit Powell, who is now torn between both New Zealand and Switzerland by interests and marriage, is a composer and teacher with a restless, searching, philosophical turn of mind. His ideas may often be provocative but they are also reassuring; performers, fellow creators and listeners are all made welcome in his music.",[],{"_key":33624,"_type":9,"children":33625,"image":4,"markDefs":33637,"style":634},"834e2b25567c",[33626,33630,33633],{"_key":33627,"_type":13,"marks":33628,"text":33629},"26b9a18643650",[],"His fascinating book ",{"_key":33631,"_type":13,"marks":33632,"text":33594},"26b9a18643651",[73],{"_key":33634,"_type":13,"marks":33635,"text":33636},"26b9a18643652",[]," is an introduction to his musical thinking and much more. At times it is a virtual autobiography as he takes us through his compositions explaining the circumstances of their creation, who they were written for or how they came into existence. It is also a guide to the music and an explanation of it. Both teachers and composers will find that it is packed with creative ideas that might often spark their own imaginations.",[],{"_key":33639,"_type":9,"children":33640,"image":4,"markDefs":33645,"style":634},"7fa514646791",[33641],{"_key":33642,"_type":13,"marks":33643,"text":33644},"4ae2b65cb83d0",[],"He believes that what happens by chance is significant, and yet he is not content to leave chance to work entirely on its own. “To this end,” he tells us that in his music (and I suspect in his life as well), “I invented systems in which it [chance] would be forced to respond, and, if the system was well made the results were always positive”. But it’s not magic, he warns, “the art is in being able to invent a system that is complex enough to sound interesting and personal enough to express what I wish it to say”.",[],{"_key":33647,"_type":9,"children":33648,"image":4,"markDefs":33653,"style":634},"c1bfcbfa09bc",[33649],{"_key":33650,"_type":13,"marks":33651,"text":33652},"e934ec5a519b0",[],"He finds music in every sound that he hears; paper crumpling, household sounds, bird and animal sounds, weather sounds and so on, and he points out that children are often the most alert to these sounds and their possibilities. This is just part of Powell’s raw material—how he shapes it into music, or theatre, and into performance – is what the book reveals. We are, it seems, privileged observers being led into his workshop where we witness how his compositions are created.",[],{"_key":33655,"_type":9,"children":33656,"image":4,"markDefs":33661,"style":634},"44350d080b6d",[33657],{"_key":33658,"_type":13,"marks":33659,"text":33660},"26e8d6cc5b2c0",[],"He studied science first at Victoria University Wellington but then moved to Christchurch, graduating with both science and music degrees. He went on to Christchurch Teacher’s College and for a while taught both maths and music at Linwood High School. It is from these early years that the first compositions come, total theatre and creative music with children—the book includes fascinating photographs and drawings. Then there is Music with Found Objects, and he tells how when he was working with primary school children they made instruments from stones, metal, wood, glass etc and he says that this had an effect on his own work. There is a chapter on music with just a few notes and then we reach the crucial chapter on chance in music. “Why chance?” he asks, answering “because it fascinates me”. He arrived at it “as with almost every other experimental idea, through working with children”, and he supplies many examples of his ‘chance’ compositions and shows how they work.",[],{"_key":33663,"_type":9,"children":33664,"image":4,"markDefs":33669,"style":634},"707c46d34164",[33665],{"_key":33666,"_type":13,"marks":33667,"text":33668},"aff75afd63650",[],"The book is a full record of Powell’s compositions and one can only wonder why more of them are not heard in the mainstream concert halls. His Rothko Variations of 2004 can be heard in a ‘rehearsed reading’ performance by the NZSO conducted by Hamish McKeich on the SOUNZ website. The glowing sounds of his orchestration can only whet the appetite to hear his most recent large work, the Missa Profana of 2010 which looks like a work that would make a thrilling centrepiece for the New Zealand Festival. Perhaps it is wishful thinking on my part that it is already being talked about?",[],{"_key":33671,"_type":9,"children":33672,"image":4,"markDefs":33676,"style":634},"cb4f55e8916d",[33673],{"_key":33674,"_type":13,"marks":33675,"text":33601},"03fccc47c9250",[],[],[33678],{"caption":4,"id":33579,"meta":33679,"parentID":7521,"parentType":3456,"url":33583},{"_type":506,"aspectRatio":33581,"height":33582,"width":22950},"\n\nReview of Quite by Chance by Rod Biss\n\nKit Powell: Quite by Chance\n\nNew Zealand born Kit Powell, who is now torn between both New Zealand and Switzerland by interests and marriage, is a composer and teacher with a restless, searching, philosophical turn of mind. His ideas may often be provocative but they are also reassuring; performers, fellow creators and listeners are all made welcome in his music.\n\nHis fascinating book Quite by Chance is an introduction to his musical thinking and much more. At times it is a virtual autobiography as he takes us through his compositions explaining the circumstances of their creation, who they were written for or how they came into existence. It is also a guide to the music and an explanation of it. Both teachers and composers will find that it is packed with creative ideas that might often spark their own imaginations.\n\nHe believes that what happens by chance is significant, and yet he is not content to leave chance to work entirely on its own. “To this end,” he tells us that in his music (and I suspect in his life as well), “I invented systems in which it [chance] would be forced to respond, and, if the system was well made the results were always positive”. But it’s not magic, he warns, “the art is in being able to invent a system that is complex enough to sound interesting and personal enough to express what I wish it to say”.\n\nHe finds music in every sound that he hears; paper crumpling, household sounds, bird and animal sounds, weather sounds and so on, and he points out that children are often the most alert to these sounds and their possibilities. This is just part of Powell’s raw material—how he shapes it into music, or theatre, and into performance – is what the book reveals. We are, it seems, privileged observers being led into his workshop where we witness how his compositions are created.\n\nHe studied science first at Victoria University Wellington but then moved to Christchurch, graduating with both science and music degrees. He went on to Christchurch Teacher’s College and for a while taught both maths and music at Linwood High School. It is from these early years that the first compositions come, total theatre and creative music with children—the book includes fascinating photographs and drawings. Then there is Music with Found Objects, and he tells how when he was working with primary school children they made instruments from stones, metal, wood, glass etc and he says that this had an effect on his own work. There is a chapter on music with just a few notes and then we reach the crucial chapter on chance in music. “Why chance?” he asks, answering “because it fascinates me”. He arrived at it “as with almost every other experimental idea, through working with children”, and he supplies many examples of his ‘chance’ compositions and shows how they work.\n\nThe book is a full record of Powell’s compositions and one can only wonder why more of them are not heard in the mainstream concert halls. His Rothko Variations of 2004 can be heard in a ‘rehearsed reading’ performance by the NZSO conducted by Hamish McKeich on the SOUNZ website. The glowing sounds of his orchestration can only whet the appetite to hear his most recent large work, the Missa Profana of 2010 which looks like a work that would make a thrilling centrepiece for the New Zealand Festival. Perhaps it is wishful thinking on my part that it is already being talked about?\n\nRod Biss",{"_type":375,"current":7522},"Quite By Chance - Wie durch Zufall",{"_id":33684,"chapters":33685,"content":33686,"images":34451,"rawText":34456,"slug":34457,"title":34459},"1a9bf5f5-dffc-439b-a180-835867ae3913",[],[33687,33695,33702,33710,33718,33725,33733,33740,33752,33759,33767,33774,33782,33789,33797,33804,33812,33819,33836,33843,33851,33859,33866,33873,33881,33888,33896,33903,33911,33919,33927,33934,33942,33958,33965,33973,33980,33996,34003,34011,34018,34026,34033,34041,34048,34056,34063,34071,34078,34086,34098,34105,34198,34205,34213,34221,34229,34236,34252,34259,34267,34274,34282,34289,34297,34305,34313,34329,34339,34347,34355,34362,34372,34380,34388,34396,34403,34421,34429,34436,34444],{"_key":33688,"_type":9,"children":33689,"image":4,"markDefs":33694,"style":18},"a59183bf704c",[33690],{"_key":33691,"_type":13,"marks":33692,"text":33693},"847fdee5b2880",[15],"Definition — is it possible? — or necessary?",[],{"_key":33696,"_type":9,"children":33697,"image":4,"markDefs":33701,"style":18},"83936c934947",[33698],{"_key":33699,"_type":13,"marks":33700,"text":25},"15a893d1b2540",[],[],{"_key":33703,"_type":9,"children":33704,"image":4,"markDefs":33709,"style":634},"2037c4b693de",[33705],{"_key":33706,"_type":13,"marks":33707,"text":33708},"c1e8d0a680030",[73],"\"Man, if you don't know what jazz (æsthetics?) is, then I can't tell you\"",[],{"_key":33711,"_type":9,"children":33712,"image":4,"markDefs":33717,"style":634},"ffcec288a436",[33713],{"_key":33714,"_type":13,"marks":33715,"text":33716},"44d7e4cb3beb0",[73],"— Louis Armstrong",[],{"_key":33719,"_type":9,"children":33720,"image":4,"markDefs":33724,"style":634},"5e232e7caece",[33721],{"_key":33722,"_type":13,"marks":33723,"text":25},"b879405d1d710",[],[],{"_key":33726,"_type":9,"children":33727,"image":4,"markDefs":33732,"style":18},"99c9980531b0",[33728],{"_key":33729,"_type":13,"marks":33730,"text":33731},"7979a5910d2f0",[],"Æsthete — one having or pretending sensitivity to the beautiful",[],{"_key":33734,"_type":9,"children":33735,"image":4,"markDefs":33739,"style":18},"0a60dcb4d600",[33736],{"_key":33737,"_type":13,"marks":33738,"text":25},"bbaaa8c7c3070",[],[],{"_key":33741,"_type":9,"children":33742,"image":4,"markDefs":33751,"style":18},"3c8025bbeabf",[33743,33747],{"_key":33744,"_type":13,"marks":33745,"text":33746},"dad8a60fb66c0",[15],"æsthetic",{"_key":33748,"_type":13,"marks":33749,"text":33750},"dad8a60fb66c1",[]," (according to Webster): having to do with beauty especially as distinguished from what is useful \u002F appreciative or responsive to what is beautiful. Misapplied in German by Baumgarten as 'criticism of taste' and so used in England since 1830.",[],{"_key":33753,"_type":9,"children":33754,"image":4,"markDefs":33758,"style":18},"75aa59914d44",[33755],{"_key":33756,"_type":13,"marks":33757,"text":25},"99446d70bf690",[],[],{"_key":33760,"_type":9,"children":33761,"image":4,"markDefs":33766,"style":18},"a5c1ff7558fe",[33762],{"_key":33763,"_type":13,"marks":33764,"text":33765},"7ed3e0f34c470",[],"Artist: one who analyses and reflects upon the effect a work of art has — a contrast with the practical, the functional or the moral aspects of anything",[],{"_key":33768,"_type":9,"children":33769,"image":4,"markDefs":33773,"style":18},"c3229c008946",[33770],{"_key":33771,"_type":13,"marks":33772,"text":25},"351d5101aba00",[],[],{"_key":33775,"_type":9,"children":33776,"image":4,"markDefs":33781,"style":634},"7b6dc5b7eb81",[33777],{"_key":33778,"_type":13,"marks":33779,"text":33780},"e831ff8acc880",[73],"\"There are no moral or immoral books, there are only well written and badly written books\" — Oscar Wilde",[],{"_key":33783,"_type":9,"children":33784,"image":4,"markDefs":33788,"style":18},"5b9ff5ed8293",[33785],{"_key":33786,"_type":13,"marks":33787,"text":25},"768859bd0ccc0",[],[],{"_key":33790,"_type":9,"children":33791,"image":4,"markDefs":33796,"style":18},"02f1a6e490b6",[33792],{"_key":33793,"_type":13,"marks":33794,"text":33795},"4a2fca44d1d90",[],"Assuming I have created a work of art, what is its effect — on me, on others, on which others? Can I analyse what (or where) the good and bad effects are? and why?",[],{"_key":33798,"_type":9,"children":33799,"image":4,"markDefs":33803,"style":18},"907cd13e1797",[33800],{"_key":33801,"_type":13,"marks":33802,"text":25},"f11997d9bec10",[],[],{"_key":33805,"_type":9,"children":33806,"image":4,"markDefs":33811,"style":18},"81921f2615e6",[33807],{"_key":33808,"_type":13,"marks":33809,"text":33810},"e9dc96fbc08b0",[],"To be specific:",[],{"_key":33813,"_type":9,"children":33814,"image":4,"markDefs":33818,"style":18},"59a346677f11",[33815],{"_key":33816,"_type":13,"marks":33817,"text":25},"2b780b8d1e440",[],[],{"_key":33820,"_type":9,"children":33821,"image":4,"markDefs":33833,"style":18},"af5d9dfaca3e",[33822,33825,33829],{"_key":33823,"_type":13,"marks":33824,"text":32654},"254c1e8ed8740",[73],{"_key":33826,"_type":13,"marks":33827,"text":8138},"00a88d920402",[73,33828],"74eb968318e7",{"_key":33830,"_type":13,"marks":33831,"text":33832},"1772c811d957",[73],"\" What (or where) were its effects?",[33834],{"_key":33828,"_type":321,"reference":33835,"slug":8362,"type":510},{"_ref":8086,"_type":324},{"_key":33837,"_type":9,"children":33838,"image":4,"markDefs":33842,"style":18},"3ec6b3a1c6b4",[33839],{"_key":33840,"_type":13,"marks":33841,"text":25},"f9e560e103bf0",[],[],{"_key":33844,"_type":9,"children":33845,"image":4,"markDefs":33850,"style":18},"790489f4bfd7",[33846],{"_key":33847,"_type":13,"marks":33848,"text":33849},"f911e06f84680",[73],"Its effect on me: Good: the delicate, transparent textures of voice and tape, the contrast between Tao and I Ching sections. Bad: perhaps too static. Need for change; within each style a feeling of development, of cause and effect??",[],{"_key":33852,"_type":9,"children":33853,"image":4,"markDefs":33858,"style":18},"4c69fabd6234",[33854],{"_key":33855,"_type":13,"marks":33856,"text":33857},"a0aa3db78a110",[73],"Its effects on others: Chinese Songs was played a number of times in Computer Music Centre concerts but there was never any suggestion of singing it in other contexts by the singer (for whom it was written).",[],{"_key":33860,"_type":9,"children":33861,"image":4,"markDefs":33865,"style":18},"3848378f1315",[33862],{"_key":33863,"_type":13,"marks":33864,"text":25},"ae1adcea47510",[],[],{"_key":33867,"_type":9,"children":33868,"image":4,"markDefs":33872,"style":18},"341c57e8fd76",[33869],{"_key":33870,"_type":13,"marks":33871,"text":25},"85496626c7ab0",[],[],{"_key":33874,"_type":9,"children":33875,"image":4,"markDefs":33880,"style":18},"247a67fadaf6",[33876],{"_key":33877,"_type":13,"marks":33878,"text":33879},"25df5860b9780",[15],"Æsthetic Response of the Performer",[],{"_key":33882,"_type":9,"children":33883,"image":4,"markDefs":33887,"style":18},"dd2da5305636",[33884],{"_key":33885,"_type":13,"marks":33886,"text":25},"9e6fcbcd27580",[],[],{"_key":33889,"_type":9,"children":33890,"image":4,"markDefs":33895,"style":18},"003041987ee5",[33891],{"_key":33892,"_type":13,"marks":33893,"text":33894},"73afb0d0d1060",[],"This problem of what the performer likes (or doesn't like) playing\u002Fsinging can have a major effect on the end result. Should one therefore, pander to the æsthetics of the performer? On the one hand, it's impossible to write anything new if one stays within the familiar ranges or regions, on the other, if one dwells too long on the unfamiliar, the work will be rejected by the performer. The performer needs the opportunity to excel, to be heard at his\u002Fher best. This does not mean that the performer has to like the piece at the outset. It's highly likely that the composer will have to give him\u002Fher considerable \"æsthetic\" help at the beginning (more about this later – see § Where is the Kitschgrenze?).",[],{"_key":33897,"_type":9,"children":33898,"image":4,"markDefs":33902,"style":18},"2ce40e864bdd",[33899],{"_key":33900,"_type":13,"marks":33901,"text":25},"4c0fc377e6cb0",[],[],{"_key":33904,"_type":9,"children":33905,"image":4,"markDefs":33910,"style":18},"d862cf400e90",[33906],{"_key":33907,"_type":13,"marks":33908,"text":33909},"f95f3c20e0220",[73],"Franziska Stähelin told me at the beginning; she liked singing in the range c\" to c\"'. In spite of the work's realisation of this wish, I often felt she was a little uncomfortable in this range. When one compares the range in the free sections with that of the fixed pitch sections, she chooses a much lower tessatura when she's free. This is of course a good thing — it adds to the contrast between the Tao and the I Ching sections — and was no doubt deliberately done. At the same time, I often wonder if the tension which one feels in the extremes of register have an effect on her aesthetic response to the work? If it had been a little easier to sing, it might have sounded more convincing?",[],{"_key":33912,"_type":9,"children":33913,"image":4,"markDefs":33918,"style":18},"5bac73dad851",[33914],{"_key":33915,"_type":13,"marks":33916,"text":33917},"28e5eff2ead60",[15],"Perception — the influence of the visual on the aural perception",[],{"_key":33920,"_type":9,"children":33921,"image":4,"markDefs":33926,"style":634},"cadd92b0244e",[33922],{"_key":33923,"_type":13,"marks":33924,"text":33925},"d3f4b97d438f0",[73],"\"Unbewußt neben der musikalischen Phantasie wirkt oft eine Idee fort, neben dem Ohre das Auge, und diese, das immer tätige Organ, hält dann mitten unter den Tönen und Klängen gewisse Umrisse fest, die sich mit der vorrückenden Musik zu deutlichen Gestalten verdichten und ausbilden können.\" — Robert Schumann",[],{"_key":33928,"_type":9,"children":33929,"image":4,"markDefs":33933,"style":634},"1f64736f0dc4",[33930],{"_key":33931,"_type":13,"marks":33932,"text":25},"a64f5d08343f0",[],[],{"_key":33935,"_type":9,"children":33936,"image":4,"markDefs":33941,"style":18},"bfeb9461b45c",[33937],{"_key":33938,"_type":13,"marks":33939,"text":33940},"a364df290a770",[],"No doubt that Schumann has an inner eye in mind — but in my mind this inner eye is closely connected to the perceptions of the external eye.",[],{"_key":33943,"_type":9,"children":33944,"image":4,"markDefs":33957,"style":18},"8d48fde3adc5",[33945,33949,33953],{"_key":33946,"_type":13,"marks":33947,"text":33948},"549f5afd47ec0",[],"As composers we should be concerned with the perception of the sound world and how that world can be influenced by other senses — an uncomfortable seat or an overpowering perfume can effect what we hear. A visual event (or a message from another sense) may greatly influence an aural perception. The movements (or lack of them) of a performer, the gestures of a conductor (his ability to lead the players and simultaneously ",{"_key":33950,"_type":13,"marks":33951,"text":33952},"549f5afd47ec1",[15],"show",{"_key":33954,"_type":13,"marks":33955,"text":33956},"549f5afd47ec2",[]," us the music), the illumination of the mediaeval architecture at the Bourges Festival can have a significant effect on our perception of the music being played. To ignore this effect (especially at a first performance) is to risk the success of the music. Or worse still, to (unwittingly) introduce visual effects that have nothing to do with the music can seriously impair the aural perception. My view is that this is such an important aspect of music presentation, that it deserves our study and experimentation. The range is enormous: total darkness, darkness with minimal projections, allow the audience sight but focus it — on the player, the conductor, the loudspeaker box??, a slide show, ...",[],{"_key":33959,"_type":9,"children":33960,"image":4,"markDefs":33964,"style":18},"bad53eddc1fe",[33961],{"_key":33962,"_type":13,"marks":33963,"text":25},"a2de67cb1ca20",[],[],{"_key":33966,"_type":9,"children":33967,"image":4,"markDefs":33972,"style":18},"38cf45d3bcb0",[33968],{"_key":33969,"_type":13,"marks":33970,"text":33971},"965a17db337c0",[73],"I remember a performance of a work by Peter Streiff in which the cellist and the top half of the percussionist were visible, but what the percussionist was playing was hidden behind a curtain. Presumably the composer had decided that the nature of the percussion instruments was visually distracting, he wanted the perception of the sounds to be unencumbered by the observation of the execution of the music.",[],{"_key":33974,"_type":9,"children":33975,"image":4,"markDefs":33979,"style":18},"9889f0373554",[33976],{"_key":33977,"_type":13,"marks":33978,"text":25},"e9dcf25ae2e60",[],[],{"_key":33981,"_type":9,"children":33982,"image":4,"markDefs":33995,"style":18},"fc5d47aaaf78",[33983,33987,33991],{"_key":33984,"_type":13,"marks":33985,"text":33986},"32df84e30caa0",[],"It is, in my view, negligent to suppose that this \"music-theatre\" aspect of performance is unimportant. Even if ",{"_key":33988,"_type":13,"marks":33989,"text":33990},"32df84e30caa1",[15],"we",{"_key":33992,"_type":13,"marks":33993,"text":33994},"32df84e30caa2",[]," ignore this, the listener receives visual images, which influence his perception of the music. This is particularly the case with electro-acoustic music in which there is no performer or in which someone plays the computer. In the first case the normal concert-goer seeks in vain for a visual focus — finally settles on the faces of the audience or the floscles of the interior architecture. If there is a computer player visible he automatically becomes the centre of attention and is inevitably at best disappointing and at worst distracting because his tensions and relaxations are usually quite independent of those of the music.",[],{"_key":33997,"_type":9,"children":33998,"image":4,"markDefs":34002,"style":18},"1067b3f2d153",[33999],{"_key":34000,"_type":13,"marks":34001,"text":25},"60f91a98ea500",[],[],{"_key":34004,"_type":9,"children":34005,"image":4,"markDefs":34010,"style":18},"d04877ac628c",[34006],{"_key":34007,"_type":13,"marks":34008,"text":34009},"8c4f59b2e5900",[73],"A year ago in the Zürich conservatory there was a performance of a wonderful piece by Nono in which a tuba player sat centre stage and played a few soft farts and then the electronics took over. While the player sat there, apparently unmoved, the music travelled over a wide range of emotions. If one concentrated on the \"player\" the music died. Only by closing one's eyes could the music live. The tuba player would have been better placed off-stage, in fact, one could have appreciated the whole performance better from a recording.",[],{"_key":34012,"_type":9,"children":34013,"image":4,"markDefs":34017,"style":18},"921d7e3c7e83",[34014],{"_key":34015,"_type":13,"marks":34016,"text":25},"b89cafba4c850",[],[],{"_key":34019,"_type":9,"children":34020,"image":4,"markDefs":34025,"style":18},"3a02d78473f3",[34021],{"_key":34022,"_type":13,"marks":34023,"text":34024},"f5f635efc3c20",[],"I believe we accept (and even expect) music-related movement, in fact we seek it, to lead us into the music. Most pop and rock music show wonderful examples of very well considered movement and most of it is organic, it grows out of the music, it is music-related. If it is not there, we search for it and even create it for ourselves. In general the traditional difference between U- and E-Musik is that one has it and the other doesn't. With the advent of the modern E-Musik-Theater a new aesthetic of the glorification of the odd, the bizarre, the outrageous and the ludicrous has emerged. (eg, Berio's Trombone Sequenza who pretends to shoot ducks). Kagel takes this further when he plays on the tension generated by a discrepancy between contrasting musical and visual statements (eg. serious music and flippant movement, or vice versa).",[],{"_key":34027,"_type":9,"children":34028,"image":4,"markDefs":34032,"style":18},"b7c743ee4e97",[34029],{"_key":34030,"_type":13,"marks":34031,"text":25},"4a975e922df90",[],[],{"_key":34034,"_type":9,"children":34035,"image":4,"markDefs":34040,"style":18},"65ba804e74a7",[34036],{"_key":34037,"_type":13,"marks":34038,"text":34039},"a12031a3bb670",[73],"Something which has developed recently in electro-acoustic music, which takes over the function of the performer or conductor as the visual centre of a piece, is the sight of the composer at the mixing desk as he agonises with the sliders. Some of these \"performances\" can be at least as distracting as a live performer with excessive music-unrelated movement.",[],{"_key":34042,"_type":9,"children":34043,"image":4,"markDefs":34047,"style":18},"fc8512c96853",[34044],{"_key":34045,"_type":13,"marks":34046,"text":25},"de9bab00500f0",[],[],{"_key":34049,"_type":9,"children":34050,"image":4,"markDefs":34055,"style":18},"78b516ded1b3",[34051],{"_key":34052,"_type":13,"marks":34053,"text":34054},"9218e72e24730",[],"I don't presume to have given any solution to this problem of the rôle of the visual in a predominantly aural situation, but if I have at least demonstrated that it is a problem then I am satisfied. One thing is certain: there is no easy solution, but there are good models for us to follow — Berio, Kagel, Stockhausen.",[],{"_key":34057,"_type":9,"children":34058,"image":4,"markDefs":34062,"style":18},"187c48e54c5c",[34059],{"_key":34060,"_type":13,"marks":34061,"text":25},"d01bcc761cb90",[],[],{"_key":34064,"_type":9,"children":34065,"image":4,"markDefs":34070,"style":18},"2da7168a5c1e",[34066],{"_key":34067,"_type":13,"marks":34068,"text":34069},"c274d55d82e00",[15],"Content — what is art about?",[],{"_key":34072,"_type":9,"children":34073,"image":4,"markDefs":34077,"style":18},"0b17dbff39c1",[34074],{"_key":34075,"_type":13,"marks":34076,"text":25},"8ed981d5ad890",[],[],{"_key":34079,"_type":9,"children":34080,"image":4,"markDefs":34085,"style":634},"e22c457b0d24",[34081],{"_key":34082,"_type":13,"marks":34083,"text":34084},"cae28ae8948d0",[],"\"I believe that there is one story in the world, and only one . . . Humans are caught — in their lives, in their thoughts, in their hungers and ambitions, in their avarice and cruelty, and in their kindness and generosity too — in a net of good and evil . . . \"",[],{"_key":34087,"_type":9,"children":34088,"image":4,"markDefs":34097,"style":634},"86c73891f848",[34089,34093],{"_key":34090,"_type":13,"marks":34091,"text":34092},"4051334c2d540",[],"John Steinbeck, ",{"_key":34094,"_type":13,"marks":34095,"text":34096},"4051334c2d541",[15],"East of Eden",[],{"_key":34099,"_type":9,"children":34100,"image":4,"markDefs":34104,"style":18},"764ac506bfbc",[34101],{"_key":34102,"_type":13,"marks":34103,"text":25},"967de49f44980",[],[],{"_key":34106,"_type":9,"children":34107,"image":4,"markDefs":34197,"style":18},"b07f9d1e8e03",[34108,34112,34115,34119,34122,34126,34129,34133,34137,34141,34145,34149,34153,34157,34161,34165,34169,34173,34177,34181,34185,34189,34193],{"_key":34109,"_type":13,"marks":34110,"text":34111},"e31701fea7c90",[],"I believe that all art is subject to this same aesthetic law, namely the expression of human emotions (in a net of good and evil). If I can't find my own feelings in a piece, I can't respond to it (aesthetically). When I think of some of the great artistic creations of all time: — of Homer's ",{"_key":34113,"_type":13,"marks":34114,"text":1875},"e31701fea7c91",[73],{"_key":34116,"_type":13,"marks":34117,"text":34118},"e31701fea7c92",[],"; of Dante's ",{"_key":34120,"_type":13,"marks":34121,"text":13536},"e31701fea7c93",[73],{"_key":34123,"_type":13,"marks":34124,"text":34125},"e31701fea7c94",[],"; of Chartre Cathedral, of Michelangelo's ",{"_key":34127,"_type":13,"marks":34128,"text":12011},"e31701fea7c95",[73],{"_key":34130,"_type":13,"marks":34131,"text":34132},"e31701fea7c96",[],", of Shakespeare's ",{"_key":34134,"_type":13,"marks":34135,"text":34136},"e31701fea7c97",[73],"Romeo and Juliet",{"_key":34138,"_type":13,"marks":34139,"text":34140},"e31701fea7c98",[],", of Newton's ",{"_key":34142,"_type":13,"marks":34143,"text":34144},"e31701fea7c99",[73],"Laws of Motion,",{"_key":34146,"_type":13,"marks":34147,"text":34148},"e31701fea7c910",[]," of Goethe's ",{"_key":34150,"_type":13,"marks":34151,"text":34152},"e31701fea7c911",[73],"Faust",{"_key":34154,"_type":13,"marks":34155,"text":34156},"e31701fea7c912",[],", of Beethoven's ",{"_key":34158,"_type":13,"marks":34159,"text":34160},"e31701fea7c913",[73],"9th Symphony",{"_key":34162,"_type":13,"marks":34163,"text":34164},"e31701fea7c914",[],", of Picasso's ",{"_key":34166,"_type":13,"marks":34167,"text":34168},"e31701fea7c915",[73],"Guernica",{"_key":34170,"_type":13,"marks":34171,"text":34172},"e31701fea7c916",[],", of Stravinsky's ",{"_key":34174,"_type":13,"marks":34175,"text":34176},"e31701fea7c917",[73],"Sacre",{"_key":34178,"_type":13,"marks":34179,"text":34180},"e31701fea7c918",[],", of Einstein's ",{"_key":34182,"_type":13,"marks":34183,"text":34184},"e31701fea7c919",[73],"E=mc2,",{"_key":34186,"_type":13,"marks":34187,"text":34188},"e31701fea7c920",[]," of Stockhausen's ",{"_key":34190,"_type":13,"marks":34191,"text":34192},"e31701fea7c921",[73],"Stimmung ",{"_key":34194,"_type":13,"marks":34195,"text":34196},"e31701fea7c922",[],"— and wonder what they have in common: they are all very clear expressions of many contrasting human emotions. The media and the styles and the structures are all different (and all important) but far less important than the fact that they all have something important to say about human experience. I can find a part of myself within all these works.",[],{"_key":34199,"_type":9,"children":34200,"image":4,"markDefs":34204,"style":18},"878633ab5f56",[34201],{"_key":34202,"_type":13,"marks":34203,"text":25},"6c466b24a7fa0",[],[],{"_key":34206,"_type":9,"children":34207,"image":4,"markDefs":34212,"style":634},"6e991e56a13f",[34208],{"_key":34209,"_type":13,"marks":34210,"text":34211},"4b84d6c9c4490",[73],"\"When all in the world understand beauty to be beautiful, \nthen ugliness exists.",[],{"_key":34214,"_type":9,"children":34215,"image":4,"markDefs":34220,"style":634},"768dc9b87760",[34216],{"_key":34217,"_type":13,"marks":34218,"text":34219},"a80ccd86f4fc0",[73],"When all understand goodness to exist, \nthen evil exists.",[],{"_key":34222,"_type":9,"children":34223,"image":4,"markDefs":34228,"style":634},"7baa3c7668be",[34224],{"_key":34225,"_type":13,"marks":34226,"text":34227},"c552165e653e0",[73],"Thus existence suggests nonexistence.\" Tao Te Ching",[],{"_key":34230,"_type":9,"children":34231,"image":4,"markDefs":34235,"style":18},"f570e4e159f2",[34232],{"_key":34233,"_type":13,"marks":34234,"text":25},"bdbd674e8d590",[],[],{"_key":34237,"_type":9,"children":34238,"image":4,"markDefs":34251,"style":18},"f856f2baeaf2",[34239,34243,34247],{"_key":34240,"_type":13,"marks":34241,"text":34242},"8f98fa84142e0",[],"I believe in this philosophy of opposites. For us to perceive an emotion we need also to perceive its opposite: tenderness\u002Fbrutality, interest\u002Fboredom, or even emotion\u002Fnon-emotion. In art history the pendulum swings between romantic and classical periods where the triggers which release emotions in us are more or less overt. These often very ambiguous triggers are specially interesting: we are free to translate these audio signals, and when great ambiguity reigns, the only correct translation is a personal one. Because music (even in a romantic era) is the most abstract of arts, we perceive its contained signals which are to be personalised, most easily when they contrast with their surroundings. The opposites, which for us as musicians are familiar, are: high\u002Flow, loud\u002Fsoft, fast\u002Fslow. These are so banale they need hardly be mentioned. More interesting are: dense\u002Flight, complex\u002Fsimple, chaotic\u002Fordered (cf, Stockhausen: ",{"_key":34244,"_type":13,"marks":34245,"text":34246},"8f98fa84142e1",[73],"Klavierstück Nr.9",{"_key":34248,"_type":13,"marks":34249,"text":34250},"8f98fa84142e2",[]," — starts in a highly ordered, simple framework and finishes in its opposite).",[],{"_key":34253,"_type":9,"children":34254,"image":4,"markDefs":34258,"style":18},"aeeffb634afe",[34255],{"_key":34256,"_type":13,"marks":34257,"text":25},"6687bffdc82e0",[],[],{"_key":34260,"_type":9,"children":34261,"image":4,"markDefs":34266,"style":18},"1e33e8b0ba0d",[34262],{"_key":34263,"_type":13,"marks":34264,"text":34265},"89481fbd40390",[],"Perhaps the most interesting opposite of all is: æsthetic\u002Fnon-æsthetic, or beautiful\u002Fugly or tasteful\u002Fkitschig. If we restrict ourselves to the beautiful, the elegant, the perfection of good taste we become boring. The great problem is: how ugly, inelegant or kitschig may we be in order to stay interesting? The answer can never be given. It changes from age to age from person to person from piece to piece. But the question (even if unanswerable) remains essential: Where is the Kitschgrenze? How close to it dare I go? And how often?",[],{"_key":34268,"_type":9,"children":34269,"image":4,"markDefs":34273,"style":18},"343980c54173",[34270],{"_key":34271,"_type":13,"marks":34272,"text":25},"458220e7289a0",[],[],{"_key":34275,"_type":9,"children":34276,"image":4,"markDefs":34281,"style":18},"db6b1e3f2fc0",[34277],{"_key":34278,"_type":13,"marks":34279,"text":34280},"4dcb4ac87f890",[15],"Where is the Kitschgrenze?",[],{"_key":34283,"_type":9,"children":34284,"image":4,"markDefs":34288,"style":18},"781f5d69dbc5",[34285],{"_key":34286,"_type":13,"marks":34287,"text":25},"516faec7b9ff0",[],[],{"_key":34290,"_type":9,"children":34291,"image":4,"markDefs":34296,"style":18},"5b145c2fe06d",[34292],{"_key":34293,"_type":13,"marks":34294,"text":34295},"f2cad2baffc80",[],"As a young teacher I used to teach a course on music appreciation. It consisted largely of showing \"good\" music and my response to it. One day a colleague said to me: you never show them bad music. They can never understand good music if they don't know what bad music is.",[],{"_key":34298,"_type":9,"children":34299,"image":4,"markDefs":34304,"style":18},"0a4cd83e31bd",[34300],{"_key":34301,"_type":13,"marks":34302,"text":34303},"7d8cf3dc6c540",[],"As luck would have it, I had just arranged a piece (for string quartet) for the drama club. I forget the name of the piece, but it was definitely bad music! A piano reduction of this kitschig piece was printed at the back of the work the drama people were doing, so there was no escape, I had to arrange this piece, whether I liked it or not. Now, after this challenge from my colleague, the piece could at least be useful: to show the class what bad music is.",[],{"_key":34306,"_type":9,"children":34307,"image":4,"markDefs":34312,"style":18},"e72992bcb1dc",[34308],{"_key":34309,"_type":13,"marks":34310,"text":34311},"bdbd33a9d8270",[],"All of the lessons I'd had so far with this class had been with recorded music. Now for the first time, sat a real live string quartet in front of them. They played the piece and it sounded surprisingly good — live music always sounds better than dead. My colleague had especially come to listen. After this hearing he stood up and said: The trouble is, you all know it's bad music and you play it accordingly, couldn't you believe for one moment that it's very good music and play it again? They did, and it was superb — even I was convinced. The music had crossed the Kitschgrenze.",[],{"_key":34314,"_type":9,"children":34315,"image":4,"markDefs":34328,"style":18},"775458f22acc",[34316,34320,34324],{"_key":34317,"_type":13,"marks":34318,"text":34319},"26a3856b7eb00",[],"The Kitschgrenze is therefore not a fixed line. Its position is under our control and under that of the performer. While writing the ",{"_key":34321,"_type":13,"marks":34322,"text":34323},"26a3856b7eb01",[73],"Concerto for Orchestra",{"_key":34325,"_type":13,"marks":34326,"text":34327},"26a3856b7eb02",[]," Bela Bartók heard a Shostakovitch symphony, a part of which shocked him with its kitschig theme. He used this theme in the burlesque section of the 4th movement and transformed the theme into something quite wonderful.",[],{"_key":34330,"_type":500,"caption":34331,"image":34332,"markDefs":4},"a1d343437391","Bartók's version of the \"kitchig\" Shostakovitch theme",{"caption":4,"id":34333,"meta":34334,"parentID":4,"parentType":3456,"url":34338},"141fe28959f47b4dc81305eec98d6e8fef62fdea",{"_type":506,"aspectRatio":34335,"height":34336,"width":34337},4.08252427184466,206,841,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F141fe28959f47b4dc81305eec98d6e8fef62fdea-841x206.jpg",{"_key":34340,"_type":9,"children":34341,"image":4,"markDefs":34346,"style":18},"187c0c5b0ab3",[34342],{"_key":34343,"_type":13,"marks":34344,"text":34345},"33134db208d90",[],"This movement offers another example of a close encounter with the Kitschgrenze.",[],{"_key":34348,"_type":9,"children":34349,"image":4,"markDefs":34354,"style":18},"6cf1163e479f",[34350],{"_key":34351,"_type":13,"marks":34352,"text":34353},"d50a424754db0",[],"A breathtakingly beautiful (too beautiful?) melody is first announced by the violas. What saves it first from crossing the Kitschgrenze are the curious Bartókian harmonies in the Harp accompaniment.",[],{"_key":34356,"_type":9,"children":34357,"image":4,"markDefs":34361,"style":18},"6a7bfd2d32a7",[34358],{"_key":34359,"_type":13,"marks":34360,"text":25},"06cc5a7af894",[],[],{"_key":34363,"_type":500,"caption":34364,"image":34365,"markDefs":4},"f92d3a6ac29e","Extract from Bartók's \"Concerto for Orchestra\", 4th movement \"Intermezzo interotto\"",{"caption":4,"id":34366,"meta":34367,"parentID":4,"parentType":3456,"url":34371},"e25fb28a290e774e8ffe671294042c9f776fd875",{"_type":506,"aspectRatio":34368,"height":34369,"width":34370},2.35,480,1128,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fe25fb28a290e774e8ffe671294042c9f776fd875-1128x480.jpg",{"_key":34373,"_type":9,"children":34374,"image":4,"markDefs":34379,"style":18},"b361dda2e80e",[34375],{"_key":34376,"_type":13,"marks":34377,"text":34378},"e54511086af70",[],"Bartók wants to repeat this melody in the violins (again the Kitschgrenze looms) but it comes in canon at the octave two quaver beats later with the Cor Anglais — making the whole texture \"beautiful\" but strange.",[],{"_key":34381,"_type":9,"children":34382,"image":4,"markDefs":34387,"style":18},"babebea09ba2",[34383],{"_key":34384,"_type":13,"marks":34385,"text":34386},"fb09a5e81dbc0",[],"On a larger time scale the whole movement is a juxtaposition of the unfitting, the inappropriate. Expressed in another way: as soon as we are in danger of wallowing in unthinking emotions we are jolted into another reality — a sort of musical Verfremdungskunst.",[],{"_key":34389,"_type":9,"children":34390,"image":4,"markDefs":34395,"style":18},"f5a778ef78db",[34391],{"_key":34392,"_type":13,"marks":34393,"text":34394},"8e742480d47a0",[],"If there is a moral, it is, perhaps, that good and bad taste have a place together — but not apart.",[],{"_key":34397,"_type":9,"children":34398,"image":4,"markDefs":34402,"style":18},"425a028b67c4",[34399],{"_key":34400,"_type":13,"marks":34401,"text":25},"dcf19dc6a47f0",[],[],{"_key":34404,"_type":9,"children":34405,"image":4,"markDefs":34418,"style":18},"c5a2199f19fe",[34406,34410,34414],{"_key":34407,"_type":13,"marks":34408,"text":34409},"dfa743abe2040",[73],"I explained the idea in my piece ",{"_key":34411,"_type":13,"marks":34412,"text":12768},"391f9e461df3",[73,34413],"a84860e42c84",{"_key":34415,"_type":13,"marks":34416,"text":34417},"f74d4958e8bb",[73]," of a man wanting to talk to a whale to Gerald Bennett.",[34419],{"_key":34413,"_type":321,"reference":34420,"slug":12795,"type":510},{"_ref":12529,"_type":324},{"_key":34422,"_type":9,"children":34423,"image":4,"markDefs":34428,"style":18},"1691b5e7036f",[34424],{"_key":34425,"_type":13,"marks":34426,"text":34427},"55cca508933e0",[73],"He said: I find that a very kitschig idea.",[],{"_key":34430,"_type":9,"children":34431,"image":4,"markDefs":34435,"style":18},"1574abb2fc96",[34432],{"_key":34433,"_type":13,"marks":34434,"text":25},"79438f2a7ea20",[],[],{"_key":34437,"_type":9,"children":34438,"image":4,"markDefs":34443,"style":18},"75c1a122baf6",[34439],{"_key":34440,"_type":13,"marks":34441,"text":34442},"e4379ebbff440",[],"Kit Powell\nEglisau\nJanuary 1996",[],{"_key":34445,"_type":9,"children":34446,"image":4,"markDefs":34450,"style":18},"b499306ff95e",[34447],{"_key":34448,"_type":13,"marks":34449,"text":25},"0466380bb5000",[],[],[34452,34454],{"caption":34331,"id":34333,"meta":34453,"parentID":33684,"parentType":3456,"url":34338},{"_type":506,"aspectRatio":34335,"height":34336,"width":34337},{"caption":34364,"id":34366,"meta":34455,"parentID":33684,"parentType":3456,"url":34371},{"_type":506,"aspectRatio":34368,"height":34369,"width":34370},"Definition — is it possible? — or necessary?\n\n\n\n\"Man, if you don't know what jazz (æsthetics?) is, then I can't tell you\"\n\n— Louis Armstrong\n\n\n\nÆsthete — one having or pretending sensitivity to the beautiful\n\n\n\næsthetic (according to Webster): having to do with beauty especially as distinguished from what is useful \u002F appreciative or responsive to what is beautiful. Misapplied in German by Baumgarten as 'criticism of taste' and so used in England since 1830.\n\n\n\nArtist: one who analyses and reflects upon the effect a work of art has — a contrast with the practical, the functional or the moral aspects of anything\n\n\n\n\"There are no moral or immoral books, there are only well written and badly written books\" — Oscar Wilde\n\n\n\nAssuming I have created a work of art, what is its effect — on me, on others, on which others? Can I analyse what (or where) the good and bad effects are? and why?\n\n\n\nTo be specific:\n\n\n\n\"Chinese Songs\" What (or where) were its effects?\n\n\n\nIts effect on me: Good: the delicate, transparent textures of voice and tape, the contrast between Tao and I Ching sections. Bad: perhaps too static. Need for change; within each style a feeling of development, of cause and effect??\n\nIts effects on others: Chinese Songs was played a number of times in Computer Music Centre concerts but there was never any suggestion of singing it in other contexts by the singer (for whom it was written).\n\n\n\n\n\nÆsthetic Response of the Performer\n\n\n\nThis problem of what the performer likes (or doesn't like) playing\u002Fsinging can have a major effect on the end result. Should one therefore, pander to the æsthetics of the performer? On the one hand, it's impossible to write anything new if one stays within the familiar ranges or regions, on the other, if one dwells too long on the unfamiliar, the work will be rejected by the performer. The performer needs the opportunity to excel, to be heard at his\u002Fher best. This does not mean that the performer has to like the piece at the outset. It's highly likely that the composer will have to give him\u002Fher considerable \"æsthetic\" help at the beginning (more about this later – see § Where is the Kitschgrenze?).\n\n\n\nFranziska Stähelin told me at the beginning; she liked singing in the range c\" to c\"'. In spite of the work's realisation of this wish, I often felt she was a little uncomfortable in this range. When one compares the range in the free sections with that of the fixed pitch sections, she chooses a much lower tessatura when she's free. This is of course a good thing — it adds to the contrast between the Tao and the I Ching sections — and was no doubt deliberately done. At the same time, I often wonder if the tension which one feels in the extremes of register have an effect on her aesthetic response to the work? If it had been a little easier to sing, it might have sounded more convincing?\n\nPerception — the influence of the visual on the aural perception\n\n\"Unbewußt neben der musikalischen Phantasie wirkt oft eine Idee fort, neben dem Ohre das Auge, und diese, das immer tätige Organ, hält dann mitten unter den Tönen und Klängen gewisse Umrisse fest, die sich mit der vorrückenden Musik zu deutlichen Gestalten verdichten und ausbilden können.\" — Robert Schumann\n\n\n\nNo doubt that Schumann has an inner eye in mind — but in my mind this inner eye is closely connected to the perceptions of the external eye.\n\nAs composers we should be concerned with the perception of the sound world and how that world can be influenced by other senses — an uncomfortable seat or an overpowering perfume can effect what we hear. A visual event (or a message from another sense) may greatly influence an aural perception. The movements (or lack of them) of a performer, the gestures of a conductor (his ability to lead the players and simultaneously show us the music), the illumination of the mediaeval architecture at the Bourges Festival can have a significant effect on our perception of the music being played. To ignore this effect (especially at a first performance) is to risk the success of the music. Or worse still, to (unwittingly) introduce visual effects that have nothing to do with the music can seriously impair the aural perception. My view is that this is such an important aspect of music presentation, that it deserves our study and experimentation. The range is enormous: total darkness, darkness with minimal projections, allow the audience sight but focus it — on the player, the conductor, the loudspeaker box??, a slide show, ...\n\n\n\nI remember a performance of a work by Peter Streiff in which the cellist and the top half of the percussionist were visible, but what the percussionist was playing was hidden behind a curtain. Presumably the composer had decided that the nature of the percussion instruments was visually distracting, he wanted the perception of the sounds to be unencumbered by the observation of the execution of the music.\n\n\n\nIt is, in my view, negligent to suppose that this \"music-theatre\" aspect of performance is unimportant. Even if we ignore this, the listener receives visual images, which influence his perception of the music. This is particularly the case with electro-acoustic music in which there is no performer or in which someone plays the computer. In the first case the normal concert-goer seeks in vain for a visual focus — finally settles on the faces of the audience or the floscles of the interior architecture. If there is a computer player visible he automatically becomes the centre of attention and is inevitably at best disappointing and at worst distracting because his tensions and relaxations are usually quite independent of those of the music.\n\n\n\nA year ago in the Zürich conservatory there was a performance of a wonderful piece by Nono in which a tuba player sat centre stage and played a few soft farts and then the electronics took over. While the player sat there, apparently unmoved, the music travelled over a wide range of emotions. If one concentrated on the \"player\" the music died. Only by closing one's eyes could the music live. The tuba player would have been better placed off-stage, in fact, one could have appreciated the whole performance better from a recording.\n\n\n\nI believe we accept (and even expect) music-related movement, in fact we seek it, to lead us into the music. Most pop and rock music show wonderful examples of very well considered movement and most of it is organic, it grows out of the music, it is music-related. If it is not there, we search for it and even create it for ourselves. In general the traditional difference between U- and E-Musik is that one has it and the other doesn't. With the advent of the modern E-Musik-Theater a new aesthetic of the glorification of the odd, the bizarre, the outrageous and the ludicrous has emerged. (eg, Berio's Trombone Sequenza who pretends to shoot ducks). Kagel takes this further when he plays on the tension generated by a discrepancy between contrasting musical and visual statements (eg. serious music and flippant movement, or vice versa).\n\n\n\nSomething which has developed recently in electro-acoustic music, which takes over the function of the performer or conductor as the visual centre of a piece, is the sight of the composer at the mixing desk as he agonises with the sliders. Some of these \"performances\" can be at least as distracting as a live performer with excessive music-unrelated movement.\n\n\n\nI don't presume to have given any solution to this problem of the rôle of the visual in a predominantly aural situation, but if I have at least demonstrated that it is a problem then I am satisfied. One thing is certain: there is no easy solution, but there are good models for us to follow — Berio, Kagel, Stockhausen.\n\n\n\nContent — what is art about?\n\n\n\n\"I believe that there is one story in the world, and only one . . . Humans are caught — in their lives, in their thoughts, in their hungers and ambitions, in their avarice and cruelty, and in their kindness and generosity too — in a net of good and evil . . . \"\n\nJohn Steinbeck, East of Eden\n\n\n\nI believe that all art is subject to this same aesthetic law, namely the expression of human emotions (in a net of good and evil). If I can't find my own feelings in a piece, I can't respond to it (aesthetically). When I think of some of the great artistic creations of all time: — of Homer's Odyssey; of Dante's Divine Comedy; of Chartre Cathedral, of Michelangelo's David, of Shakespeare's Romeo and Juliet, of Newton's Laws of Motion, of Goethe's Faust, of Beethoven's 9th Symphony, of Picasso's Guernica, of Stravinsky's Sacre, of Einstein's E=mc2, of Stockhausen's Stimmung — and wonder what they have in common: they are all very clear expressions of many contrasting human emotions. The media and the styles and the structures are all different (and all important) but far less important than the fact that they all have something important to say about human experience. I can find a part of myself within all these works.\n\n\n\n\"When all in the world understand beauty to be beautiful, \nthen ugliness exists.\n\nWhen all understand goodness to exist, \nthen evil exists.\n\nThus existence suggests nonexistence.\" Tao Te Ching\n\n\n\nI believe in this philosophy of opposites. For us to perceive an emotion we need also to perceive its opposite: tenderness\u002Fbrutality, interest\u002Fboredom, or even emotion\u002Fnon-emotion. In art history the pendulum swings between romantic and classical periods where the triggers which release emotions in us are more or less overt. These often very ambiguous triggers are specially interesting: we are free to translate these audio signals, and when great ambiguity reigns, the only correct translation is a personal one. Because music (even in a romantic era) is the most abstract of arts, we perceive its contained signals which are to be personalised, most easily when they contrast with their surroundings. The opposites, which for us as musicians are familiar, are: high\u002Flow, loud\u002Fsoft, fast\u002Fslow. These are so banale they need hardly be mentioned. More interesting are: dense\u002Flight, complex\u002Fsimple, chaotic\u002Fordered (cf, Stockhausen: Klavierstück Nr.9 — starts in a highly ordered, simple framework and finishes in its opposite).\n\n\n\nPerhaps the most interesting opposite of all is: æsthetic\u002Fnon-æsthetic, or beautiful\u002Fugly or tasteful\u002Fkitschig. If we restrict ourselves to the beautiful, the elegant, the perfection of good taste we become boring. The great problem is: how ugly, inelegant or kitschig may we be in order to stay interesting? The answer can never be given. It changes from age to age from person to person from piece to piece. But the question (even if unanswerable) remains essential: Where is the Kitschgrenze? How close to it dare I go? And how often?\n\n\n\nWhere is the Kitschgrenze?\n\n\n\nAs a young teacher I used to teach a course on music appreciation. It consisted largely of showing \"good\" music and my response to it. One day a colleague said to me: you never show them bad music. They can never understand good music if they don't know what bad music is.\n\nAs luck would have it, I had just arranged a piece (for string quartet) for the drama club. I forget the name of the piece, but it was definitely bad music! A piano reduction of this kitschig piece was printed at the back of the work the drama people were doing, so there was no escape, I had to arrange this piece, whether I liked it or not. Now, after this challenge from my colleague, the piece could at least be useful: to show the class what bad music is.\n\nAll of the lessons I'd had so far with this class had been with recorded music. Now for the first time, sat a real live string quartet in front of them. They played the piece and it sounded surprisingly good — live music always sounds better than dead. My colleague had especially come to listen. After this hearing he stood up and said: The trouble is, you all know it's bad music and you play it accordingly, couldn't you believe for one moment that it's very good music and play it again? They did, and it was superb — even I was convinced. The music had crossed the Kitschgrenze.\n\nThe Kitschgrenze is therefore not a fixed line. Its position is under our control and under that of the performer. While writing the Concerto for Orchestra Bela Bartók heard a Shostakovitch symphony, a part of which shocked him with its kitschig theme. He used this theme in the burlesque section of the 4th movement and transformed the theme into something quite wonderful.\n\nThis movement offers another example of a close encounter with the Kitschgrenze.\n\nA breathtakingly beautiful (too beautiful?) melody is first announced by the violas. What saves it first from crossing the Kitschgrenze are the curious Bartókian harmonies in the Harp accompaniment.\n\n\n\nBartók wants to repeat this melody in the violins (again the Kitschgrenze looms) but it comes in canon at the octave two quaver beats later with the Cor Anglais — making the whole texture \"beautiful\" but strange.\n\nOn a larger time scale the whole movement is a juxtaposition of the unfitting, the inappropriate. Expressed in another way: as soon as we are in danger of wallowing in unthinking emotions we are jolted into another reality — a sort of musical Verfremdungskunst.\n\nIf there is a moral, it is, perhaps, that good and bad taste have a place together — but not apart.\n\n\n\nI explained the idea in my piece WHALE of a man wanting to talk to a whale to Gerald Bennett.\n\nHe said: I find that a very kitschig idea.\n\n\n\nKit Powell\nEglisau\nJanuary 1996\n\n",{"_type":375,"current":34458},"æsthetica-powelli-an-idiosyncratic-view","Æsthetica Powelli — an idiosyncratic view",[34461,34939,35240,35953,38387,38743,39084],{"_id":6038,"chapters":34462,"content":34463,"images":34926,"rawText":34937,"slug":34938,"title":6028},[],[34464,34482,34496,34504,34518,34527,34536,34545,34553,34561,34570,34578,34595,34622,34630,34638,34652,34660,34668,34676,34694,34706,34714,34722,34730,34738,34746,34758,34766,34769,34777,34784,34794,34804,34815,34825,34835,34845,34855,34865,34875,34886,34896,34906,34916],{"_key":34465,"_type":9,"audioURL":4,"children":34466,"fileURL":4,"image":4,"markDefs":34479,"style":18},"3919f981246d",[34467,34471,34475],{"_key":34468,"_type":13,"marks":34469,"text":34470},"218791fa448a",[],"I invented this form while working on ",{"_key":34472,"_type":13,"marks":34473,"text":5768},"0940d9c5f99a",[34474],"7b59426717ae",{"_key":34476,"_type":13,"marks":34477,"text":34478},"0178c48367db",[],". The basic idea is that the proportions of the whole work should also be present in each of the sections of the work.",[34480],{"_key":34474,"_type":321,"reference":34481,"slug":5777,"type":510},{"_ref":5776,"_type":324},{"_key":34483,"_type":9,"audioURL":4,"children":34484,"fileURL":4,"image":4,"markDefs":34493,"style":18},"cb9823d61a25",[34485,34489],{"_key":34486,"_type":13,"marks":34487,"text":34488},"584d204817b80",[],"The following description of the form is taken from work no. 80 for solo trombone and tape: ",{"_key":34490,"_type":13,"marks":34491,"text":12768},"10c6319a9f5e",[34492],"56e8bbb7238f",[34494],{"_key":34492,"_type":321,"reference":34495,"slug":12795,"type":510},{"_ref":12529,"_type":324},{"_key":34497,"_type":9,"audioURL":4,"children":34498,"fileURL":4,"image":4,"markDefs":34503,"style":18},"1c307ff83c29",[34499],{"_key":34500,"_type":13,"marks":34501,"text":34502},"859b1d73dba00",[],"The sections of WHALE were labelled W, H, A, L, and E, with durations taken from the Fibonacci series: 13, 8, 3, 5, 3.",[],{"_key":34505,"_type":9,"audioURL":4,"children":34506,"fileURL":4,"image":4,"markDefs":34517,"style":18},"a901c68c6030",[34507,34510,34513],{"_key":34508,"_type":13,"marks":34509,"text":17826},"fda4b4473d770",[],{"_key":34511,"_type":13,"marks":34512,"text":6028},"fda4b4473d771",[15],{"_key":34514,"_type":13,"marks":34515,"text":34516},"fda4b4473d772",[]," the sections W, H, A, L, E will have subsections whose proportions are also 13, 8, 3, 5, 3. We can designate the subsections of W as Ww, Wh, Wa, Wl and We, and similarly for the others. The whole process can be shown in the following table:",[],{"_key":34519,"_type":500,"audioURL":4,"fileURL":4,"image":34520,"markDefs":4},"d913fe88ccab",{"caption":4,"id":34521,"meta":34522,"parentID":4,"parentType":528,"url":34526},"09865723599764590812d135ad6db36f46c9390a",{"_type":506,"aspectRatio":34523,"height":34524,"width":34525},5.371212121212121,132,709,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F09865723599764590812d135ad6db36f46c9390a-709x132.png",{"_key":34528,"_type":500,"audioURL":4,"fileURL":4,"image":34529,"markDefs":4},"70d1cbf2d507",{"caption":4,"id":34530,"meta":34531,"parentID":4,"parentType":528,"url":34535},"88eee657a4a63415d02c573f3eb1eda6fdbe1369",{"_type":506,"aspectRatio":34532,"height":34533,"width":34534},2.5528455284552845,369,942,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F88eee657a4a63415d02c573f3eb1eda6fdbe1369-942x369.png",{"_key":34537,"_type":500,"audioURL":4,"fileURL":4,"image":34538,"markDefs":4},"ae74de28640f",{"caption":4,"id":34539,"meta":34540,"parentID":4,"parentType":528,"url":34544},"8dd997c0f3b63d10b59ee53051fd75688280ca29",{"_type":506,"aspectRatio":34541,"height":34542,"width":34543},2.547803617571059,387,986,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F8dd997c0f3b63d10b59ee53051fd75688280ca29-986x387.png",{"_key":34546,"_type":9,"audioURL":4,"children":34547,"fileURL":4,"image":4,"markDefs":34552,"style":18},"56da47d23d90",[34548],{"_key":34549,"_type":13,"marks":34550,"text":34551},"ea48051974b5",[],"This table looks like a mathematical Abelian Group—hence the name.",[],{"_key":34554,"_type":9,"audioURL":4,"children":34555,"fileURL":4,"image":4,"markDefs":34560,"style":18},"58e5fffa8734",[34556],{"_key":34557,"_type":13,"marks":34558,"text":34559},"594a0df071530",[],"I wanted the piece to be about ten minutes long, ie. 600 seconds. When one works out the time in seconds for these proportions one gets (rounding off to whole numbers):",[],{"_key":34562,"_type":500,"audioURL":4,"fileURL":4,"image":34563,"markDefs":4},"16e9e39d5e21",{"caption":4,"id":34564,"meta":34565,"parentID":4,"parentType":528,"url":34569},"d91cbfcc6fef5a20307c76ea4b5fe58a9eddcf80",{"_type":506,"aspectRatio":34566,"height":34567,"width":34568},2.5407608695652173,368,935,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fd91cbfcc6fef5a20307c76ea4b5fe58a9eddcf80-935x368.png",{"_key":34571,"_type":9,"audioURL":4,"children":34572,"fileURL":4,"image":4,"markDefs":34577,"style":18},"75ab9fe7294a",[34573],{"_key":34574,"_type":13,"marks":34575,"text":34576},"7f92a238c6520",[15],"Reflection about the Leading Diagonal",[],{"_key":34579,"_type":9,"audioURL":4,"children":34580,"fileURL":4,"image":4,"markDefs":34592,"style":18},"73bcaeaae2fa",[34581,34585,34589],{"_key":34582,"_type":13,"marks":34583,"text":34584},"9a1a0507a8fd0",[],"The only fact of mathematical group theory which I now remember (from over 60 years ago!) is that Abelian Groups are symmetric about their leading diagonals. This symmetry led me to adopt the name for my form. It is also the most fascinating point about the form. It says that these symmetrically placed subsections are the same length and suggests that the contents should either be the same or closely related. This is the essential feature of any form: to determine where repetition or variation of material takes place. In my use of this form I have often experimented with this “repetition” or “variation”. When one considers the Abelian Form of WHALE (for example) the related subsections are: Wh + Hw, Wa + Aw, Wl + Lw, etc. The use of letters in this way suggested that the contents should be reflections of each other (i.e. retrograde). This is (with some exceptions) the case in WHALE (see score of ",{"_key":34586,"_type":13,"marks":34587,"text":12768},"2d9b53a077c50",[34588],"5298ec12df54",{"_key":34590,"_type":13,"marks":34591,"text":9601},"cf598d3a6b6b",[],[34593],{"_key":34588,"_type":321,"reference":34594,"slug":12795,"type":510},{"_ref":12529,"_type":324},{"_key":34596,"_type":9,"audioURL":4,"children":34597,"fileURL":4,"image":4,"markDefs":34619,"style":18},"bbe9643f4592",[34598,34602,34606,34610,34615],{"_key":34599,"_type":13,"marks":34600,"text":34601},"d1fb91984a340",[],"Also interesting is what material should be used in the subsections on the ",{"_key":34603,"_type":13,"marks":34604,"text":34605},"d1fb91984a341",[73],"leading diagonal",{"_key":34607,"_type":13,"marks":34608,"text":34609},"d1fb91984a342",[],". In the song cycle on texts by Robert Walser, ",{"_key":34611,"_type":13,"marks":34612,"text":34614},"0a62770dc177",[34613],"69b6d0ace675","Scheint denn die Sonne heut’ nicht?",{"_key":34616,"_type":13,"marks":34617,"text":34618},"cd8cc4009161",[]," the nine songs are arranged in a 3x3 Abelian Form:",[34620],{"_key":34613,"_type":321,"reference":34621,"slug":12170,"type":510},{"_ref":12169,"_type":324},{"_key":34623,"_type":500,"audioURL":4,"fileURL":4,"image":34624,"markDefs":4},"985d5f73a5e5",{"caption":4,"id":34625,"meta":34626,"parentID":4,"parentType":528,"url":34629},"cde88f7bd77a670f4867ddc8ce57d7ae149f6c8b",{"_type":506,"aspectRatio":34627,"height":9712,"width":34628},2.004398826979472,1367,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fcde88f7bd77a670f4867ddc8ce57d7ae149f6c8b-1367x682.png",{"_key":34631,"_type":9,"audioURL":4,"children":34632,"fileURL":4,"image":4,"markDefs":34637,"style":18},"288ce2ce9e2e",[34633],{"_key":34634,"_type":13,"marks":34635,"text":34636},"a26c135d8d38",[],"Naturally, in the case of songs, the texts have to be chosen in advance to be suitable (and roughly the same length).",[],{"_key":34639,"_type":9,"audioURL":4,"children":34640,"fileURL":4,"image":4,"markDefs":34649,"style":18},"8be8af90b758",[34641,34645],{"_key":34642,"_type":13,"marks":34643,"text":34644},"21472b4e5d0c0",[],"This problem of songs in retrograde was also a salient feature of ",{"_key":34646,"_type":13,"marks":34647,"text":10989},"252bd272bb83",[34648],"b629f1c33900",[34650],{"_key":34648,"_type":321,"reference":34651,"slug":11181,"type":510},{"_ref":10968,"_type":324},{"_key":34653,"_type":9,"audioURL":4,"children":34654,"fileURL":4,"image":4,"markDefs":34659,"style":18},"dbcc9b794f81",[34655],{"_key":34656,"_type":13,"marks":34657,"text":34658},"186cec688c700",[15],"Further Aspect",[],{"_key":34661,"_type":9,"audioURL":4,"children":34662,"fileURL":4,"image":4,"markDefs":34667,"style":18},"b92fe1d364aa",[34663],{"_key":34664,"_type":13,"marks":34665,"text":34666},"62c9516ba1aa0",[],"I had set out to find a form in which the sections were also divided in the same proportions as those of the whole piece.",[],{"_key":34669,"_type":9,"audioURL":4,"children":34670,"fileURL":4,"image":4,"markDefs":34675,"style":18},"7bfdb72cad3f",[34671],{"_key":34672,"_type":13,"marks":34673,"text":34674},"64e601732f690",[],"What I had also produced, however, was a new way of organising musical material. In contrast to traditional forms which finish with a recapitulation of the opening material, Abelian Form produces a sort of musical journey from A to Z with stations on the way which are heard twice (often in variation) — a musical trip with constant reminders of the past. With careful selection of the material one can create a gradual transition from the beginning to an end which, in view of the route taken, is not only new, but has a logic which makes arriving here completely convincing.",[],{"_key":34677,"_type":9,"audioURL":4,"children":34678,"fileURL":4,"image":4,"markDefs":34691,"style":18},"705606a19f5d",[34679,34683,34687],{"_key":34680,"_type":13,"marks":34681,"text":34682},"28ed00f116350",[],"The more I have used this form, the more important has this second aspect become, indeed sometimes I have abandoned the concept of the proportions completely and used it solely as a way of organising my material (",{"_key":34684,"_type":13,"marks":34685,"text":13528},"215e58247d73",[34686],"5547032e375c",{"_key":34688,"_type":13,"marks":34689,"text":34690},"9c409f3c8633",[],") for example.",[34692],{"_key":34686,"_type":321,"reference":34693,"slug":14242,"type":510},{"_ref":13438,"_type":324},{"_key":34695,"_type":9,"audioURL":4,"children":34696,"fileURL":4,"image":4,"markDefs":34705,"style":18},"efd79a452e94",[34697,34701],{"_key":34698,"_type":13,"marks":34699,"text":34700},"24941d5a6fea0",[15],"Interactive Demonstration ",{"_key":34702,"_type":13,"marks":34703,"text":34704},"c1604322b1f8",[73],"(not available at the moment)",[],{"_key":34707,"_type":9,"audioURL":4,"children":34708,"fileURL":4,"image":4,"markDefs":34713,"style":18},"a8f87cd029de",[34709],{"_key":34710,"_type":13,"marks":34711,"text":34712},"4c937655044e0",[],"The following interactive diagrams have been devised to show how Abelian form works.",[],{"_key":34715,"_type":9,"audioURL":4,"children":34716,"fileURL":4,"image":4,"markDefs":34721,"style":18},"4a23a110c7b6",[34717],{"_key":34718,"_type":13,"marks":34719,"text":34720},"ceca98003b350",[],"The reader can enter his\u002Fher own proportions and the diagrams automatically show",[],{"_key":34723,"_type":9,"audioURL":4,"children":34724,"fileURL":4,"image":4,"level":382,"listItem":4456,"markDefs":34729,"style":18},"ba232a6bcb73",[34725],{"_key":34726,"_type":13,"marks":34727,"text":34728},"597f83677ba10",[],"the corresponding matrix and",[],{"_key":34731,"_type":9,"audioURL":4,"children":34732,"fileURL":4,"image":4,"level":382,"listItem":4456,"markDefs":34737,"style":18},"e84326233a85",[34733],{"_key":34734,"_type":13,"marks":34735,"text":34736},"a516d858fae50",[],"a graphic representation, where the bars of the graph have the lengths of the entered proportions.",[],{"_key":34739,"_type":9,"audioURL":4,"children":34740,"fileURL":4,"image":4,"markDefs":34745,"style":18},"7c9e80010eea",[34741],{"_key":34742,"_type":13,"marks":34743,"text":34744},"3699f6980fd10",[],"(You can also adjust the size of the pictures with the slider knob)",[],{"_key":34747,"_type":9,"audioURL":4,"children":34748,"fileURL":4,"image":4,"markDefs":34757,"style":18},"075420513495",[34749,34753],{"_key":34750,"_type":13,"marks":34751,"text":34752},"9de6d21d821d0",[15],"To help you start:",{"_key":34754,"_type":13,"marks":34755,"text":34756},"9de6d21d821d1",[],"\nEnter the numbers for the proportions of my piece WHALE: 13 8 3 5 3\n(the numbers can be separated with spaces or commas or dots)",[],{"_key":34759,"_type":9,"audioURL":4,"children":34760,"fileURL":4,"image":4,"markDefs":34765,"style":18},"58bbb36e31cd",[34761],{"_key":34762,"_type":13,"marks":34763,"text":34764},"b45d269cd3750",[],"You can also enter a word, e.g. WHALE\nor a phrase: e.g. Scheint denn die Sonne heut’ nicht",[],{"_key":34767,"_type":34768,"audioURL":4,"fileURL":4,"image":4,"markDefs":4,"title":12768,"word":12768},"94781020e643","abel",{"_key":34770,"_type":9,"audioURL":4,"children":34771,"fileURL":4,"image":4,"markDefs":34776,"style":18},"a1271add32c7",[34772],{"_key":34773,"_type":13,"marks":34774,"text":34775},"07db474bff4a",[15],"Works using Abelian 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The basic idea is that the proportions of the whole work should also be present in each of the sections of the work.\n\nThe following description of the form is taken from work no. 80 for solo trombone and tape: WHALE\n\nThe sections of WHALE were labelled W, H, A, L, and E, with durations taken from the Fibonacci series: 13, 8, 3, 5, 3.\n\nIn Abelian Form the sections W, H, A, L, E will have subsections whose proportions are also 13, 8, 3, 5, 3. We can designate the subsections of W as Ww, Wh, Wa, Wl and We, and similarly for the others. The whole process can be shown in the following table:\n\nThis table looks like a mathematical Abelian Group—hence the name.\n\nI wanted the piece to be about ten minutes long, ie. 600 seconds. 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In contrast to traditional forms which finish with a recapitulation of the opening material, Abelian Form produces a sort of musical journey from A to Z with stations on the way which are heard twice (often in variation) — a musical trip with constant reminders of the past. 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page 69 of Quite by Chance:\n\nAlthough I already knew of Olivier Messiaen’s passion for transcribing bird song, I was quite unprepared for the wonderful surprise I got as I started to notate the sounds of the New Zealand Bellbird, Korimako: it was exquisitely beautiful and it was unlike any music I had ever written down before. It was a totally new world obeying completely different rules, indeed it defied notation completely. And not only could this bird sing, it could cough and splutter and make what one would definitely call rude noises and yet these had the effect—for me at least—of making the total bellbird language much more interesting than if it had just consisted of “beautiful” sounds.\n\nI have said that this music defied normal notation—this meant that what I finally notated was only a shadow of the real thing. Yet what I wrote was so fascinating that I felt I had written something quite original which of course was not true, since I had stolen it from the bellbird. When one considers, however, that it didn’t really sound like bellbird song, how then could it be stolen? What I had written, I dare to say, was as much like the bellbird as Messiaen’s bird music is like the real thing. This is not to belittle the great French master, it is just to say that there is a difference between transcription and art: birds and other animals can inspire us to find new musical languages.\n\nHere then in the animal world is a world of inspiration: bats and warblers, crickets and frogs, crows and cows, whales and cicadas. And even if these inspirations suggest totally different sounds and a new music arises, then the study has been fruitful.\n\nWe do not judge Messiaen or Beethoven by whether their “bird-music” really sounds like the bird it was derived from, but by the way the music speaks to us personally. This can only happen after a further process (beyond the transcription) has taken place, one that turns inspiration into art. The artist has, consciously or not, put something of himself into the transcription. A Picasso dove does not have to look exactly like a dove, the main thing is that we respond to it artistically and that we recognise it as a work by Picasso.\n\n\n\n\n\nWorks using animal or bird song prominently:\n\nKrähenalles\n\nFlötenspieler und Fledermäuse\n\nAmselbaum\n\nWHALE\n\nAfter Babel\n\nDer Wal\n\nWhale Song\n\nKoauau\n\nKorimako\n\nKorimako for Flute and Piano\n\nSextet\n\nConcerto for Trombone and Tuba\n\nContrasts\n\nKapiti\n\nMaui Cycle\n\nMicrozoic Piano Suite\n\nWhale Fantasy\n\nKiln Tower Film Music\n\n",{"_type":375,"current":14673},"Animal and Bird Song",{"_id":5947,"chapters":35241,"content":35242,"images":35933,"rawText":35950,"slug":35951,"title":35952},[],[35243,35255,35263,35271,35297,35305,35324,35335,35343,35386,35401,35425,35434,35449,35457,35465,35474,35482,35497,35504,35512,35520,35528,35536,35544,35551,35555,35562,35569,35577,35586,35594,35602,35610,35618,35626,35634,35642,35650,35658,35666,35674,35682,35690,35698,35706,35714,35722,35730,35738,35750,35758,35766,35775,35782,35789,35797,35807,35817,35827,35837,35847,35858,35868,35878,35888,35899,35909],{"_key":35244,"_type":9,"audioURL":4,"children":35245,"fileURL":4,"image":4,"markDefs":35254,"style":634},"e8e2a270113a",[35246,35250],{"_key":35247,"_type":13,"marks":35248,"text":35249},"bd605ac1ab7b0",[15],"Why Chance?",{"_key":35251,"_type":13,"marks":35252,"text":35253},"bd605ac1ab7b1",[]," (written in 1983)",[],{"_key":35256,"_type":9,"audioURL":4,"children":35257,"fileURL":4,"image":4,"markDefs":35262,"style":634},"3628d9a96e64",[35258],{"_key":35259,"_type":13,"marks":35260,"text":35261},"3bc089acef980",[],"The short answer is that it fascinates me. I am constantly amazed by the solutions which chance throws up—ideas which I would not have reached without it. It is probably important to point out that my use of chance varies from that of the father of chance music: John Cage, in a fundamental aspect. Cage was concerned to remove his own personality from his music. Nothing could be further from my own aims. Most of my music expresses my own feelings very strongly, and the chance systems I devise are always intended to serve that purpose. If such a system were to produce material, which I did not like I would feel free to reject it. Curiously, however, this almost never happens. I came to chance music as with almost everything else innovative that I have tried, through working with children. I invented chance systems to help them write their own music and was struck by two unexpected aspects of it: The pleasure I had in inventing the system itself and the opportunity offered to see the composition as a whole from a distance. The first aspect I found so interesting I even had the feeling I was cheating the children of the most pleasurable part of the composition process.",[],{"_key":35264,"_type":9,"audioURL":4,"children":35265,"fileURL":4,"image":4,"markDefs":35270,"style":634},"e19328e4c0b1",[35266],{"_key":35267,"_type":13,"marks":35268,"text":35269},"f2cc72e753ce0",[],"Normally one envisages a sound and works directly with the notation to produce this sound. Using chance one imagines the sound and then creates a chance system, which will produce it. Naturally one can start with only a very approximate idea of the final sound, and this system supplies the fine detail. The ability to imagine roughly what one wants brings me to the second point. It presupposes that one must stand back and look at the composition from some distance. This is something, which is so difficult to do using traditional composition processes. Here then I had a system which was not only supplying the detail of my composition, but was also allowing me to see it with a much more convenient perspective.",[],{"_key":35272,"_type":9,"audioURL":4,"children":35273,"fileURL":4,"image":4,"markDefs":35292,"style":634},"60237ba4bd61",[35274,35278,35282,35285,35289],{"_key":35275,"_type":13,"marks":35276,"text":35277},"f1e2e99053b70",[],"This was just the beginning, I was supplying the form and the chance process the detail. Later on I was to invent other chance systems, which also supplied the form: ",{"_key":35279,"_type":13,"marks":35280,"text":5759},"85514d52948b",[35281],"6ed4edebfd6e",{"_key":35283,"_type":13,"marks":35284,"text":2625},"c68808a3f118",[],{"_key":35286,"_type":13,"marks":35287,"text":6002},"f49ec08bfe2b",[35288],"dde1e1845b9e",{"_key":35290,"_type":13,"marks":35291,"text":2020},"ac2a4f516dde",[],[35293,35295],{"_key":35281,"_type":321,"reference":35294,"slug":5874,"type":510},{"_ref":5740,"_type":324},{"_key":35288,"_type":321,"reference":35296,"slug":6001,"type":510},{"_ref":5879,"_type":324},{"_key":35298,"_type":9,"audioURL":4,"children":35299,"fileURL":4,"image":4,"markDefs":35304,"style":634},"f0d824f6f057",[35300],{"_key":35301,"_type":13,"marks":35302,"text":35303},"e84d8646ca940",[],"There is probably an even more important side of composition by chance: the psychological effect on the composer. It gives one seriously to think, how one's own brain functions; How does it make decisions? No doubt this is a rather naive view of brain physiology, but I have the feeling that under normal circumstances the brain is faced with such a bewildering number of possible solutions to choose from that in self defence, as it were, it chooses the sort of solution it has always chosen—we call this a ‘rut’. By letting this sort of decision be made by a die or some other chance instrument, one is slowing this selection process down, (I imagine the brain scanning with the speed of a computer, but unlike the computer, able to be affected by the complexity of the operation) and forcing the composer to accept one random solution. In general this solution will be quite different from any made by any compositional school in the past and different from the work of the composer himself which has obvious advantages if one is interested in making an original statement. As I have already said, I am constantly amazed at the interesting nature of the chance solution and almost never change it. This has a wonderfully positive effect on me personally. Not only am I producing music in a manner, which I find exciting. I am also being stimulated by the results. This is not to say that the whole process is any easier than traditional methods. The laborious creative work happens at a pre-stage” in planning an appropriate system within which choice may work. The stimulation comes if this is well done and the normal laborious process of working on detail at close quarters proceeds more rapidly and in a manner refreshingly different because of the constant surprises chance produces.",[],{"_key":35306,"_type":9,"audioURL":4,"children":35307,"fileURL":4,"image":4,"markDefs":35323,"style":18},"0d3704adf301",[35308,35312,35315,35319],{"_key":35309,"_type":13,"marks":35310,"text":35311},"6ab241434af30",[],"The following is the text of a radio talk prepared as an introduction to the ",{"_key":35313,"_type":13,"marks":35314,"text":5898},"6ab241434af31",[15],{"_key":35316,"_type":13,"marks":35317,"text":35318},"6ab241434af32",[]," and recorded at Kent House, Christchurch in December 1983. ",{"_key":35320,"_type":13,"marks":35321,"text":35322},"6ab241434af33",[73],"(N.B. This was written before the composition of “Plus One”)",[],{"_key":35325,"_type":9,"audioURL":4,"children":35326,"fileURL":4,"image":4,"markDefs":35334,"style":634},"f12248c2acf7",[35327,35330],{"_key":35328,"_type":13,"marks":35329,"text":5898},"5add58dad5670",[15],{"_key":35331,"_type":13,"marks":35332,"text":35333},"5add58dad5671",[],"\tKit Powell (1981)",[],{"_key":35336,"_type":9,"audioURL":4,"children":35337,"fileURL":4,"image":4,"markDefs":35342,"style":634},"96e958309e2d",[35338],{"_key":35339,"_type":13,"marks":35340,"text":35341},"ac0426923ee90",[],"For some years I have been fascinated by the surprises offered by chance systems which I have invented to control certain aspects of some of my works. These surprises have had a liberating effect on my own creativity so that I had the feeling of having discovered a “refresher” agent a lifting-me-out-of-a-rut device.",[],{"_key":35344,"_type":9,"audioURL":4,"children":35345,"fileURL":4,"image":4,"markDefs":35381,"style":634},"37a83c0adb32",[35346,35349,35353,35357,35361,35364,35369,35373,35377],{"_key":35347,"_type":13,"marks":35348,"text":17826},"666d2913982d0",[],{"_key":35350,"_type":13,"marks":35351,"text":5898},"4eb337af5b53",[35352],"7138926f403c",{"_key":35354,"_type":13,"marks":35355,"text":35356},"b397f9bd81ff",[]," (the ‘Plus One’ had not been written as I wrote this text) I wanted to take this use of chance a step further. Instead of chance controlling just some aspects of the pieces, I wanted it to control almost all of them. It is important to add at this point that my use of chance is fundermentally different from that of the ",{"_key":35358,"_type":13,"marks":35359,"text":35360},"666d2913982d3",[73],"Father of Chance Music",{"_key":35362,"_type":13,"marks":35363,"text":187},"666d2913982d4",[],{"_key":35365,"_type":13,"marks":35366,"text":35368},"666d2913982d5",[35367],"13839299ef9d","John Cage",{"_key":35370,"_type":13,"marks":35371,"text":35372},"666d2913982d6",[],". Whereas Cage uses chance to remove his own emotional involvement from all decision making, my chance systems are specially designed to produce preconceived emotional ideas. Thus I see my role in writing my sort of chance music as being the composer of a ",{"_key":35374,"_type":13,"marks":35375,"text":35376},"666d2913982d7",[15],"system",{"_key":35378,"_type":13,"marks":35379,"text":35380},"666d2913982d8",[]," within which chance can operate. I am still emotionally involved with both the process and the outcome, but because of the presence of chance, an infinity of outcomes is possible from each system I invent.",[35382,35384],{"_key":35367,"_type":316,"href":35383},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FJohn_Cage",{"_key":35352,"_type":321,"reference":35385,"slug":6001,"type":510},{"_ref":5879,"_type":324},{"_key":35387,"_type":9,"audioURL":4,"children":35388,"fileURL":4,"image":4,"markDefs":35400,"style":634},"f8d09cbdf4e8",[35389,35393,35397],{"_key":35390,"_type":13,"marks":35391,"text":35392},"27787cb12ab50",[],"I would like to explain briefly some aspects of the chance systems used in these piano pieces—",{"_key":35394,"_type":13,"marks":35395,"text":35396},"27787cb12ab51",[73],"(N.B: this was before the computer era and I was dependent on dice as generators of chance-numbers)",{"_key":35398,"_type":13,"marks":35399,"text":2020},"27787cb12ab52",[],[],{"_key":35402,"_type":9,"audioURL":4,"children":35403,"fileURL":4,"image":4,"markDefs":35424,"style":634},"c503418655b5",[35404,35408,35412,35416,35420],{"_key":35405,"_type":13,"marks":35406,"text":35407},"5833fe4f2f260",[],"The building blocks of all pieces are called ",{"_key":35409,"_type":13,"marks":35410,"text":35411},"5833fe4f2f261",[73],"pitch cells",{"_key":35413,"_type":13,"marks":35414,"text":35415},"5833fe4f2f262",[],". The number of notes in each cell and the pitch of each note was determined by chance. There are six pitch cells—there were six of all parameters so that I could use dice, just transpositions of the pitch cells needed a toss of a coin as well—",{"_key":35417,"_type":13,"marks":35418,"text":35419},"5833fe4f2f263",[73],"heads",{"_key":35421,"_type":13,"marks":35422,"text":35423},"5833fe4f2f264",[]," meant the die-number plus 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",{"_key":35442,"_type":13,"marks":35443,"text":35444},"2a9777e80edc1",[73],"shapes",{"_key":35446,"_type":13,"marks":35447,"text":104},"2a9777e80edc2",[],[],{"_key":35450,"_type":500,"audioURL":4,"fileURL":4,"image":35451,"markDefs":4},"84f790fd6a33",{"caption":4,"id":35452,"meta":35453,"parentID":4,"parentType":528,"url":263},"22a711aad756b8df427e9ebaa790380b65504388",{"_type":506,"aspectRatio":35454,"height":35455,"width":35456},2.156156156156156,333,718,{"_key":35458,"_type":9,"audioURL":4,"children":35459,"fileURL":4,"image":4,"markDefs":35464,"style":18},"fa29f2c72eb0",[35460],{"_key":35461,"_type":13,"marks":35462,"text":35463},"2b9b3a60bc230",[],"Chance decisions were made about Register: low, high, low and high converging, etc., and about Duration - numbers were taken from the Fibonacci Series: 1, 2, 3, 5, 8, 13, 21, … for the duration in seconds, and finally chance decisions were also made among a choice of rhythmic shapes (or Motives).",[],{"_key":35466,"_type":500,"audioURL":4,"fileURL":4,"image":35467,"markDefs":4},"0ebb0e559519",{"caption":4,"id":35468,"meta":35469,"parentID":4,"parentType":528,"url":35473},"4072e934e9ff43bd176e6c5be0fb0b6d01afc4c8",{"_type":506,"aspectRatio":35470,"height":35471,"width":35472},0.7273154677950164,2127,1547,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F4072e934e9ff43bd176e6c5be0fb0b6d01afc4c8-1547x2127.jpg",{"_key":35475,"_type":500,"audioURL":4,"fileURL":4,"image":35476,"markDefs":4},"be89e0697ccb",{"caption":4,"id":35477,"meta":35478,"parentID":4,"parentType":528,"url":267},"59eeb6feb462bfb50b7606385da6acffc62b551f",{"_type":506,"aspectRatio":35479,"height":35480,"width":35481},0.7106460418562329,2198,1562,{"_key":35483,"_type":9,"audioURL":4,"children":35484,"fileURL":4,"image":4,"markDefs":35496,"style":18},"215a89a4ea23",[35485,35489,35492],{"_key":35486,"_type":13,"marks":35487,"text":35488},"202c55ce149e0",[],"The first three bars 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(written in 1983)\n\nThe short answer is that it fascinates me. I am constantly amazed by the solutions which chance throws up—ideas which I would not have reached without it. It is probably important to point out that my use of chance varies from that of the father of chance music: John Cage, in a fundamental aspect. Cage was concerned to remove his own personality from his music. Nothing could be further from my own aims. Most of my music expresses my own feelings very strongly, and the chance systems I devise are always intended to serve that purpose. If such a system were to produce material, which I did not like I would feel free to reject it. Curiously, however, this almost never happens. I came to chance music as with almost everything else innovative that I have tried, through working with children. I invented chance systems to help them write their own music and was struck by two unexpected aspects of it: The pleasure I had in inventing the system itself and the opportunity offered to see the composition as a whole from a distance. The first aspect I found so interesting I even had the feeling I was cheating the children of the most pleasurable part of the composition process.\n\nNormally one envisages a sound and works directly with the notation to produce this sound. Using chance one imagines the sound and then creates a chance system, which will produce it. Naturally one can start with only a very approximate idea of the final sound, and this system supplies the fine detail. The ability to imagine roughly what one wants brings me to the second point. It presupposes that one must stand back and look at the composition from some distance. This is something, which is so difficult to do using traditional composition processes. Here then I had a system which was not only supplying the detail of my composition, but was also allowing me to see it with a much more convenient perspective.\n\nThis was just the beginning, I was supplying the form and the chance process the detail. Later on I was to invent other chance systems, which also supplied the form: Piece of 4 and Three Chance Pieces Plus One.\n\nThere is probably an even more important side of composition by chance: the psychological effect on the composer. It gives one seriously to think, how one's own brain functions; How does it make decisions? No doubt this is a rather naive view of brain physiology, but I have the feeling that under normal circumstances the brain is faced with such a bewildering number of possible solutions to choose from that in self defence, as it were, it chooses the sort of solution it has always chosen—we call this a ‘rut’. By letting this sort of decision be made by a die or some other chance instrument, one is slowing this selection process down, (I imagine the brain scanning with the speed of a computer, but unlike the computer, able to be affected by the complexity of the operation) and forcing the composer to accept one random solution. In general this solution will be quite different from any made by any compositional school in the past and different from the work of the composer himself which has obvious advantages if one is interested in making an original statement. As I have already said, I am constantly amazed at the interesting nature of the chance solution and almost never change it. This has a wonderfully positive effect on me personally. Not only am I producing music in a manner, which I find exciting. I am also being stimulated by the results. This is not to say that the whole process is any easier than traditional methods. The laborious creative work happens at a pre-stage” in planning an appropriate system within which choice may work. The stimulation comes if this is well done and the normal laborious process of working on detail at close quarters proceeds more rapidly and in a manner refreshingly different because of the constant surprises chance produces.\n\nThe following is the text of a radio talk prepared as an introduction to the Three Chance Pieces for Piano and recorded at Kent House, Christchurch in December 1983. (N.B. This was written before the composition of “Plus One”)\n\nThree Chance Pieces for Piano\tKit Powell (1981)\n\nFor some years I have been fascinated by the surprises offered by chance systems which I have invented to control certain aspects of some of my works. These surprises have had a liberating effect on my own creativity so that I had the feeling of having discovered a “refresher” agent a lifting-me-out-of-a-rut device.\n\nIn Three Chance Pieces for Piano (the ‘Plus One’ had not been written as I wrote this text) I wanted to take this use of chance a step further. Instead of chance controlling just some aspects of the pieces, I wanted it to control almost all of them. It is important to add at this point that my use of chance is fundermentally different from that of the Father of Chance Music: John Cage. Whereas Cage uses chance to remove his own emotional involvement from all decision making, my chance systems are specially designed to produce preconceived emotional ideas. Thus I see my role in writing my sort of chance music as being the composer of a system within which chance can operate. I am still emotionally involved with both the process and the outcome, but because of the presence of chance, an infinity of outcomes is possible from each system I invent.\n\nI would like to explain briefly some aspects of the chance systems used in these piano pieces—(N.B: this was before the computer era and I was dependent on dice as generators of chance-numbers).\n\nThe building blocks of all pieces are called pitch cells. The number of notes in each cell and the pitch of each note was determined by chance. There are six pitch cells—there were six of all parameters so that I could use dice, just transpositions of the pitch cells needed a toss of a coin as well—heads meant the die-number plus 6:\n\nThese were created by chance (3 – 7 notes) and then placed in the shapes:\n\nChance decisions were made about Register: low, high, low and high converging, etc., and about Duration - numbers were taken from the Fibonacci Series: 1, 2, 3, 5, 8, 13, 21, … for the duration in seconds, and finally chance decisions were also made among a choice of rhythmic shapes (or Motives).\n\nThe first three bars of Chance Piece 1 were made like this:\n\n\n\nbar 1: Register 6, Shape 6, Pitch Cell 5, Transposition 11, Duration 3\n\nbar 2: Register 6, Shape 3, (shape three is empty with a duration 13 seconds)\n\nbar 3a: Register 4, Shape 1, Pitch Cell 3, Transposition 0, Duration 1\n\nbar 3b: . . . . . . . . , Shape 5, Pitch Cell 3, Transposition 3,\n\nDepending on the duration it was sometimes necessary to roll dice for several shapes and pitch cells.\n\n\n\nChance Piece 2\n\n\n\nThe three shapes (Fig. 4:7) were chosen with a “weighted” probability:\n\nshape 1  with a probability of one third, if I rolled 1 or 3\n\nshape2  with a probability of one half, if I rolled 2, 4 or 6\n\nshape3  with a probability of one sixth, if I rolled 5\n\nFor all three shapes I needed three random numbers:\n\np (pitch cell, 1-6),\n\nt (transposition, 1-12) and \n\nr (number of repeats, 1-6).\n\nFor shapes 2 and 3 I needed an additional p (pitch cell) and t (transposition) for the “crotchet-melody” (shape 2) and for the “chord” (shape 3).\n\nThe shapes produced by chance were: \n\n1 1 2 1 2 1 2 2 1 1 2 1 3 2 1 3\n\nBar 1: I drew the numbers: 2, 8, 3, that is, the second pitch cell, eighth transposition, 3 repeats (Fig. 4:3)\n\nBar 2: I drew the numbers (5, 9, 6) (Fig. 4:4): to which the cell (1, 5) (Fig. 4:5) would produce a melody (Fig. 4:6).\n\nBar 3: (1, 2, 2)\n\nFirst four bars of Chance Piece 2:\n\n*      *      *      *      *      *\n\nPiece 3\n\nThe construction of this was similar to that of Piece 1 but with a faster tempo.\n\nPlus One (1984)\n\nAs mentioned before, the composition of “Plus One” includes all the previous systems. The selection of system 1, 2 or 3 was made with a new chance system, “weighted” so that the probability of elements of “Chance Piece 1” appearing in the first third of this new piece, and of “Chance Piece 2” in the middle third and of “Chance Piece 3” in the final third was much higher. \n\nA new element Chord, (heard first at the beginning of “Plus One” – marked in yellow below) was also allowed to occur once, twice or three times at random during the piece.\n\n\n\n\n\nWorks using chance procedure:\n\nDevotion to the Small\n\nThe Ever-Circling Light\n\nPiece of 4\n\nThree Chance Pieces Plus One\n\nSnakes and Ladders\n\nLes Episodes\n\nPiano Poems\n\nKapiti\n\nChance Piece for Flute and Tape\n\nMicrozoic Piano Piece\n\n5 Short Chance Pieces for Piano\n\nString Quartet (see also Chance for String Quartet)",{"_type":375,"current":5948},"Chance",{"_id":22317,"chapters":35954,"content":35967,"images":38356,"rawText":38385,"slug":38386,"title":35924},[35955,35958,35961,35964],{"_key":35956,"text":35957},"541b53995661","First Movement",{"_key":35959,"text":35960},"714b1b960d46","Second Movement",{"_key":35962,"text":35963},"f26f852aa987","Third Movement",{"_key":35965,"text":35966},"83ddcd0f2934","Fourth Movement",[35968,35976,35985,35991,35999,36009,36017,36025,36043,36051,36060,36068,36076,36107,36115,36126,36134,36142,36158,36164,36186,36202,36218,36227,36264,36272,36280,36288,36296,36304,36312,36337,36344,36353,36361,36369,36377,36385,36392,36421,36429,36435,36443,36451,36459,36467,36476,36484,36492,36499,36507,36519,36531,36543,36562,36574,36586,36598,36626,36635,36643,36651,36660,36668,36676,36684,36692,36698,36706,36713,36721,36728,36736,36744,36752,36760,36768,36776,36783,36795,36803,36810,36818,36825,36833,36841,36849,36859,36867,36875,36882,36890,36898,36906,36914,36921,36929,36937,36944,36952,36959,36969,36977,36985,36993,37001,37009,37017,37024,37043,37051,37058,37072,37080,37087,37095,37102,37110,37118,37125,37133,37140,37148,37155,37163,37170,37178,37185,37199,37207,37214,37222,37241,37248,37256,37264,37271,37279,37287,37295,37303,37311,37319,37327,37335,37342,37350,37357,37365,37372,37380,37388,37395,37403,37410,37417,37425,37432,37440,37447,37455,37462,37470,37478,37485,37493,37501,37509,37517,37525,37533,37541,37549,37557,37565,37572,37580,37587,37598,37605,37617,37625,37632,37640,37648,37655,37663,37670,37685,37693,37709,37721,37729,37740,37748,37759,37767,37778,37786,37797,37805,37816,37823,37831,37839,37847,37854,37862,37877,37884,37892,37899,37907,37914,37922,37929,37937,37944,37952,37959,37967,37975,37983,37991,37999,38007,38014,38022,38030,38038,38046,38054,38062,38070,38078,38086,38094,38102,38110,38118,38126,38133,38141,38148,38156,38164,38171,38179,38186,38194,38202,38210,38217,38225,38233,38240,38248,38256,38264,38272,38280,38288,38295,38303,38311,38318,38326,38334,38341,38349],{"_key":35969,"_type":9,"audioURL":4,"children":35970,"fileURL":4,"image":4,"markDefs":35975,"style":18},"9daf3352dfb0",[35971],{"_key":35972,"_type":13,"marks":35973,"text":35974},"3f791feb3343",[],"One day in mid 2024 while considering what was possibly my most original work, I settled on \"Three Chance Pieces Plus One\" for piano (No. 47). I thought, if I were to extend the ideas of this work, it would be most interesting to use them for a string quartet. I decided to do this using the same \"cells\" and form which I had used for the piano piece, that is, a four movement piece: 1. fast, 2. slow, 3. fast, 4. mixed tempi, where the last movement is a synthesis of the three first movements.",[],{"_key":35977,"_type":500,"audioURL":4,"caption":35978,"fileURL":4,"image":35979,"markDefs":4},"fa71df11b020","Pitch Cells used throughout the Whole Work. (The number of notes in each cell and the content of all 6 cells were determined by chance. Then these were transposed to the 12 steps of the chromatic scale.)",{"caption":4,"id":35980,"meta":35981,"parentID":4,"parentType":528,"url":35984},"40215ebeb75ed1ee85b98c178d66dee4c74435ac",{"_type":506,"aspectRatio":35982,"height":12540,"width":35983},0.7727272727272727,612,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F40215ebeb75ed1ee85b98c178d66dee4c74435ac-612x792.jpg",{"_key":35956,"_type":9,"audioURL":4,"children":35986,"fileURL":4,"image":4,"markDefs":35990,"style":6894},[35987],{"_key":35988,"_type":13,"marks":35989,"text":35957},"9cd16c68db7c",[15],[],{"_key":35992,"_type":9,"audioURL":4,"children":35993,"fileURL":4,"image":4,"markDefs":35998,"style":18},"ddc193f2dc09",[35994],{"_key":35995,"_type":13,"marks":35996,"text":35997},"8f8f5d98f06c",[],"At first I planned to use the same rhythmic and register patterns I had used for the piano pieces but since I was now able to use a computer instead of a die I could have chance operations with different probabilities (as 1-6). My adaptation of the earlier plan now looked like this:",[],{"_key":36000,"_type":500,"audioURL":4,"caption":36001,"fileURL":4,"image":36002,"markDefs":4},"526211a667fb","Register and Rhythmic Diagrams",{"caption":4,"id":36003,"meta":36004,"parentID":4,"parentType":528,"url":36008},"a4ef3936f7b07c07f98ef0e2552f72ec00735c15",{"_type":506,"aspectRatio":36005,"height":36006,"width":36007},2.3257142857142856,175,407,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fa4ef3936f7b07c07f98ef0e2552f72ec00735c15-407x175.jpg",{"_key":36010,"_type":9,"audioURL":4,"children":36011,"fileURL":4,"image":4,"markDefs":36016,"style":18},"328b48d617fb",[36012],{"_key":36013,"_type":13,"marks":36014,"text":36015},"5e4fe25890f3",[],"Register refers to the pitch regions (high, middle, low) of the instruments in pairs: 2 Violins (top) as one pair and Viola and Cello (bottom) as the other. There are 8 register diagrams showing lines in regions high or low or of lines depicting movement from one region to another. The 8 Register diagrams have equal probabilities.",[],{"_key":36018,"_type":9,"audioURL":4,"children":36019,"fileURL":4,"image":4,"markDefs":36024,"style":18},"a87c5cd9cd47",[36020],{"_key":36021,"_type":13,"marks":36022,"text":36023},"3ef852fb1b9e",[],"Then there are 8 rhythmic shapes and since 2+3, 4+5, and 6+7 are all equal pairs the three different shapes have a probability of a quarter while 1 and 8 each have a probability of one eighth. However after an early trial I decided to delete rhythmic shape number one and double number eight, so in the end number eight also had a probability of one quarter. The colour scheme corresponding to the Rhythmic shapes is explained below the next diagram.",[],{"_key":36026,"_type":9,"audioURL":4,"children":36027,"fileURL":4,"image":4,"markDefs":36040,"style":18},"9eefd4148006",[36028,36032,36036],{"_key":36029,"_type":13,"marks":36030,"text":36031},"b2ae17530c40",[],"At this stage I wrote to ",{"_key":36033,"_type":13,"marks":36034,"text":3276},"8143d9c87385",[36035],"31284e391ace",{"_key":36037,"_type":13,"marks":36038,"text":36039},"ca987101288f",[]," about the project and he agreed to design me a computer program which would produce a diagram of the complete movement. The text of this program will be published here at a later date.",[36041],{"_key":36035,"_type":321,"reference":36042,"slug":3291,"type":326},{"_ref":3290,"_type":324},{"_key":36044,"_type":9,"audioURL":4,"children":36045,"fileURL":4,"image":4,"markDefs":36050,"style":18},"b9bcb09b5ec5",[36046],{"_key":36047,"_type":13,"marks":36048,"text":36049},"88779f028beb",[],"I wanted the piece to be made of 50 bars of irregular lengths. These would be shown on the diagram as \"boxes\" and would have durations in seconds using numbers from the Fibonacci series: 1, 2, 3, 5, 8, 13. These \"boxes\" would occur with different probabilities: durations 1 and 13 would each have probabilities of 0.1 and the durations (2, 3, 5, 8,) of 0.2 each. My wish was to have as much information as possible on this diagram. Rod set aside the left of each \"box\" for four numbers, plus two numbers in the middle, another above and two beneath. Taking \"box\" 16 as an example I have labeled these \"box\"-numbers a, b, c, d, e, f, g, h, i (in red) and described them below. At the top and bottom of the \"boxes\" are groups of  2 or 3 \"coloured blobs\", (marked with red square brackets). These are to show how the quavers in this \"box\" are to be grouped in 2s and 3s.",[],{"_key":36052,"_type":500,"audioURL":4,"caption":36053,"fileURL":4,"image":36054,"markDefs":4},"ab13cab3a5a0","a: Box no. b: Register top. c: Rhythmic shape top. d: Cell top. e: Cell bottom. f: Rhythmic shape bottom. g: Box duration. h: Register bottom. i: Total time.",{"caption":4,"id":36055,"meta":36056,"parentID":4,"parentType":528,"url":36059},"c2221047e6d2bd99e12dac9d4762f9d69017abc6",{"_type":506,"aspectRatio":36057,"height":20479,"width":36058},2.9917355371900825,362,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fc2221047e6d2bd99e12dac9d4762f9d69017abc6-362x121.jpg",{"_key":36061,"_type":9,"audioURL":4,"children":36062,"fileURL":4,"image":4,"markDefs":36067,"style":18},"de9234b0a945",[36063],{"_key":36064,"_type":13,"marks":36065,"text":36066},"5f5a73a7fa35",[],"The colours of these \"blobs\" are used to show the Rhythmic patterns. Since there are now just 4 different Rhythmic patterns only 4 colours are needed and it is unimportant whether the blobs are \"filled or empty\".",[],{"_key":36069,"_type":9,"audioURL":4,"children":36070,"fileURL":4,"image":4,"markDefs":36075,"style":18},"a75c9cb37ba0",[36071],{"_key":36072,"_type":13,"marks":36073,"text":36074},"cbd7304c196e",[],"Black: 8.  Red: 2 or 3.  Green: 4 or 5.  Blue: 6 or 7.",[],{"_key":36077,"_type":9,"audioURL":4,"children":36078,"fileURL":4,"image":4,"markDefs":36106,"style":18},"23151700534e",[36079,36083,36087,36091,36095,36099,36103],{"_key":36080,"_type":13,"marks":36081,"text":36082},"63c3293ea1f7",[],"Another important principle is that of a ",{"_key":36084,"_type":13,"marks":36085,"text":36086},"d7150cc429af",[73,15],"surprise",{"_key":36088,"_type":13,"marks":36089,"text":36090},"fc5fa8d65193",[],". Since so much of the sound material is quaver movement, the need for a surprise is great. To this end there are two sorts of \"contrasting boxes\": one marked orange where the quavers are replaced by ",{"_key":36092,"_type":13,"marks":36093,"text":36094},"288b229c6e46",[73],"tremolandi",{"_key":36096,"_type":13,"marks":36097,"text":36098},"5c898b1b7cee",[]," and the other green where we hear loud ",{"_key":36100,"_type":13,"marks":36101,"text":36102},"c35df63ceed8",[73],"glissandi",{"_key":36104,"_type":13,"marks":36105,"text":2020},"6fbfc6380a22",[],[],{"_key":36108,"_type":9,"audioURL":4,"children":36109,"fileURL":4,"image":4,"markDefs":36114,"style":18},"466e052f5adf",[36110],{"_key":36111,"_type":13,"marks":36112,"text":36113},"8303f5618f16",[],"I let the program run several times and then chose the following diagram to realise in musical notation:",[],{"_key":36116,"_type":500,"alt":36117,"audioURL":4,"caption":36118,"fileURL":4,"image":36119,"markDefs":4},"80c07a5007a2","String Quartet 1b yesy pic 1","Diagram for String Quartet, First Movement",{"caption":4,"id":36120,"meta":36121,"parentID":4,"parentType":528,"url":36125},"11c4bcc8cd03a1bf6fb38f7de7b839611028ed98",{"_type":506,"aspectRatio":36122,"height":36123,"width":36124},1.863517060367454,1524,2840,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F11c4bcc8cd03a1bf6fb38f7de7b839611028ed98-2840x1524.png",{"_key":36127,"_type":9,"audioURL":4,"children":36128,"fileURL":4,"image":4,"markDefs":36133,"style":18},"a271b77ac798",[36129],{"_key":36130,"_type":13,"marks":36131,"text":36132},"ca3e00770908",[],"The next job was to transfer all this information onto the score. This \"working score\" contained 4 extra staves, two for the Pitch Cells (top and bottom pairs of instruments) and two more for Register (also top and bottom pairs) and Rhythmic shapes:",[],{"_key":36135,"_type":413,"audioURL":4,"description":36136,"file":36137,"fileURL":36140,"filename":36141,"image":4,"markDefs":4},"dde826115fdb","String Quartet Movement 1 (with 4 extra staves) \"Working Score\"",{"_type":416,"asset":36138},{"_ref":36139,"_type":324},"file-abf67f62c898278c6c442ff893b47df92b0f986a-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fabf67f62c898278c6c442ff893b47df92b0f986a.pdf","String Quartet Movement 1 new Analysis - Full Score",{"_key":36143,"_type":9,"audioURL":4,"children":36144,"fileURL":4,"image":4,"markDefs":36157,"style":18},"d09de048515a",[36145,36149,36153],{"_key":36146,"_type":13,"marks":36147,"text":36148},"591f253d2cc6",[],"Although so much was determined by the chance system of the computer program there was still much that I could decide myself. The most obvious parameter which has not yet been mentioned is loudness (dynamics). I also allowed myself to include extra rests and occasionally longer notes. Tempo and tempo changes were determined later as was ",{"_key":36150,"_type":13,"marks":36151,"text":36152},"c496f54eeca8",[73],"timbre",{"_key":36154,"_type":13,"marks":36155,"text":36156},"6d81953b1e7a",[]," (arco\u002Fpizz.).",[],{"_key":35959,"_type":9,"audioURL":4,"children":36159,"fileURL":4,"image":4,"markDefs":36163,"style":6894},[36160],{"_key":36161,"_type":13,"marks":36162,"text":35960},"476cb2f257680",[15],[],{"_key":36165,"_type":9,"audioURL":4,"children":36166,"fileURL":4,"image":4,"markDefs":36185,"style":18},"b0a2f0db2063",[36167,36171,36174,36178,36181],{"_key":36168,"_type":13,"marks":36169,"text":36170},"89bfb997b1a7",[],"The basis of this movement is a series of 20 ",{"_key":36172,"_type":13,"marks":36173,"text":32683},"ce2f4468942a",[73],{"_key":36175,"_type":13,"marks":36176,"text":36177},"85e2467d568a",[],", selected at random from the Pitch Cell-Table (see first diagram above). In a first version of this movement the viola played the ",{"_key":36179,"_type":13,"marks":36180,"text":32683},"5c32f3e239c7",[73],{"_key":36182,"_type":13,"marks":36183,"text":36184},"c903077ce1dd",[]," throughout. Later I changed this — see André Fischer's criticism of this below.",[],{"_key":36187,"_type":9,"audioURL":4,"children":36188,"fileURL":4,"image":4,"markDefs":36201,"style":18},"70fa3f82be7c",[36189,36193,36197],{"_key":36190,"_type":13,"marks":36191,"text":36192},"c66f3e45c6bd",[],"Against this as background the other instruments, which are not playing the ",{"_key":36194,"_type":13,"marks":36195,"text":36196},"fd4990512e4b",[73],"ostinato,",{"_key":36198,"_type":13,"marks":36199,"text":36200},"50f3b1b22b80",[]," play two sets of material described in the score as Hauptthema (main theme) and Nebenthema (subordinate theme) built on a separate selection of the Pitch Cells. ",[],{"_key":36203,"_type":9,"audioURL":4,"children":36204,"fileURL":4,"image":4,"markDefs":36217,"style":18},"74205caa4890",[36205,36209,36213],{"_key":36206,"_type":13,"marks":36207,"text":36208},"968a9790607e",[],"Here Rod Harries wrote a new program to produce a diagram (now called a ",{"_key":36210,"_type":13,"marks":36211,"text":36212},"a6a2530a45d4",[73],"Map",{"_key":36214,"_type":13,"marks":36215,"text":36216},"c4f4695cd4e8",[],") of the movement:",[],{"_key":36219,"_type":500,"audioURL":4,"caption":36220,"fileURL":4,"image":36221,"markDefs":4},"5ee586b39bd1","Map of String Quartet, Second Movement",{"caption":4,"id":36222,"meta":36223,"parentID":4,"parentType":528,"url":36226},"bd98e0268a75dd8f864863c9d7a142efb398211a",{"_type":506,"aspectRatio":36224,"height":984,"width":36225},2.206703910614525,3160,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fbd98e0268a75dd8f864863c9d7a142efb398211a-3160x1432.jpg",{"_key":36228,"_type":9,"audioURL":4,"children":36229,"fileURL":4,"image":4,"markDefs":36263,"style":18},"5c40a85946d1",[36230,36233,36236,36240,36244,36248,36251,36255,36259],{"_key":36231,"_type":13,"marks":36232,"text":10726},"6abee998ed19",[],{"_key":36234,"_type":13,"marks":36235,"text":32683},"2c1985eaed99",[73],{"_key":36237,"_type":13,"marks":36238,"text":36239},"3ec0d7a10a1c",[]," have different numbers of notes depending on which Pitch Cell is chosen. The length of each bar is the number of notes in the chosen cell measured in quavers. The computer program chooses a Pitch Cell, reads how many notes the cell contains and draws a bar with a \"Stepped Line\", the number of steps being that of the number of notes in the cell. It then selects a new random number between 2 and 8 for the number of repetitions of the ",{"_key":36241,"_type":13,"marks":36242,"text":36243},"0f6c27ca670f",[73],"ostinato ",{"_key":36245,"_type":13,"marks":36246,"text":36247},"f9745876e0e5",[],"and draws a corresponding number of bars on the ",{"_key":36249,"_type":13,"marks":36250,"text":36212},"6ef45bb9ec7d",[73],{"_key":36252,"_type":13,"marks":36253,"text":36254},"8dd252266b49",[],". For the element of surprise it interpolates an extra bar (with a probability of one tenth) which is labelled \"Hold\". This is so named because the last note of the last ",{"_key":36256,"_type":13,"marks":36257,"text":36258},"31957c7605ac",[73],"ostinato",{"_key":36260,"_type":13,"marks":36261,"text":36262},"030654377766",[]," is held over into the extra bar. The last two bars of the movement are also \"Hold\"-bars.",[],{"_key":36265,"_type":9,"audioURL":4,"children":36266,"fileURL":4,"image":4,"markDefs":36271,"style":18},"13a46e1f9331",[36267],{"_key":36268,"_type":13,"marks":36269,"text":36270},"12801d20f089",[],"The \"Stepped Line\" is drawn in 4 different colours: red, green, blue, brown. The colours indicate the rhythmic shape of the Hauptthema:",[],{"_key":36273,"_type":9,"audioURL":4,"children":36274,"fileURL":4,"image":4,"level":382,"listItem":2078,"markDefs":36279,"style":18},"4ee6f08cd86c",[36275],{"_key":36276,"_type":13,"marks":36277,"text":36278},"75ed509d38740",[],"Red, (with a probability of one third) — no Hauptthema (HT)",[],{"_key":36281,"_type":9,"audioURL":4,"children":36282,"fileURL":4,"image":4,"level":382,"listItem":2078,"markDefs":36287,"style":18},"809ed8a838cd",[36283],{"_key":36284,"_type":13,"marks":36285,"text":36286},"02650066a3f80",[],"Green, (with a probability of one half) — ascending or descending HT",[],{"_key":36289,"_type":9,"audioURL":4,"children":36290,"fileURL":4,"image":4,"level":382,"listItem":2078,"markDefs":36295,"style":18},"002e5e922f8d",[36291],{"_key":36292,"_type":13,"marks":36293,"text":36294},"993ccfc689d90",[],"Blue, (with a probability of one sixth) — chord as HT",[],{"_key":36297,"_type":9,"audioURL":4,"children":36298,"fileURL":4,"image":4,"level":382,"listItem":2078,"markDefs":36303,"style":18},"0ddbb2db088d",[36299],{"_key":36300,"_type":13,"marks":36301,"text":36302},"b5dc92c2b519",[],"Brown, just for \"Hold\" bars",[],{"_key":36305,"_type":500,"audioURL":4,"fileURL":4,"image":36306,"markDefs":4},"9eefb41218b4",{"caption":4,"id":36307,"meta":36308,"parentID":4,"parentType":528,"url":36311},"6bdc0a8b2b53053a13161db9bbe58d86e5c208ea",{"_type":506,"aspectRatio":36309,"height":9711,"width":36310},4.525252525252525,896,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F6bdc0a8b2b53053a13161db9bbe58d86e5c208ea-896x198.png",{"_key":36313,"_type":9,"audioURL":4,"children":36314,"fileURL":4,"image":4,"markDefs":36334,"style":18},"faa4a9890e3c",[36315,36319,36323,36327,36330],{"_key":36316,"_type":13,"marks":36317,"text":36318},"355cefd77695",[],"When I showed ",{"_key":36320,"_type":13,"marks":36321,"text":5436},"0a96a7407f98",[36322],"7cea8fec287b",{"_key":36324,"_type":13,"marks":36325,"text":36326},"77a77ec3a114",[]," a \"work in progress\"-version of the first three movements, his comment to M2 was: \"Warum belässt du das Achtel-Motiv ausschliesslich in der Viola?\" (\"Why do you give the quaver-motive exclusively to the Viola?\") — and further: \"It would enliven the movement if the roles were not fixed.\" This seemed a very reasonable criticism and so (in keeping with the philosophy of the whole work) I made a short program which printed out which instrument should play the ",{"_key":36328,"_type":13,"marks":36329,"text":36258},"8fa3c3631a75",[73],{"_key":36331,"_type":13,"marks":36332,"text":36333},"4f48dc6f5414",[]," and when the change should take place.",[36335],{"_key":36322,"_type":321,"reference":36336,"slug":5468,"type":326},{"_ref":5467,"_type":324},{"_key":36338,"_type":9,"audioURL":4,"children":36339,"fileURL":4,"image":4,"markDefs":36343,"style":18},"a9d90265e861",[36340],{"_key":36341,"_type":13,"marks":36342,"text":25},"04eeecd9c2c5",[],[],{"_key":36345,"_type":9,"audioURL":4,"children":36346,"fileURL":4,"image":4,"markDefs":36351,"style":36352},"5516d67fd599",[36347],{"_key":36348,"_type":13,"marks":36349,"text":36350},"1fe1a256a4f40",[],"Bar4   Vla,    Bar8   Vla,    Bar11  Cello,  Bar14  Vla,    Bar17  Vn1,    Bar19   Vla,",[],"nowrap",{"_key":36354,"_type":9,"audioURL":4,"children":36355,"fileURL":4,"image":4,"markDefs":36360,"style":36352},"33123974ed03",[36356],{"_key":36357,"_type":13,"marks":36358,"text":36359},"efabc5c87d400",[],"Bar24 Vn1,    Bar26 Vn1,   Bar28 Vla,    Bar31  Vn1,    Bar34 Vn2,   Bar38  Vn2,",[],{"_key":36362,"_type":9,"audioURL":4,"children":36363,"fileURL":4,"image":4,"markDefs":36368,"style":36352},"6570448b9ac5",[36364],{"_key":36365,"_type":13,"marks":36366,"text":36367},"372a5ee43db3",[],"Bar40 Vn2,   Bar45 Vla,   Bar49 Vla,    Bar52  Vn1,    Bar57  Vla,    Bar59 Cello, ",[],{"_key":36370,"_type":9,"audioURL":4,"children":36371,"fileURL":4,"image":4,"markDefs":36376,"style":36352},"cbf12ecb7a7e",[36372],{"_key":36373,"_type":13,"marks":36374,"text":36375},"550d70d2412a",[],"Bar61  Vn2,   Bar64 Vla,   Bar68  Vla,  Bar72  Vn1,\t   Bar74  Cello, Bar76  Vn2,\t",[],{"_key":36378,"_type":9,"audioURL":4,"children":36379,"fileURL":4,"image":4,"markDefs":36384,"style":36352},"db1f7a5bec14",[36380],{"_key":36381,"_type":13,"marks":36382,"text":36383},"63b4c2219e85",[],"Bar80  Vla,    Bar82 Vla,   Bar87  Vn2.",[],{"_key":36386,"_type":9,"audioURL":4,"children":36387,"fileURL":4,"image":4,"markDefs":36391,"style":18},"51f2849dba69",[36388],{"_key":36389,"_type":13,"marks":36390,"text":25},"aaff99f45a86",[],[],{"_key":36393,"_type":9,"audioURL":4,"children":36394,"fileURL":4,"image":4,"markDefs":36420,"style":18},"0f4c1465ebfc",[36395,36399,36402,36406,36409,36413,36416],{"_key":36396,"_type":13,"marks":36397,"text":36398},"12ddcce1769d",[],"And of course André was right. It gave the movement a new feeling of unpredictability, and because of the resulting conflict of functions I was sometimes forced to make the change in the middle of an ",{"_key":36400,"_type":13,"marks":36401,"text":36258},"6662bae2089c",[73],{"_key":36403,"_type":13,"marks":36404,"text":36405},"97e81df21bce",[]," which adds to the surprise. These ",{"_key":36407,"_type":13,"marks":36408,"text":36258},"71d41c17a75b",[73],{"_key":36410,"_type":13,"marks":36411,"text":36412},"7c4438588da0",[],"-changes are all shown in the score, for example: before figure 3, where the viola is playing the ",{"_key":36414,"_type":13,"marks":36415,"text":36258},"5a9b1181ac78",[73],{"_key":36417,"_type":13,"marks":36418,"text":36419},"e4be2ea94b4c",[],", one reads in the viola part: \"to Cello\",and after figure 3 in the cello part is written: \"from Viola\". My wish is that the players involved will make a gesture of \"handing over\" and of \"receiving\" so that the audience will notice the change. ",[],{"_key":36422,"_type":413,"audioURL":4,"description":36423,"file":36424,"fileURL":36427,"filename":36428,"image":4,"markDefs":4},"053da49d750d","String Quartet Movement 2 \"Working Score\"",{"_type":416,"asset":36425},{"_ref":36426,"_type":324},"file-325f7f60c4cd859742a1d752732435fc562109c3-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F325f7f60c4cd859742a1d752732435fc562109c3.pdf","String Quartet M2b 12 July ",{"_key":35962,"_type":9,"audioURL":4,"children":36430,"fileURL":4,"image":4,"markDefs":36434,"style":6894},[36431],{"_key":36432,"_type":13,"marks":36433,"text":35963},"2a62dae65944",[15],[],{"_key":36436,"_type":9,"audioURL":4,"children":36437,"fileURL":4,"image":4,"markDefs":36442,"style":18},"24c62cb071bc",[36438],{"_key":36439,"_type":13,"marks":36440,"text":36441},"379d20a83a960",[],"The third movement is an A B A’ form. The second A has a dash to indicate that it is shorter than the first. Since the form was determined in advance there was no need for a program to produce a diagram (or \"map\") of the movement.",[],{"_key":36444,"_type":9,"audioURL":4,"children":36445,"fileURL":4,"image":4,"markDefs":36450,"style":18},"778868210a0e",[36446],{"_key":36447,"_type":13,"marks":36448,"text":36449},"042aee26f1520",[],"Both the A and the B sections contain five patterns or Types: ",[],{"_key":36452,"_type":9,"audioURL":4,"children":36453,"fileURL":4,"image":4,"markDefs":36458,"style":18},"c3f9eff715a7",[36454],{"_key":36455,"_type":13,"marks":36456,"text":36457},"5bc6fb6e5c1d",[],"A1 A2 A3 A4 A5 and B1 B2 B3 B4 B5",[],{"_key":36460,"_type":9,"audioURL":4,"children":36461,"fileURL":4,"image":4,"markDefs":36466,"style":18},"e600f45a10dd",[36462],{"_key":36463,"_type":13,"marks":36464,"text":36465},"7743eb406f9f0",[],"The first three A and B Types are variants of the same basic patterns, the others are contrasting ideas. These are best shown graphically:",[],{"_key":36468,"_type":500,"audioURL":4,"caption":36469,"fileURL":4,"image":36470,"markDefs":4},"d2a3c7d0f088","Patterns for Movement 3",{"caption":4,"id":36471,"meta":36472,"parentID":4,"parentType":528,"url":36475},"4490ec625630efe6b58eece244281c0b38115e00",{"_type":506,"aspectRatio":36473,"height":22950,"width":36474},1.345414201183432,1819,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F4490ec625630efe6b58eece244281c0b38115e00-1819x1352.jpg",{"_key":36477,"_type":9,"audioURL":4,"children":36478,"fileURL":4,"image":4,"markDefs":36483,"style":18},"80bd0dced58a",[36479],{"_key":36480,"_type":13,"marks":36481,"text":36482},"9245ae4dc02b0",[],"I have seldom had such difficulty to realise ideas for a piece. First attempts to test the sounds of A1, A2 + A3 showed that this lacked complexity so I added the “Long Note” (see ‘+‘ on the diagram above). More difficult were the corresponding B-sections which went through at least 10 different test phases.",[],{"_key":36485,"_type":9,"audioURL":4,"children":36486,"fileURL":4,"image":4,"markDefs":36491,"style":18},"7a99e5c224ba",[36487],{"_key":36488,"_type":13,"marks":36489,"text":36490},"2ea030bcf57d0",[],"In order to know more clearly what programs I would need, I made a trial version of M3. I discovered that my original plan of A (20 sections), B (20 sections), A’ (10 sections) was rather too long. The final best solution was made with the program Quart3V5.bas where the lengths are reduced to A (16), B (16), A’ (8) from which I chose one print-out.",[],{"_key":36493,"_type":9,"audioURL":4,"children":36494,"fileURL":4,"image":4,"markDefs":36498,"style":18},"300d8ff3b02f",[36495],{"_key":36496,"_type":13,"marks":36497,"text":25},"e8f4d07d91df0",[],[],{"_key":36500,"_type":9,"audioURL":4,"children":36501,"fileURL":4,"image":4,"markDefs":36506,"style":18},"eefd826a2f6d",[36502],{"_key":36503,"_type":13,"marks":36504,"text":36505},"a433184775550",[],"The data are headed with:",[],{"_key":36508,"_type":9,"audioURL":4,"children":36509,"fileURL":4,"image":4,"markDefs":36518,"style":18},"9613e2940576",[36510,36514],{"_key":36511,"_type":13,"marks":36512,"text":36513},"8de35ad2708d0",[15],"Box Type C1 C2 Rpt Reg P LN ",{"_key":36515,"_type":13,"marks":36516,"text":36517},"8de35ad2708d1",[],"which mean:",[],{"_key":36520,"_type":9,"audioURL":4,"children":36521,"fileURL":4,"image":4,"markDefs":36530,"style":18},"80157d961213",[36522,36526],{"_key":36523,"_type":13,"marks":36524,"text":36525},"9f0dba1d30990",[15],"Box:",{"_key":36527,"_type":13,"marks":36528,"text":36529},"9f0dba1d30991",[]," is what I have called sections above. These are marked in the working score with “Rehearsal Numbers” 1 to 40",[],{"_key":36532,"_type":9,"audioURL":4,"children":36533,"fileURL":4,"image":4,"markDefs":36542,"style":18},"95e17d5bc744",[36534,36538],{"_key":36535,"_type":13,"marks":36536,"text":36537},"1eabbcb1a5fe0",[15],"Type",{"_key":36539,"_type":13,"marks":36540,"text":36541},"1eabbcb1a5fe1",[],": is the pattern number, ie. A1, A2, A3, A4, A5,B1, B2, B3, B4, B5.",[],{"_key":36544,"_type":9,"audioURL":4,"children":36545,"fileURL":4,"image":4,"markDefs":36561,"style":18},"e6e131184a1c",[36546,36550,36553,36557],{"_key":36547,"_type":13,"marks":36548,"text":36549},"e346a5037b960",[15],"C1",{"_key":36551,"_type":13,"marks":36552,"text":6652},"e346a5037b961",[],{"_key":36554,"_type":13,"marks":36555,"text":36556},"e346a5037b962",[15],"C2",{"_key":36558,"_type":13,"marks":36559,"text":36560},"e346a5037b963",[],": are the cell numbers. These are used in the A sections for the chords, C1 for the violins and C2 for viola and cello",[],{"_key":36563,"_type":9,"audioURL":4,"children":36564,"fileURL":4,"image":4,"markDefs":36573,"style":18},"6adffcc2f833",[36565,36569],{"_key":36566,"_type":13,"marks":36567,"text":36568},"ae78f0e2f40b0",[15],"Rpt",{"_key":36570,"_type":13,"marks":36571,"text":36572},"ae78f0e2f40b1",[],": Originally meant “repetitions” but here it gives the length of each bar: 3, 5, 8 or 13 beats long.",[],{"_key":36575,"_type":9,"audioURL":4,"children":36576,"fileURL":4,"image":4,"markDefs":36585,"style":18},"d061bb8ca4da",[36577,36581],{"_key":36578,"_type":13,"marks":36579,"text":36580},"7d1250a9811b0",[15],"Reg",{"_key":36582,"_type":13,"marks":36583,"text":36584},"7d1250a9811b1",[],": Register. H (high) M (middle) L (low) — of the various instruments,",[],{"_key":36587,"_type":9,"audioURL":4,"children":36588,"fileURL":4,"image":4,"markDefs":36597,"style":18},"336209ea599a",[36589,36593],{"_key":36590,"_type":13,"marks":36591,"text":36592},"80de36469d840",[15],"P",{"_key":36594,"_type":13,"marks":36595,"text":36596},"80de36469d841",[],": Pitch. This was originally planned for the pitch of the main note in the B-sections, but then was also used for the “Long Note” in the A-sections.",[],{"_key":36599,"_type":9,"audioURL":4,"children":36600,"fileURL":4,"image":4,"markDefs":36625,"style":18},"438a8f0067f8",[36601,36605,36609,36613,36617,36621],{"_key":36602,"_type":13,"marks":36603,"text":36604},"b8ec88aa72d60",[15],"LN",{"_key":36606,"_type":13,"marks":36607,"text":36608},"b8ec88aa72d61",[],": “Long Note” — see above. Since not all A-sections were to contain a “Long Note” the symbols + and – were used to mean: + = ",{"_key":36610,"_type":13,"marks":36611,"text":36612},"b8ec88aa72d62",[15],"with",{"_key":36614,"_type":13,"marks":36615,"text":36616},"b8ec88aa72d63",[]," LN and – = ",{"_key":36618,"_type":13,"marks":36619,"text":36620},"b8ec88aa72d64",[15],"without",{"_key":36622,"_type":13,"marks":36623,"text":36624},"b8ec88aa72d65",[]," LN",[],{"_key":36627,"_type":500,"audioURL":4,"fileURL":4,"image":36628,"markDefs":4},"e1cade9a4ef0",{"caption":4,"id":36629,"meta":36630,"parentID":4,"parentType":528,"url":36634},"db162c621734cfe55741f907fd3d5b577ad54728",{"_type":506,"aspectRatio":36631,"height":36632,"width":36633},2.3755102040816327,490,1164,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fdb162c621734cfe55741f907fd3d5b577ad54728-1164x490.png",{"_key":36636,"_type":9,"audioURL":4,"children":36637,"fileURL":4,"image":4,"markDefs":36642,"style":18},"00c02d65bd46",[36638],{"_key":36639,"_type":13,"marks":36640,"text":36641},"ff2770c277250",[],"An important additional program, M3.bas was used for the accents in the A-sections 1, 2 + 3. This used an accumulation of Fibonacci numbers, 2, 3, 5, and 8",[],{"_key":36644,"_type":9,"audioURL":4,"children":36645,"fileURL":4,"image":4,"markDefs":36650,"style":18},"e99dffc755a0",[36646],{"_key":36647,"_type":13,"marks":36648,"text":36649},"0ba0072136d5",[],"NB: the first beat is always accented:",[],{"_key":36652,"_type":500,"audioURL":4,"fileURL":4,"image":36653,"markDefs":4},"79e7e752e14a",{"caption":4,"id":36654,"meta":36655,"parentID":4,"parentType":528,"url":36659},"ea348ae2226a4b8211b4faac0bc6bd33923ca14a",{"_type":506,"aspectRatio":36656,"height":36657,"width":36658},2.561576354679803,406,1040,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fea348ae2226a4b8211b4faac0bc6bd33923ca14a-1040x406.png",{"_key":36661,"_type":9,"audioURL":4,"children":36662,"fileURL":4,"image":4,"markDefs":36667,"style":18},"57d19e550169",[36663],{"_key":36664,"_type":13,"marks":36665,"text":36666},"a27c454704c70",[],"Finally the contrasting material of A5 and B4 and B5 was kindly supplied by a program from Rod in the form of a Basic File which generates a Musicxml file: QuintP3.bas. The program uses all notes of the chromatic scale (with equal probabilities) and durations of 1,2, 3, or 5 beats. At first I didn’t realise that I had to add the suffix “.xml” to the file generated by the basic file. Rod answered my question on a Monday thus:",[],{"_key":36669,"_type":9,"audioURL":4,"children":36670,"fileURL":4,"image":4,"markDefs":36675,"style":634},"5d3b2faf7fa6",[36671],{"_key":36672,"_type":13,"marks":36673,"text":36674},"f1bd50e5bb900",[],"“When QuintP runs it puts up a dialog box to open an output file. The xml is written to this file as well as, mixed with other stuff, to the screen. That output file needs to be given a .musicxml extension. The easiest way to do that is to change the name “temp” which appears in the dialog box to, for example, Monday.musicxml otherwise you have to rename the file afterwards. That renamed file should be acceptable to Sibelius etc.”",[],{"_key":36677,"_type":9,"audioURL":4,"children":36678,"fileURL":4,"image":4,"markDefs":36683,"style":18},"e59bd9f361dc",[36679],{"_key":36680,"_type":13,"marks":36681,"text":36682},"a6e8884e16880",[],"So all the melodies made with this program are called Monday 1 – 10!! If one looks at rehearsal number 2 (below) one can see “Monday 1”as it was written by the program and above in the string parts, the liberties I took with transposition. For the B sections I took even greater liberties: see rehearsal no. 20 where Monday 3 is used and nos. 28 and 29 for Monday 8 and 5.",[],{"_key":36685,"_type":413,"audioURL":4,"description":36686,"file":36687,"fileURL":36690,"filename":36691,"image":4,"markDefs":4},"371a657a9f58","String Quartet Movement 3 \"Working Score\"",{"_type":416,"asset":36688},{"_ref":36689,"_type":324},"file-1a013de50fdab23ad804c358e06de1c2d116e051-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F1a013de50fdab23ad804c358e06de1c2d116e051.pdf","M3 Working Score.pdf",{"_key":35965,"_type":9,"audioURL":4,"children":36693,"fileURL":4,"image":4,"markDefs":36697,"style":6894},[36694],{"_key":36695,"_type":13,"marks":36696,"text":35966},"19436471b5b1",[15],[],{"_key":36699,"_type":9,"audioURL":4,"children":36700,"fileURL":4,"image":4,"markDefs":36705,"style":18},"cec86b9eb3bc",[36701],{"_key":36702,"_type":13,"marks":36703,"text":36704},"8857f10f7b1c0",[],"If M3 was difficult then M4 was severely difficult. It should have been quite straight forward, since I knew from the beginning that, based on “Plus One” of the “Three Chance Pieces for Piano”, it would use the same material for the first three movements, and this would sound new since chance was operating and would produce versions of that material which we had not yet heard. I therefore asked Rod for a “Map” of M4 with 60 “boxes”.",[],{"_key":36707,"_type":9,"audioURL":4,"children":36708,"fileURL":4,"image":4,"markDefs":36712,"style":18},"e347885f41dc",[36709],{"_key":36710,"_type":13,"marks":36711,"text":25},"8a490ac69ee30",[],[],{"_key":36714,"_type":9,"audioURL":4,"children":36715,"fileURL":4,"image":4,"markDefs":36720,"style":18},"b6f2571f4837",[36716],{"_key":36717,"_type":13,"marks":36718,"text":36719},"a685e55dc6970",[],"6. 04. 25, Email from Kit to Rod:",[],{"_key":36722,"_type":9,"audioURL":4,"children":36723,"fileURL":4,"image":4,"markDefs":36727,"style":18},"09edf8ef709c",[36724],{"_key":36725,"_type":13,"marks":36726,"text":25},"cfbf07472eaa0",[],[],{"_key":36729,"_type":9,"audioURL":4,"children":36730,"fileURL":4,"image":4,"markDefs":36735,"style":634},"151578dbeba5",[36731],{"_key":36732,"_type":13,"marks":36733,"text":36734},"354bc2361d650",[],"As I mentioned at the beginning this will be made of material from the first three Ms. It should have about 60 “bars” and the music of the first 20 “bars” will come mainly from the programs used for creating M1 and in “bars” 21 to 40 mainly from those used for M2 and similarly for 41 to 60 from those used for M3. “Mainly” means this:",[],{"_key":36737,"_type":9,"audioURL":4,"children":36738,"fileURL":4,"image":4,"markDefs":36743,"style":634},"9480ffe8b626",[36739],{"_key":36740,"_type":13,"marks":36741,"text":36742},"501017d0ddf1",[],"Bars 1 to 20 will be: M1 60% M2 20% M3 20%",[],{"_key":36745,"_type":9,"audioURL":4,"children":36746,"fileURL":4,"image":4,"markDefs":36751,"style":634},"7d8c843899fa",[36747],{"_key":36748,"_type":13,"marks":36749,"text":36750},"696222e2f6e4",[],"Bars 21 to 40 will be: M1 20% M2 60% M3 20%",[],{"_key":36753,"_type":9,"audioURL":4,"children":36754,"fileURL":4,"image":4,"markDefs":36759,"style":634},"a0c8b37a0e8c",[36755],{"_key":36756,"_type":13,"marks":36757,"text":36758},"33b8798f76f5",[],"Bars 41 to 60 will be: M1 20% M2 20% M3 60%",[],{"_key":36761,"_type":9,"audioURL":4,"children":36762,"fileURL":4,"image":4,"markDefs":36767,"style":634},"8bc506a24a55",[36763],{"_key":36764,"_type":13,"marks":36765,"text":36766},"e2911759e8ec",[],"\nAlso, sprinkled in at unsuspecting moments (called interpolations) will be a chord, heard once, twice or thrice. There will be about 3 to 5 interpolations.\n      \nNow I have had a new thought:",[],{"_key":36769,"_type":9,"audioURL":4,"children":36770,"fileURL":4,"image":4,"markDefs":36775,"style":634},"964930d8f18c",[36771],{"_key":36772,"_type":13,"marks":36773,"text":36774},"eeea4678dade",[],"      \nM4 could have a Coda which would be a fugue using themes which we have already heard.",[],{"_key":36777,"_type":9,"audioURL":4,"children":36778,"fileURL":4,"image":4,"markDefs":36782,"style":18},"96f873a9541e",[36779],{"_key":36780,"_type":13,"marks":36781,"text":25},"6b94fa79d6140",[],[],{"_key":36784,"_type":9,"audioURL":4,"children":36785,"fileURL":4,"image":4,"markDefs":36794,"style":18},"6a6f82503af8",[36786,36790],{"_key":36787,"_type":13,"marks":36788,"text":36789},"0d63e9bee4d90",[73],"12. 04. 25, ",{"_key":36791,"_type":13,"marks":36792,"text":36793},"0d63e9bee4d91",[],"Email from Rod:",[],{"_key":36796,"_type":9,"audioURL":4,"children":36797,"fileURL":4,"image":4,"markDefs":36802,"style":634},"4edba214e88f",[36798],{"_key":36799,"_type":13,"marks":36800,"text":36801},"72146a9bc5c80",[],"I have read the Notes on M3 and found them entertaining. ‘Is comprised of’ is still present to jarr my sensibilities. ‘Comprises’ is what is needed, though, strictly speaking, ‘comprises’ should be followed by an exhaustive list, otherwise ‘contains’.",[],{"_key":36804,"_type":9,"audioURL":4,"children":36805,"fileURL":4,"image":4,"markDefs":36809,"style":18},"a249055200a8",[36806],{"_key":36807,"_type":13,"marks":36808,"text":25},"fd1413663cf3",[],[],{"_key":36811,"_type":9,"audioURL":4,"children":36812,"fileURL":4,"image":4,"markDefs":36817,"style":634},"9c45ef82dfac",[36813],{"_key":36814,"_type":13,"marks":36815,"text":36816},"8ab43dd8d1050",[],"I have also listened (twice) to the m3.mp3. My irreformably Baroque mind kept waiting for a tune or thema to appear, but once I had persuaded it to go to sleep for a bit, I enjoyed it.",[],{"_key":36819,"_type":9,"audioURL":4,"children":36820,"fileURL":4,"image":4,"markDefs":36824,"style":18},"338622a6fd74",[36821],{"_key":36822,"_type":13,"marks":36823,"text":25},"7a385416588c0",[],[],{"_key":36826,"_type":9,"audioURL":4,"children":36827,"fileURL":4,"image":4,"markDefs":36832,"style":18},"ddb559dfb8bc",[36828],{"_key":36829,"_type":13,"marks":36830,"text":36831},"1c53cb8df3230",[],"13. 04. 25, Email from Kit:",[],{"_key":36834,"_type":9,"audioURL":4,"children":36835,"fileURL":4,"image":4,"markDefs":36840,"style":634},"94da091fe43d",[36836],{"_key":36837,"_type":13,"marks":36838,"text":36839},"e4c994eadad90",[],"Many thanks for your comments on M3, both to the words and to the music. I have changed “is comprised of\" to “contains”.\nStrange that you were waiting for a theme or a melody — I thought there was one, where all instruments play a “Monday” theme unisono or in octaves.\n      \nI have had a new thought for M4, partly inspired by Nelson Wattie to whom I showed M1. He said he thought he had heard a quote from Beethoven’s “Grosse Fuge”. No idea why he thought that, but it set me thinking that I could perhaps repeat material from M1, M2 + M3 in the form of a fugue, and perhaps even quote Beethoven or “Die Kunst der Fuge” or both. I’ve been working on a fragment of a fugue, called \"Unfug M4\", to have an idea of what I would need from a computer program. Still not sure what such a pogrom would look like, but I should be able to tell you very soon.",[],{"_key":36842,"_type":9,"audioURL":4,"children":36843,"fileURL":4,"image":4,"markDefs":36848,"style":18},"069e16c7a659",[36844],{"_key":36845,"_type":13,"marks":36846,"text":36847},"edfe1f28b17e0",[],"The process of drawing a map for M4 went through several preliminary stages. Here is one of the early versions (29. 04. 25) ",[],{"_key":36850,"_type":500,"audioURL":4,"caption":36851,"fileURL":4,"image":36852,"markDefs":4,"size":22182},"a3fc7d1d939d","Blue = M1, Red = M2, Green = M3",{"caption":4,"id":36853,"meta":36854,"parentID":4,"parentType":528,"url":36858},"6519f9f7a5142e1574c9c4bf733f96207eda1fd3",{"_type":506,"aspectRatio":36855,"height":36856,"width":36857},2.605536332179931,1156,3012,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F6519f9f7a5142e1574c9c4bf733f96207eda1fd3-3012x1156.png",{"_key":36860,"_type":9,"audioURL":4,"children":36861,"fileURL":4,"image":4,"markDefs":36866,"style":18},"6d9f56fad53e",[36862],{"_key":36863,"_type":13,"marks":36864,"text":36865},"1af5d65fb7540",[],"02. 05. 25, Email from Rod:",[],{"_key":36868,"_type":9,"audioURL":4,"children":36869,"fileURL":4,"image":4,"markDefs":36874,"style":634},"d8ad68d85c7f",[36870],{"_key":36871,"_type":13,"marks":36872,"text":36873},"eec363a699420",[],"On MayDay I got most of the subroutine which makes m2 boxes done, and finished(?) it this morning, but, if you run it you will notice that it has a slight bug. I will fix(?) this shortly(?). You will also notice that I discovered how to retain enough of the glorious technicolour to be useful.",[],{"_key":36876,"_type":9,"audioURL":4,"children":36877,"fileURL":4,"image":4,"markDefs":36881,"style":18},"b4e01b33c8f6",[36878],{"_key":36879,"_type":13,"marks":36880,"text":25},"75f9fbcb6f0a0",[],[],{"_key":36883,"_type":9,"audioURL":4,"children":36884,"fileURL":4,"image":4,"markDefs":36889,"style":18},"b90867b0afbf",[36885],{"_key":36886,"_type":13,"marks":36887,"text":36888},"bb01c15782cd0",[],"02. 05. 25, Email from Kit:",[],{"_key":36891,"_type":9,"audioURL":4,"children":36892,"fileURL":4,"image":4,"markDefs":36897,"style":634},"f39ad952a0ca",[36893],{"_key":36894,"_type":13,"marks":36895,"text":36896},"d0885dc0aa43",[],"That’s getting very close now to a usable map — congratulations and many thanks! And it’s good with the colour bands. A tiny worry struck me: It could be that the M2 material is rather too much, since it is played at about half the tempo of the M1 and M3 stuff. There might be two ways of correcting this: 1) Reducing the size of M2 or 2) Removing the bar length 13 for M2. But I’ll wait until the M3s are there before asking for a change. One other thing though: the space for the whole map is often bigger than my screen. It’s a pity that one can’t write text (and numbers) smaller in Chipmunk. I can’t see how you can save much space anywhere?",[],{"_key":36899,"_type":9,"audioURL":4,"children":36900,"fileURL":4,"image":4,"markDefs":36905,"style":18},"dc410413373f",[36901],{"_key":36902,"_type":13,"marks":36903,"text":36904},"fe9ed3cee847",[],"03. 05. 25, Email from Rod:",[],{"_key":36907,"_type":9,"audioURL":4,"children":36908,"fileURL":4,"image":4,"markDefs":36913,"style":634},"8fb074abb1b9",[36909],{"_key":36910,"_type":13,"marks":36911,"text":36912},"6fc2a4717691",[],"I have made two small changes: ",[],{"_key":36915,"_type":9,"audioURL":4,"children":36916,"fileURL":4,"image":4,"markDefs":36920,"style":634},"082098fa2332",[36917],{"_key":36918,"_type":13,"marks":36919,"text":25},"74552a488359",[],[],{"_key":36922,"_type":9,"audioURL":4,"children":36923,"fileURL":4,"image":4,"markDefs":36928,"style":634},"33bb5d1fd1ac",[36924],{"_key":36925,"_type":13,"marks":36926,"text":36927},"dc40a688f0fa",[],"(1) since I do not know how to calculate the actual duration of m3 boxes I have set them all to zero;\n",[],{"_key":36930,"_type":9,"audioURL":4,"children":36931,"fileURL":4,"image":4,"markDefs":36936,"style":634},"9a049cc0f73a",[36932],{"_key":36933,"_type":13,"marks":36934,"text":36935},"32952ea767bb",[],"(2) I have shaved a few pixels off various things to help with screen overflow problems. ",[],{"_key":36938,"_type":9,"audioURL":4,"children":36939,"fileURL":4,"image":4,"markDefs":36943,"style":634},"528bebd7ac58",[36940],{"_key":36941,"_type":13,"marks":36942,"text":25},"9d375eb7d1b9",[],[],{"_key":36945,"_type":9,"audioURL":4,"children":36946,"fileURL":4,"image":4,"markDefs":36951,"style":634},"4307f005b6bb",[36947],{"_key":36948,"_type":13,"marks":36949,"text":36950},"4808b90e095d",[],"There is a parameter ‘rebound’, the third entry in the Page and Box Layout Dimensions. It determines the maximum width that rows will go to. If you increase it the diagram will become wider but shorter, and v.v.\nThis is why I moaned earlier on about lack of scroll bars in the graphics window. If it had them it wouldn’t matter how big the diagram became and providing them would have been very simple for the composer of Chipmunk. All the hard work is done by the Apple graphics system. But it’s too late now.",[],{"_key":36953,"_type":9,"audioURL":4,"children":36954,"fileURL":4,"image":4,"markDefs":36958,"style":634},"09081b0cbea7",[36955],{"_key":36956,"_type":13,"marks":36957,"text":25},"a1b39b429f680",[],[],{"_key":36960,"_type":500,"alt":36961,"audioURL":4,"caption":36962,"fileURL":4,"image":36963,"markDefs":4},"e15c5439a2c1","Quart4V10X 13. May 6","Blue = M1,  Red = M2,  Green = M3. (May 6.)",{"caption":4,"id":36964,"meta":36965,"parentID":4,"parentType":528,"url":36968},"b5bc92b9830963919a7d32c76a134e09a9ec509a",{"_type":506,"aspectRatio":36966,"height":25882,"width":36967},1.9047619047619047,2800,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fb5bc92b9830963919a7d32c76a134e09a9ec509a-2800x1470.jpg",{"_key":36970,"_type":9,"audioURL":4,"children":36971,"fileURL":4,"image":4,"markDefs":36976,"style":18},"3ba5e6a06a2f",[36972],{"_key":36973,"_type":13,"marks":36974,"text":36975},"e47388a5881c0",[],"07. 05. 25, Email from Kit: ",[],{"_key":36978,"_type":9,"audioURL":4,"children":36979,"fileURL":4,"image":4,"markDefs":36984,"style":634},"f09ebf5cc873",[36980],{"_key":36981,"_type":13,"marks":36982,"text":36983},"ea8524a05389",[],"Busy day yesterday with Brigittchen’s b-day: lotza telephones and visitors and an expotition to the Zürcher Kunsthaus. Hardly had a moment to look at Quart4V8. Now I have and think there is still too much red (M2) in it. Therefore I am asking if you could kindly make this adjustment:",[],{"_key":36986,"_type":9,"audioURL":4,"children":36987,"fileURL":4,"image":4,"markDefs":36992,"style":634},"f16d03afbb78",[36988],{"_key":36989,"_type":13,"marks":36990,"text":36991},"4b9ed3f012030",[],"Bars 1 to 25 will be: M1 70% M2 10% M3 20%",[],{"_key":36994,"_type":9,"audioURL":4,"children":36995,"fileURL":4,"image":4,"markDefs":37000,"style":634},"bc210893e1ca",[36996],{"_key":36997,"_type":13,"marks":36998,"text":36999},"17e8128f46db0",[],"Bars 26 to 35 will be: M1 33% M2 33% M3 33%",[],{"_key":37002,"_type":9,"audioURL":4,"children":37003,"fileURL":4,"image":4,"markDefs":37008,"style":634},"5d8a60d3b775",[37004],{"_key":37005,"_type":13,"marks":37006,"text":37007},"62a41675898d0",[],"Bars 36 to 60 will be: M1 20% M2 10% M3 70%",[],{"_key":37010,"_type":9,"audioURL":4,"children":37011,"fileURL":4,"image":4,"markDefs":37016,"style":634},"59305a3251e2",[37012],{"_key":37013,"_type":13,"marks":37014,"text":37015},"7af74e9c6a340",[],"This should ensure that the predominant tempi are the two faster ones — but feel free to put in other numbers if you wish.",[],{"_key":37018,"_type":9,"audioURL":4,"children":37019,"fileURL":4,"image":4,"markDefs":37023,"style":18},"ae8a1c0df815",[37020],{"_key":37021,"_type":13,"marks":37022,"text":25},"78aa5e9763d30",[],[],{"_key":37025,"_type":9,"audioURL":4,"children":37026,"fileURL":4,"image":4,"markDefs":37042,"style":18},"8200ea788f01",[37027,37031,37034,37038],{"_key":37028,"_type":13,"marks":37029,"text":37030},"1ff237b07f280",[],"08. 05. 25",{"_key":37032,"_type":13,"marks":37033,"text":2840},"6d6b643703b7",[73],{"_key":37035,"_type":13,"marks":37036,"text":37037},"60a32a191d38",[],"Email from Rod: ",{"_key":37039,"_type":13,"marks":37040,"text":37041},"1ff237b07f281",[15],"habemus papam",[],{"_key":37044,"_type":9,"audioURL":4,"children":37045,"fileURL":4,"image":4,"markDefs":37050,"style":634},"32ffa7b4f858",[37046],{"_key":37047,"_type":13,"marks":37048,"text":37049},"1c48c64e17fb",[],"Pope Leo XIV and a bloody American but also a Mathematician.",[],{"_key":37052,"_type":9,"audioURL":4,"children":37053,"fileURL":4,"image":4,"markDefs":37057,"style":18},"17f34a9aca8f",[37054],{"_key":37055,"_type":13,"marks":37056,"text":25},"7bce5d74bc110",[],[],{"_key":37059,"_type":9,"audioURL":4,"children":37060,"fileURL":4,"image":4,"markDefs":37071,"style":18},"daec455261b1",[37061,37065,37068],{"_key":37062,"_type":13,"marks":37063,"text":37064},"793628a9c7d70",[],"09. 05. 25",{"_key":37066,"_type":13,"marks":37067,"text":2617},"3afac2c53215",[73],{"_key":37069,"_type":13,"marks":37070,"text":36793},"a8f49c272563",[],[],{"_key":37073,"_type":9,"audioURL":4,"children":37074,"fileURL":4,"image":4,"markDefs":37079,"style":634},"20c7b2df8a29",[37075],{"_key":37076,"_type":13,"marks":37077,"text":37078},"c6fc07de89ea",[],"I realised the other day that all the drawing that Chipmunk does in its graphics window is perfectly easy to do in Swift, viz ‘color’, ‘moveto’, ‘lineto’, ‘rect’, fillrect’, ‘oval’, ‘filloval’, and a lot of others which Chipmunk can’t do. I also suspect that my problems earlier stemmed from not being careful enough when starting the project to choose correctly amongst the baffling array of options offered in the set-up screens. I might cautiously investigate this.\nThe great advantage would be that I could draw into a view with scrollbars, so overflowing the physical screen wouldn’t happen. It ought to be possible to print the view contents, but I have no idea how one does that.",[],{"_key":37081,"_type":9,"audioURL":4,"children":37082,"fileURL":4,"image":4,"markDefs":37086,"style":18},"d86b3e086971",[37083],{"_key":37084,"_type":13,"marks":37085,"text":25},"8e924e6ce42e0",[],[],{"_key":37088,"_type":9,"audioURL":4,"children":37089,"fileURL":4,"image":4,"markDefs":37094,"style":18},"6289f3df6b8a",[37090],{"_key":37091,"_type":13,"marks":37092,"text":37093},"d7fc8a33e3e40",[],"The results of this “cautious investigation” were that it was safer to stay as we were with Chipmunk Basic. If the green boxes were drawn to scale the screen would overflow and besides, the durations of those boxes were clearly shown by numbers which were easy for me to use.",[],{"_key":37096,"_type":9,"audioURL":4,"children":37097,"fileURL":4,"image":4,"markDefs":37101,"style":18},"38e28f5e7510",[37098],{"_key":37099,"_type":13,"marks":37100,"text":25},"733849810a670",[],[],{"_key":37103,"_type":9,"audioURL":4,"children":37104,"fileURL":4,"image":4,"markDefs":37109,"style":18},"ead8438eea6a",[37105],{"_key":37106,"_type":13,"marks":37107,"text":37108},"b90beda581840",[],"22. 05. 25, Email from Kit: ",[],{"_key":37111,"_type":9,"audioURL":4,"children":37112,"fileURL":4,"image":4,"markDefs":37117,"style":634},"1fada90d0774",[37113],{"_key":37114,"_type":13,"marks":37115,"text":37116},"f93097a26bb2",[],"Nearly a week has elapsed since I started on M4 and am half way through. The fact that the green bits (M3s) don’t show the correct length is in fact no problem at all.",[],{"_key":37119,"_type":9,"audioURL":4,"children":37120,"fileURL":4,"image":4,"markDefs":37124,"style":634},"d307a5f147ab",[37121],{"_key":37122,"_type":13,"marks":37123,"text":25},"b21febdb61690",[],[],{"_key":37126,"_type":9,"audioURL":4,"children":37127,"fileURL":4,"image":4,"markDefs":37132,"style":18},"459e1762a50f",[37128],{"_key":37129,"_type":13,"marks":37130,"text":37131},"1ae5394b00350",[],"Then on 2. 6. 25 came this horrifying message from Rod:",[],{"_key":37134,"_type":9,"audioURL":4,"children":37135,"fileURL":4,"image":4,"markDefs":37139,"style":18},"e74931974ce8",[37136],{"_key":37137,"_type":13,"marks":37138,"text":25},"1c780c3141210",[],[],{"_key":37141,"_type":9,"audioURL":4,"children":37142,"fileURL":4,"image":4,"markDefs":37147,"style":634},"0134b3e1bf09",[37143],{"_key":37144,"_type":13,"marks":37145,"text":37146},"67e887753bff0",[],"I think I’m having a stroke\nHave summoned aid\nRod",[],{"_key":37149,"_type":9,"audioURL":4,"children":37150,"fileURL":4,"image":4,"markDefs":37154,"style":634},"5cd9e8540864",[37151],{"_key":37152,"_type":13,"marks":37153,"text":25},"6eb129e7f5720",[],[],{"_key":37156,"_type":9,"audioURL":4,"children":37157,"fileURL":4,"image":4,"markDefs":37162,"style":18},"dd8ea4db5879",[37158],{"_key":37159,"_type":13,"marks":37160,"text":37161},"3d84c524db830",[],"At first stunned — how does one help a friend having a stroke on the other side of this globe? Then I rang Philip Woollaston who lives in Upper Moutere not far from Rod in Motueka. He tried ringing Rod’s sister Gwyneth, but she and her husband were in Australia on holiday. However the Nelson Public Hospital could confirm that he was there. Rod was indeed partly paralysed but it was good that he had reacted so quickly, the chances for a recovery were good.",[],{"_key":37164,"_type":9,"audioURL":4,"children":37165,"fileURL":4,"image":4,"markDefs":37169,"style":18},"04392c99912a",[37166],{"_key":37167,"_type":13,"marks":37168,"text":25},"6934d78898480",[],[],{"_key":37171,"_type":9,"audioURL":4,"children":37172,"fileURL":4,"image":4,"markDefs":37177,"style":18},"885576cbf64a",[37173],{"_key":37174,"_type":13,"marks":37175,"text":37176},"42110985f20f0",[],"Over the next few weeks I bombarded him with short emails and made it clear that we didn’t expect answers. Already, though, on the 9th of June he wrote a longish “reply” which shows how well his brain was still working:",[],{"_key":37179,"_type":9,"audioURL":4,"children":37180,"fileURL":4,"image":4,"markDefs":37184,"style":18},"dc4079873556",[37181],{"_key":37182,"_type":13,"marks":37183,"text":25},"24754af2d2c80",[],[],{"_key":37186,"_type":9,"audioURL":4,"children":37187,"fileURL":4,"image":4,"markDefs":37198,"style":18},"c663f34db7b0",[37188,37192,37195],{"_key":37189,"_type":13,"marks":37190,"text":37191},"a857aa1a77290",[],"09. 06. 25",{"_key":37193,"_type":13,"marks":37194,"text":2617},"b8c09567d059",[73],{"_key":37196,"_type":13,"marks":37197,"text":37037},"63cd1fca69c4",[],[],{"_key":37200,"_type":9,"audioURL":4,"children":37201,"fileURL":4,"image":4,"markDefs":37206,"style":634},"962845278cb9",[37202],{"_key":37203,"_type":13,"marks":37204,"text":37205},"71ab892843d4",[],"I came across a clue & solution in a cryptic crossword in the New Scientist which made me laugh. The clue is: musical dances seen in Persian upbringing, perhaps. 9 letters.\nI tried all sorts of tricks with “ballet” to see if it helped, but no. Eventually from filling in other things I decided that the last five letters were “balls”. At first I thought that accounted for “musical dances”, but eventually concluded that it was only “dances”, and that “musical” implied a singing stage performance, four letters, so ‘hair’. So we have “hairballs” for “musical dances”. “Persian” as in Persian cat. Upbringing as in throwing up.\nAnd of course hairballs are often found in cat vomit. What ingenuity went into constructing that clue!",[],{"_key":37208,"_type":9,"audioURL":4,"children":37209,"fileURL":4,"image":4,"markDefs":37213,"style":18},"29b89c658291",[37210],{"_key":37211,"_type":13,"marks":37212,"text":25},"5ef8cc2fc11e0",[],[],{"_key":37215,"_type":9,"audioURL":4,"children":37216,"fileURL":4,"image":4,"markDefs":37221,"style":18},"464500d0e6cc",[37217],{"_key":37218,"_type":13,"marks":37219,"text":37220},"a25d72507d6d",[],"10. 06. 25, Email from Kit:",[],{"_key":37223,"_type":9,"audioURL":4,"children":37224,"fileURL":4,"image":4,"markDefs":37238,"style":634},"a75150c18591",[37225,37229,37234],{"_key":37226,"_type":13,"marks":37227,"text":37228},"9d96b01a0e330",[],"Here is a “progress” report to M4. I have finished the 60 boxes of your M4-map and have decided that it needs a Coda! — and that the Coda needs a Codetta!! The Coda I wrote some time ago. It is a Fugue, since I wanted to quote Beethoven’s \"",{"_key":37230,"_type":13,"marks":37231,"text":37233},"9d96b01a0e331",[37232],"9625a7572874","Grosse Fuge",{"_key":37235,"_type":13,"marks":37236,"text":37237},"9d96b01a0e332",[],"”. Now for the Codetta I have made a tiny ChipMunk for just 8 boxes:",[37239],{"_key":37232,"_type":316,"href":37240},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FGrosse_Fuge",{"_key":37242,"_type":9,"audioURL":4,"children":37243,"fileURL":4,"image":4,"markDefs":37247,"style":18},"e42c670d506a",[37244],{"_key":37245,"_type":13,"marks":37246,"text":25},"9f97d8f95e64",[],[],{"_key":37249,"_type":9,"audioURL":4,"children":37250,"fileURL":4,"image":4,"markDefs":37255,"style":634},"c0fe3dc3c8a8",[37251],{"_key":37252,"_type":13,"marks":37253,"text":37254},"466381bc274f0",[],"I even notated it à la Harries.",[],{"_key":37257,"_type":9,"audioURL":4,"children":37258,"fileURL":4,"image":4,"markDefs":37263,"style":634},"c5d8f2e39a24",[37259],{"_key":37260,"_type":13,"marks":37261,"text":37262},"d92e5e753c8b0",[],"… and the version I chose is this:",[],{"_key":37265,"_type":9,"audioURL":4,"children":37266,"fileURL":4,"image":4,"markDefs":37270,"style":18},"4197cbc0f13e",[37267],{"_key":37268,"_type":13,"marks":37269,"text":25},"4b093183a6970",[],[],{"_key":37272,"_type":9,"audioURL":4,"children":37273,"fileURL":4,"image":4,"markDefs":37278,"style":634},"30594d987e50",[37274],{"_key":37275,"_type":13,"marks":37276,"text":37277},"e42a6ad4bb1a0",[],"Bar 89A3 LC1 = 69 C2 = 37 R = 5 B1 = 8 -",[],{"_key":37280,"_type":9,"audioURL":4,"children":37281,"fileURL":4,"image":4,"markDefs":37286,"style":634},"d812e0cc62d1",[37282],{"_key":37283,"_type":13,"marks":37284,"text":37285},"9190ea15b9050",[],"Bar 91A3 HC1 = 47 C2 = 52 R = 8 B1 = 4 -",[],{"_key":37288,"_type":9,"audioURL":4,"children":37289,"fileURL":4,"image":4,"markDefs":37294,"style":634},"553bc9d277ef",[37290],{"_key":37291,"_type":13,"marks":37292,"text":37293},"7bd447b178600",[],"Bar 93A2 LC1 = 62 C2 = 31 R = 13 B1 = 3 -",[],{"_key":37296,"_type":9,"audioURL":4,"children":37297,"fileURL":4,"image":4,"markDefs":37302,"style":634},"bee588538f6e",[37298],{"_key":37299,"_type":13,"marks":37300,"text":37301},"294fc7c316620",[],"Bar 95A1 MC1 = 60 C2 = 69 R = 5 B1 = 6 -",[],{"_key":37304,"_type":9,"audioURL":4,"children":37305,"fileURL":4,"image":4,"markDefs":37310,"style":634},"d6c051afb62b",[37306],{"_key":37307,"_type":13,"marks":37308,"text":37309},"24d9245253fe0",[],"Bar 97A3 HC1 = 47 C2 = 17 R = 13 B1 = 7 +",[],{"_key":37312,"_type":9,"audioURL":4,"children":37313,"fileURL":4,"image":4,"markDefs":37318,"style":634},"d2b3053a1f35",[37314],{"_key":37315,"_type":13,"marks":37316,"text":37317},"9b3edce567080",[],"Bar 99A1 HC1 = 14 C2 = 11 R = 13 B1 = 7 -",[],{"_key":37320,"_type":9,"audioURL":4,"children":37321,"fileURL":4,"image":4,"markDefs":37326,"style":634},"1b53dcbe32c0",[37322],{"_key":37323,"_type":13,"marks":37324,"text":37325},"abba99f229650",[],"Bar 101A3 HC1 = 28 C2 = 62 R = 13 B1 = 1 +",[],{"_key":37328,"_type":9,"audioURL":4,"children":37329,"fileURL":4,"image":4,"markDefs":37334,"style":634},"f413914d0338",[37330],{"_key":37331,"_type":13,"marks":37332,"text":37333},"ffa58db2486e0",[],"Bar 103A3 MC1 = 32 C2 = 41 R = 13 Final Bar",[],{"_key":37336,"_type":9,"audioURL":4,"children":37337,"fileURL":4,"image":4,"markDefs":37341,"style":18},"b7b914b0b083",[37338],{"_key":37339,"_type":13,"marks":37340,"text":25},"d5510f21552a0",[],[],{"_key":37343,"_type":9,"audioURL":4,"children":37344,"fileURL":4,"image":4,"markDefs":37349,"style":634},"4e2cb47d7949",[37345],{"_key":37346,"_type":13,"marks":37347,"text":37348},"abec72a32e020",[],"And if you want to know what the Beethoven theme is, it is in the link above as the first of “Other motifs” both as notation and as sounds.",[],{"_key":37351,"_type":9,"audioURL":4,"children":37352,"fileURL":4,"image":4,"markDefs":37356,"style":634},"2f3de966f9be",[37353],{"_key":37354,"_type":13,"marks":37355,"text":25},"657f696465f8",[],[],{"_key":37358,"_type":9,"audioURL":4,"children":37359,"fileURL":4,"image":4,"markDefs":37364,"style":634},"780866257b7f",[37360],{"_key":37361,"_type":13,"marks":37362,"text":37363},"9a812b17a8db0",[],"As soon as I have finished the Codetta I shall try and turn the whole thing into sounds and if they are not too doridiculous you will hear them. I suspect this might take some time, hopefully (for you) more time than you will be in hospital.",[],{"_key":37366,"_type":9,"audioURL":4,"children":37367,"fileURL":4,"image":4,"markDefs":37371,"style":634},"742cf266b1c0",[37368],{"_key":37369,"_type":13,"marks":37370,"text":25},"cf997ee97cf0",[],[],{"_key":37373,"_type":9,"audioURL":4,"children":37374,"fileURL":4,"image":4,"markDefs":37379,"style":18},"d3d7c7f2596e",[37375],{"_key":37376,"_type":13,"marks":37377,"text":37378},"494abd91fea20",[],"14. 06. 25, Email from Kit:",[],{"_key":37381,"_type":9,"audioURL":4,"children":37382,"fileURL":4,"image":4,"markDefs":37387,"style":634},"4f3fa6c58367",[37383],{"_key":37384,"_type":13,"marks":37385,"text":37386},"dfd30ddc9a860",[],"I have been listening to the first “complete” version of M4 (plus coda and codetta) and am coming sadly (after lots of work) to the opinion that it is too long.",[],{"_key":37389,"_type":9,"audioURL":4,"children":37390,"fileURL":4,"image":4,"markDefs":37394,"style":634},"28b6de4dbd3e",[37391],{"_key":37392,"_type":13,"marks":37393,"text":25},"1e9f18b6bcb50",[],[],{"_key":37396,"_type":9,"audioURL":4,"children":37397,"fileURL":4,"image":4,"markDefs":37402,"style":18},"4c6bfe345abe",[37398],{"_key":37399,"_type":13,"marks":37400,"text":37401},"ac0c2fa882380",[],"I therefore asked Rod what I should change in the program for the “map” of M4 to reduce the 20 sections to 16.",[],{"_key":37404,"_type":9,"audioURL":4,"children":37405,"fileURL":4,"image":4,"markDefs":37409,"style":18},"4d75ceff84b8",[37406],{"_key":37407,"_type":13,"marks":37408,"text":25},"070569dc5277",[],[],{"_key":37411,"_type":9,"audioURL":4,"children":37412,"fileURL":4,"image":4,"markDefs":37416,"style":18},"d19f698656f3",[37413],{"_key":37414,"_type":13,"marks":37415,"text":37378},"946d88f0b7d8",[],[],{"_key":37418,"_type":9,"audioURL":4,"children":37419,"fileURL":4,"image":4,"markDefs":37424,"style":634},"3dc7df9c291e",[37420],{"_key":37421,"_type":13,"marks":37422,"text":37423},"b795327b8a900",[],"In Quart4V10 you wrote: ‘Each section is divided into 20 sub-sections which are called herein ‘boxes’ {box}",[],{"_key":37426,"_type":9,"audioURL":4,"children":37427,"fileURL":4,"image":4,"markDefs":37431,"style":634},"1644c9b544cb",[37428],{"_key":37429,"_type":13,"marks":37430,"text":25},"3a0113339567",[],[],{"_key":37433,"_type":9,"audioURL":4,"children":37434,"fileURL":4,"image":4,"markDefs":37439,"style":634},"4a22327f348c",[37435],{"_key":37436,"_type":13,"marks":37437,"text":37438},"81724ba794090",[],"Perhaps 16 sub-sectionsmight be better. I might try (with a heavy heart) to find where that 20 is mentioned and see if I can change it.",[],{"_key":37441,"_type":9,"audioURL":4,"children":37442,"fileURL":4,"image":4,"markDefs":37446,"style":634},"525ca01a87cd",[37443],{"_key":37444,"_type":13,"marks":37445,"text":25},"78fb4f51a665",[],[],{"_key":37448,"_type":9,"audioURL":4,"children":37449,"fileURL":4,"image":4,"markDefs":37454,"style":634},"b8d1f96c574b",[37450],{"_key":37451,"_type":13,"marks":37452,"text":37453},"20759b7e9e1a0",[],"Both the Coda and the Codetta contain quotes from Beethoven’s “Grosse Fuge” which work well I think. This gives rise to a new question: Should a theme or themes from that work also appear earlier? No one has answered that yet.",[],{"_key":37456,"_type":9,"audioURL":4,"children":37457,"fileURL":4,"image":4,"markDefs":37461,"style":18},"77435113a2df",[37458],{"_key":37459,"_type":13,"marks":37460,"text":25},"d591469015780",[],[],{"_key":37463,"_type":9,"audioURL":4,"children":37464,"fileURL":4,"image":4,"markDefs":37469,"style":18},"bb03ec19bc8c",[37465],{"_key":37466,"_type":13,"marks":37467,"text":37468},"3b148b4381d30",[],"15. 06. 25, Email from Rod:",[],{"_key":37471,"_type":9,"audioURL":4,"children":37472,"fileURL":4,"image":4,"markDefs":37477,"style":634},"ffc702fd5c79",[37473],{"_key":37474,"_type":13,"marks":37475,"text":37476},"70fb6ab925880",[],"I’ll make this short because G&B are coming.\nI think there is an outer for-loop going 1 to 3 or 0 to 2\nInside that there is probably a ‘select case …’\nEach ‘case’ inside the select probably calls a subroutine\nSo you need to find those subroutines\nThey will each have a for-loop probably going 1 to 20\nOn reflection I am pretty sure the outer loop is 0 to 2\nAnyhow you need to change the upper limit of those three inner loops\nI imagine Philip could find them easily.",[],{"_key":37479,"_type":9,"audioURL":4,"children":37480,"fileURL":4,"image":4,"markDefs":37484,"style":18},"783eed5b74f5",[37481],{"_key":37482,"_type":13,"marks":37483,"text":25},"35f70b9316180",[],[],{"_key":37486,"_type":9,"audioURL":4,"children":37487,"fileURL":4,"image":4,"markDefs":37492,"style":18},"b8fffccc6965",[37488],{"_key":37489,"_type":13,"marks":37490,"text":37491},"1ed5e185abf80",[],"15. 06. 25, Email from Kit:",[],{"_key":37494,"_type":9,"audioURL":4,"children":37495,"fileURL":4,"image":4,"markDefs":37500,"style":634},"b930f844fcef",[37496],{"_key":37497,"_type":13,"marks":37498,"text":37499},"eeaa802c53960",[],"Merci for those lines about M4. You are right, Philip found the place to change quite quickly. I had spent a half hour studying the text and looking for the number 20 without success. I had completely forgotten that you had (at my request) reduced the size of the 2nd section and so the number 20 was no longer present.",[],{"_key":37502,"_type":9,"audioURL":4,"children":37503,"fileURL":4,"image":4,"markDefs":37508,"style":634},"83796adb9275",[37504],{"_key":37505,"_type":13,"marks":37506,"text":37507},"b93e82093b2e0",[],"All I had to do was to change",[],{"_key":37510,"_type":9,"audioURL":4,"children":37511,"fileURL":4,"image":4,"markDefs":37516,"style":634},"ecb22587a509",[37512],{"_key":37513,"_type":13,"marks":37514,"text":37515},"8215b781b176",[],"144 case 0 : exb = 1 : adb = 25",[],{"_key":37518,"_type":9,"audioURL":4,"children":37519,"fileURL":4,"image":4,"markDefs":37524,"style":634},"91f880e7e52d",[37520],{"_key":37521,"_type":13,"marks":37522,"text":37523},"7911474aa12c0",[],"146 case 1 : exb = 26 : adb = 35",[],{"_key":37526,"_type":9,"audioURL":4,"children":37527,"fileURL":4,"image":4,"markDefs":37532,"style":634},"591e99c0df6a",[37528],{"_key":37529,"_type":13,"marks":37530,"text":37531},"ed7476c928ad0",[],"148 case 2 : exb = 36 : adb = 60",[],{"_key":37534,"_type":9,"audioURL":4,"children":37535,"fileURL":4,"image":4,"markDefs":37540,"style":634},"c303820ed847",[37536],{"_key":37537,"_type":13,"marks":37538,"text":37539},"f8a7026e53800",[],"to",[],{"_key":37542,"_type":9,"audioURL":4,"children":37543,"fileURL":4,"image":4,"markDefs":37548,"style":634},"14dcc08a1888",[37544],{"_key":37545,"_type":13,"marks":37546,"text":37547},"297b876a346b0",[],"144 case 0 : exb = 1 : adb = 20",[],{"_key":37550,"_type":9,"audioURL":4,"children":37551,"fileURL":4,"image":4,"markDefs":37556,"style":634},"0a87fa3c2ff4",[37552],{"_key":37553,"_type":13,"marks":37554,"text":37555},"8dddf262d25b0",[],"146 case 1 : exb = 21 : adb = 28",[],{"_key":37558,"_type":9,"audioURL":4,"children":37559,"fileURL":4,"image":4,"markDefs":37564,"style":634},"fc83d47973ea",[37560],{"_key":37561,"_type":13,"marks":37562,"text":37563},"6a4863c74c4e0",[],"148 case 2 : exb = 29 : adb = 48",[],{"_key":37566,"_type":9,"audioURL":4,"children":37567,"fileURL":4,"image":4,"markDefs":37571,"style":634},"bdf4f0ebfb66",[37568],{"_key":37569,"_type":13,"marks":37570,"text":25},"2757d36718d60",[],[],{"_key":37573,"_type":9,"audioURL":4,"children":37574,"fileURL":4,"image":4,"markDefs":37579,"style":634},"b6434351a62f",[37575],{"_key":37576,"_type":13,"marks":37577,"text":37578},"fe1a192383ee0",[],"and it worked perfectly!",[],{"_key":37581,"_type":9,"audioURL":4,"children":37582,"fileURL":4,"image":4,"markDefs":37586,"style":634},"d167ce14d883",[37583],{"_key":37584,"_type":13,"marks":37585,"text":25},"b6ae913a6ff40",[],[],{"_key":37588,"_type":500,"alt":37589,"audioURL":4,"caption":37590,"fileURL":4,"image":37591,"markDefs":4},"50377fbe4579","Quart4V11-7X","Version with 48 \"boxes\". (15. June)",{"caption":4,"id":37592,"meta":37593,"parentID":4,"parentType":528,"url":37597},"7a24d8d80539107a0b5c7f6cd79ac0c07d6ea7c4",{"_type":506,"aspectRatio":37594,"height":37595,"width":37596},2.1545595054095825,1294,2788,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F7a24d8d80539107a0b5c7f6cd79ac0c07d6ea7c4-2788x1294.jpg",{"_key":37599,"_type":9,"audioURL":4,"children":37600,"fileURL":4,"image":4,"markDefs":37604,"style":18},"a116ff80e279",[37601],{"_key":37602,"_type":13,"marks":37603,"text":25},"ab230c2bcf940",[],[],{"_key":37606,"_type":9,"audioURL":4,"children":37607,"fileURL":4,"image":4,"markDefs":37616,"style":18},"087886970d6b",[37608,37612],{"_key":37609,"_type":13,"marks":37610,"text":37611},"f72ecedfd70c0",[],"19. 06. 25, Email from Rod entitled ",{"_key":37613,"_type":13,"marks":37614,"text":37615},"43a3fbff98de",[15],"Covid",[],{"_key":37618,"_type":9,"audioURL":4,"children":37619,"fileURL":4,"image":4,"markDefs":37624,"style":634},"509678d55857",[37620],{"_key":37621,"_type":13,"marks":37622,"text":37623},"59d46c6a0f080",[],"I’m positive though feeling ok. More later. Rod",[],{"_key":37626,"_type":9,"audioURL":4,"children":37627,"fileURL":4,"image":4,"markDefs":37631,"style":634},"a404c8ed43db",[37628],{"_key":37629,"_type":13,"marks":37630,"text":25},"0c2431282de50",[],[],{"_key":37633,"_type":9,"audioURL":4,"children":37634,"fileURL":4,"image":4,"markDefs":37639,"style":18},"9c9c584b7ae6",[37635],{"_key":37636,"_type":13,"marks":37637,"text":37638},"60b1eb8cc7230",[],"20. 06. 25, Email from Rod:",[],{"_key":37641,"_type":9,"audioURL":4,"children":37642,"fileURL":4,"image":4,"markDefs":37647,"style":634},"d6a95f1d3868",[37643],{"_key":37644,"_type":13,"marks":37645,"text":37646},"8cf2b320335f0",[],"Still feeling ok. I’m still in bed 8B but the original roommate has been brought back and the more recent one moved to safety – if there is any such thing now, because I think there are a lot of covid cases. I’ll keep you posted. Love, Rod",[],{"_key":37649,"_type":9,"audioURL":4,"children":37650,"fileURL":4,"image":4,"markDefs":37654,"style":18},"ee1b0f9733df",[37651],{"_key":37652,"_type":13,"marks":37653,"text":25},"15aa4a643c5c0",[],[],{"_key":37656,"_type":9,"audioURL":4,"children":37657,"fileURL":4,"image":4,"markDefs":37662,"style":18},"60d35f9d3f9f",[37658],{"_key":37659,"_type":13,"marks":37660,"text":37661},"8f5a3d9c55d20",[],"27. 06. 25: Email from Kit:",[],{"_key":37664,"_type":9,"audioURL":4,"children":37665,"fileURL":4,"image":4,"markDefs":37669,"style":18},"ea23e63ddb38",[37666],{"_key":37667,"_type":13,"marks":37668,"text":25},"8764ef66b8220",[],[],{"_key":37671,"_type":9,"audioURL":4,"children":37672,"fileURL":4,"image":4,"markDefs":37684,"style":634},"5543d9f6b9ef",[37673,37677,37681],{"_key":37674,"_type":13,"marks":37675,"text":37676},"bc0cf3dbad8a0",[],"I had shown M1 M2 and M3 to André Fischer my Music Theory, conductor and composer friend. He was quite positive about most of it, but thought it strange that the Viola played the ostinati in M2 throughout — why not divide the ostinato-part up among all 4 instruments? he asked. (see details above in ",{"_key":37678,"_type":13,"marks":37679,"text":37680},"07ab12d4fb22",[15],"Movement 2",{"_key":37682,"_type":13,"marks":37683,"text":12640},"cf811b44e881",[],[],{"_key":37686,"_type":9,"audioURL":4,"children":37687,"fileURL":4,"image":4,"markDefs":37692,"style":634},"17557039f3db",[37688],{"_key":37689,"_type":13,"marks":37690,"text":37691},"bc92eb51eaaa0",[],"I also asked some specific questions:",[],{"_key":37694,"_type":9,"audioURL":4,"children":37695,"fileURL":4,"image":4,"markDefs":37708,"style":634},"b7969f68af4c",[37696,37700,37704],{"_key":37697,"_type":13,"marks":37698,"text":37699},"77d457d55bcb0",[],"1. What do ",{"_key":37701,"_type":13,"marks":37702,"text":37703},"77d457d55bcb1",[15],"you",{"_key":37705,"_type":13,"marks":37706,"text":37707},"77d457d55bcb2",[]," think of the three movements in general? ",[],{"_key":37710,"_type":9,"audioURL":4,"children":37711,"fileURL":4,"image":4,"markDefs":37720,"style":634},"2156722dda4a",[37712,37716],{"_key":37713,"_type":13,"marks":37714,"text":37715},"743467db290f",[],"— ",{"_key":37717,"_type":13,"marks":37718,"text":37719},"6ad212f7e04e",[73],"great, I’m curious about the Finale that will follow.",[],{"_key":37722,"_type":9,"audioURL":4,"children":37723,"fileURL":4,"image":4,"markDefs":37728,"style":634},"e57c6c659fb8",[37724],{"_key":37725,"_type":13,"marks":37726,"text":37727},"930122b940ec0",[],"2. What look like “rehearsal\" numbers are in fact “construction” numbers. Should there be fewer of these for a performing score?",[],{"_key":37730,"_type":9,"audioURL":4,"children":37731,"fileURL":4,"image":4,"markDefs":37739,"style":634},"2e2fb8d2ee3b",[37732,37735],{"_key":37733,"_type":13,"marks":37734,"text":37715},"5bd56a0c8cbf",[],{"_key":37736,"_type":13,"marks":37737,"text":37738},"3f4e45323708",[73],"No, they’re fine and do not disturb my reading. ",[],{"_key":37741,"_type":9,"audioURL":4,"children":37742,"fileURL":4,"image":4,"markDefs":37747,"style":634},"a34372078337",[37743],{"_key":37744,"_type":13,"marks":37745,"text":37746},"d01406e0e65f0",[],"3. First Movement: I’m worried that the grouping of twos and threes at the fast speed might be terribly difficult to play. What do you think? ",[],{"_key":37749,"_type":9,"audioURL":4,"children":37750,"fileURL":4,"image":4,"markDefs":37758,"style":634},"cfbfbcc7d02c",[37751,37754],{"_key":37752,"_type":13,"marks":37753,"text":37715},"f710fe656550",[],{"_key":37755,"_type":13,"marks":37756,"text":37757},"d621b2694cd4",[73],"No worry about that!",[],{"_key":37760,"_type":9,"audioURL":4,"children":37761,"fileURL":4,"image":4,"markDefs":37766,"style":634},"7fb83e975c08",[37762],{"_key":37763,"_type":13,"marks":37764,"text":37765},"bf6bc40432120",[],"4. Second Movement: ",[],{"_key":37768,"_type":9,"audioURL":4,"children":37769,"fileURL":4,"image":4,"markDefs":37777,"style":634},"4b25c6fc052a",[37770,37773],{"_key":37771,"_type":13,"marks":37772,"text":37715},"7a85ce9c6bd9",[],{"_key":37774,"_type":13,"marks":37775,"text":37776},"a42d1d4e6441",[73],"OK I think see my comments above.",[],{"_key":37779,"_type":9,"audioURL":4,"children":37780,"fileURL":4,"image":4,"markDefs":37785,"style":634},"4cde521e2c0f",[37781],{"_key":37782,"_type":13,"marks":37783,"text":37784},"374e51d6df8c0",[],"5. Third Movement: The bars with 8 or 13 beats are also “construction” numbers. These would be better divided e.g: 8 = 4+4 and 13 = 3+3+3+4 for a performing score? ",[],{"_key":37787,"_type":9,"audioURL":4,"children":37788,"fileURL":4,"image":4,"markDefs":37796,"style":634},"b90fd700ac19",[37789,37792],{"_key":37790,"_type":13,"marks":37791,"text":37715},"3535fb875960",[],{"_key":37793,"_type":13,"marks":37794,"text":37795},"dc7c2a228639",[73],"Yes, the Perform - Full Score is much better to read.",[],{"_key":37798,"_type":9,"audioURL":4,"children":37799,"fileURL":4,"image":4,"markDefs":37804,"style":634},"226868438bb9",[37800],{"_key":37801,"_type":13,"marks":37802,"text":37803},"0daae127692e0",[],"6. Third Movement: Are all the down-bows possible at that fast speed? ",[],{"_key":37806,"_type":9,"audioURL":4,"children":37807,"fileURL":4,"image":4,"markDefs":37815,"style":634},"128985aac82c",[37808,37811],{"_key":37809,"_type":13,"marks":37810,"text":37715},"437a9145e444",[],{"_key":37812,"_type":13,"marks":37813,"text":37814},"699fc45e69ce",[73],"I would think so. Much more difficult in general are Pizzicato-passages at fast speed.",[],{"_key":37817,"_type":9,"audioURL":4,"children":37818,"fileURL":4,"image":4,"markDefs":37822,"style":18},"62cf84b3eff9",[37819],{"_key":37820,"_type":13,"marks":37821,"text":25},"b5fdfdde3fb30",[],[],{"_key":37824,"_type":9,"audioURL":4,"children":37825,"fileURL":4,"image":4,"markDefs":37830,"style":18},"944ff89b903a",[37826],{"_key":37827,"_type":13,"marks":37828,"text":37829},"4d54f173ee5c0",[],"07. 07. 25 Email from Rod:",[],{"_key":37832,"_type":9,"audioURL":4,"children":37833,"fileURL":4,"image":4,"markDefs":37838,"style":634},"936108cd4368",[37834],{"_key":37835,"_type":13,"marks":37836,"text":37837},"908087c33ea00",[],"Home. Toileted. Lunched. Warm. Quiet\nFree from shouting and crashing and being interrogated ",[],{"_key":37840,"_type":9,"audioURL":4,"children":37841,"fileURL":4,"image":4,"markDefs":37846,"style":634},"cecf30b6de27",[37842],{"_key":37843,"_type":13,"marks":37844,"text":37845},"662057623335",[],"about how I’m going to do that at home.\nWaiting for Alis to decide the coast is clear\nRod",[],{"_key":37848,"_type":9,"audioURL":4,"children":37849,"fileURL":4,"image":4,"markDefs":37853,"style":18},"97fcd16d9690",[37850],{"_key":37851,"_type":13,"marks":37852,"text":25},"8f706cb2215d0",[],[],{"_key":37855,"_type":9,"audioURL":4,"children":37856,"fileURL":4,"image":4,"markDefs":37861,"style":18},"95e00b27afa9",[37857],{"_key":37858,"_type":13,"marks":37859,"text":37860},"d2b49a14b1800",[],"24. 07. 25, Letter from Kit to André Fischer:",[],{"_key":37863,"_type":9,"audioURL":4,"children":37864,"fileURL":4,"image":4,"markDefs":37876,"style":634},"124a5d2263bb",[37865,37869,37872],{"_key":37866,"_type":13,"marks":37867,"text":37868},"d1d3bd1ebf7d",[],"\n… Originally the idea was (as in the “Plus One” of the “Three Chance Pieces\" for piano) to make the last movement with material from the first three movements — see the diagram below where blue is M1, red is M2 and green is M3. Suddenly it seemed that such an expectation could never be met with the same old stuff again! Then I remembered the comment of my old friend Nelson Wattie in Wellington to whom I had sent the same simulations which you heard. He asked: “Is there a quote from Beethoven’s ",{"_key":37870,"_type":13,"marks":37871,"text":37233},"d2b49a14b1803",[73],{"_key":37873,"_type":13,"marks":37874,"text":37875},"d2b49a14b1804",[],"\" in the first movement? Of course there wasn’t, but it set me thinking!",[],{"_key":37878,"_type":9,"audioURL":4,"children":37879,"fileURL":4,"image":4,"markDefs":37883,"style":634},"f0fbd148a4ec",[37880],{"_key":37881,"_type":13,"marks":37882,"text":25},"194bf7044d07",[],[],{"_key":37885,"_type":9,"audioURL":4,"children":37886,"fileURL":4,"image":4,"markDefs":37891,"style":634},"cca566e928e8",[37887],{"_key":37888,"_type":13,"marks":37889,"text":37890},"1b16c8a5e82c0",[],"Now come the following big questions to you, dear André: Does this M4 with its Beethoven allusions fulfil your expectations? Or does it leave you wondering \"why Beethoven?” and \"why only in M4? Why not earlier too?\" I am hoping for comforting answers since it sounds good to me now.",[],{"_key":37893,"_type":9,"audioURL":4,"children":37894,"fileURL":4,"image":4,"markDefs":37898,"style":634},"f1f914487a6c",[37895],{"_key":37896,"_type":13,"marks":37897,"text":25},"f672bb889fc8",[],[],{"_key":37900,"_type":9,"audioURL":4,"children":37901,"fileURL":4,"image":4,"markDefs":37906,"style":634},"86cecb1fe523",[37902],{"_key":37903,"_type":13,"marks":37904,"text":37905},"6778d38558590",[],"My only answer to “why Beethoven?” is that I admire the “Grosse Fuge\" greatly and it stands for me as one of the most important works in the whole string quartet literature.",[],{"_key":37908,"_type":9,"audioURL":4,"children":37909,"fileURL":4,"image":4,"markDefs":37913,"style":634},"b29cfe828422",[37910],{"_key":37911,"_type":13,"marks":37912,"text":25},"915f03299e37",[],[],{"_key":37915,"_type":9,"audioURL":4,"children":37916,"fileURL":4,"image":4,"markDefs":37921,"style":634},"cb7d16e41a83",[37917],{"_key":37918,"_type":13,"marks":37919,"text":37920},"915f39dd80990",[],"You may wonder why I have called this the shortened version. Originally I had a plan with 60 boxes. I completed this, but then found it much too long. I made a new plan with 48 boxes and completed this too, this time with the Beethoven quotes as well. I found this also too long, but felt that the Beethoven parts were good. So what I am sending you is the third version of M4 — (all this reminds me of Beethoven’s struggle with his Leonore Overtures!):",[],{"_key":37923,"_type":9,"audioURL":4,"children":37924,"fileURL":4,"image":4,"markDefs":37928,"style":634},"ef753fd1525f",[37925],{"_key":37926,"_type":13,"marks":37927,"text":25},"d6671d3fd374",[],[],{"_key":37930,"_type":9,"audioURL":4,"children":37931,"fileURL":4,"image":4,"markDefs":37936,"style":634},"0a6001aa76f4",[37932],{"_key":37933,"_type":13,"marks":37934,"text":37935},"6278a08a22960",[],"NB.: Before box1 of the diagram below is a seven bar Introduction (a distorted version of the opening of the “Grosse Fuge”) and after the last box (38 — new numbers) is an extended Coda (numbers 39 to 44), a fugue combining my material with Beethoven’s.",[],{"_key":37938,"_type":9,"audioURL":4,"children":37939,"fileURL":4,"image":4,"markDefs":37943,"style":634},"a438c603f8ed",[37940],{"_key":37941,"_type":13,"marks":37942,"text":25},"684c28b8486a",[],[],{"_key":37945,"_type":9,"audioURL":4,"children":37946,"fileURL":4,"image":4,"markDefs":37951,"style":634},"7a6f55a85f7c",[37947],{"_key":37948,"_type":13,"marks":37949,"text":37950},"d15e47ae4eef0",[],"Black crosses in the boxes below show what has been crossed out from the “48 box” plan.",[],{"_key":37953,"_type":9,"audioURL":4,"children":37954,"fileURL":4,"image":4,"markDefs":37958,"style":18},"a92e9bdf719a",[37955],{"_key":37956,"_type":13,"marks":37957,"text":25},"974bab539bf6",[],[],{"_key":37960,"_type":500,"alt":37961,"audioURL":4,"caption":37962,"fileURL":4,"image":37963,"markDefs":4},"67b1d25f660c","Quart4V11-6X Shortened","Shortened 48-Box Plan",{"caption":4,"id":37964,"meta":37965,"parentID":4,"parentType":528,"url":37966},"28d058aed42ca3ec41e7b5cb50e557989f8ef834",{"_type":506,"aspectRatio":37594,"height":37595,"width":37596},"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F28d058aed42ca3ec41e7b5cb50e557989f8ef834-2788x1294.jpg",{"_key":37968,"_type":9,"audioURL":4,"children":37969,"fileURL":4,"image":4,"markDefs":37974,"style":18},"1628a0b2053c",[37970],{"_key":37971,"_type":13,"marks":37972,"text":37973},"0529c936b7460",[],"And André’s reply:",[],{"_key":37976,"_type":9,"audioURL":4,"children":37977,"fileURL":4,"image":4,"markDefs":37982,"style":634},"51b84062db44",[37978],{"_key":37979,"_type":13,"marks":37980,"text":37981},"e7793178dbb50",[],"I listened to the first three movements again in context and then to the new fourth. My first impression (and it's always important) can be summarized as follows:",[],{"_key":37984,"_type":9,"audioURL":4,"children":37985,"fileURL":4,"image":4,"markDefs":37990,"style":634},"e3e4c09dfcf6",[37986],{"_key":37987,"_type":13,"marks":37988,"text":37989},"ea1c3e2dc6250",[],"I hear material from movement 3 too early (already starting with figure 2), too much, and too often (the same old stuff, in fact).",[],{"_key":37992,"_type":9,"audioURL":4,"children":37993,"fileURL":4,"image":4,"markDefs":37998,"style":634},"5017b49bd1e9",[37994],{"_key":37995,"_type":13,"marks":37996,"text":37997},"6b6b30b314d70",[],"The single quotation from movement 2 (figure 13) seems incoherent, lost, and not understandable to me at this point.",[],{"_key":38000,"_type":9,"audioURL":4,"children":38001,"fileURL":4,"image":4,"markDefs":38006,"style":634},"590ab8090ca8",[38002],{"_key":38003,"_type":13,"marks":38004,"text":38005},"daa900f2cc230",[],"movement 4 is a conglomerate overall: too disparate, lacking the (unifying) feature that the other movements all have.",[],{"_key":38008,"_type":9,"audioURL":4,"children":38009,"fileURL":4,"image":4,"markDefs":38013,"style":634},"206b7cf33e8a",[38010],{"_key":38011,"_type":13,"marks":38012,"text":25},"1df8b70416cb0",[],[],{"_key":38015,"_type":9,"audioURL":4,"children":38016,"fileURL":4,"image":4,"markDefs":38021,"style":634},"99e49fd9ad69",[38017],{"_key":38018,"_type":13,"marks":38019,"text":38020},"cd04ee1ce07a0",[],"And here's what I like:",[],{"_key":38023,"_type":9,"audioURL":4,"children":38024,"fileURL":4,"image":4,"markDefs":38029,"style":634},"3a0316fff4c8",[38025],{"_key":38026,"_type":13,"marks":38027,"text":38028},"fbc0a7df834e0",[],"The beginning (connection to movement 3).",[],{"_key":38031,"_type":9,"audioURL":4,"children":38032,"fileURL":4,"image":4,"markDefs":38037,"style":634},"efceb7e5583e",[38033],{"_key":38034,"_type":13,"marks":38035,"text":38036},"846ea6e0335f0",[],"Figure 15-20 (because this passage has drive).",[],{"_key":38039,"_type":9,"audioURL":4,"children":38040,"fileURL":4,"image":4,"markDefs":38045,"style":634},"3d69c1c1458d",[38041],{"_key":38042,"_type":13,"marks":38043,"text":38044},"d46a252f602a0",[],"Figure 38 (because, due to the omission of the references, the old stuff material reveals itself from a new perspective... which then becomes unnecessarily repeated at the end of the movement).",[],{"_key":38047,"_type":9,"audioURL":4,"children":38048,"fileURL":4,"image":4,"markDefs":38053,"style":634},"a2d3b94a17d7",[38049],{"_key":38050,"_type":13,"marks":38051,"text":38052},"7ab5bc6f88f10",[],"the coda, where the (up to three) counterpunctual voices are too dense, too dominant for me (they distract me too much from the subject).",[],{"_key":38055,"_type":9,"audioURL":4,"children":38056,"fileURL":4,"image":4,"markDefs":38061,"style":634},"fb2540f017a6",[38057],{"_key":38058,"_type":13,"marks":38059,"text":38060},"d074907d878c0",[],"What I would try if I had the right to arrange ;-):",[],{"_key":38063,"_type":9,"audioURL":4,"children":38064,"fileURL":4,"image":4,"markDefs":38069,"style":634},"1ed908d8a45f",[38065],{"_key":38066,"_type":13,"marks":38067,"text":38068},"0ea805b548540",[],"give the material from movement 3 a new rhythm from the beginning, so that it doesn't seem like a quotation at all, e.g., a sixteenth-note (instead of eighth-note) cadence or triplet (basic shuffle rhythm). This new rhythm could then be reversed (made Lombard-like) and combined into variations from the original and the retrograde.",[],{"_key":38071,"_type":9,"audioURL":4,"children":38072,"fileURL":4,"image":4,"markDefs":38077,"style":634},"a1088b7bc580",[38073],{"_key":38074,"_type":13,"marks":38075,"text":38076},"a3a942754fde0",[],"gradually intersperse (prepare) the ostinato from movement 2 starting at figure 12 and present it only in fragments, e.g., shortened to a maximum of three continuous eighth notes, interrupted by rests of varying lengths. It would then no longer be a quotation, but merely a (subtle) allusion to movement 2.",[],{"_key":38079,"_type":9,"audioURL":4,"children":38080,"fileURL":4,"image":4,"markDefs":38085,"style":634},"acad43b6737b",[38081],{"_key":38082,"_type":13,"marks":38083,"text":38084},"f4b838af7a170",[],"Loosen up the contrapuntal voices of the coda (e.g., intersperse them with rests) so that the subject comes across better. Generally, have this subject played in unison by two instruments each (in unison, in octaves, several octaves apart, etc.).",[],{"_key":38087,"_type":9,"audioURL":4,"children":38088,"fileURL":4,"image":4,"markDefs":38093,"style":634},"65bf464c5f41",[38089],{"_key":38090,"_type":13,"marks":38091,"text":38092},"e72f1c68f4d70",[],"These are a few ideas, very casual, half-baked, as a spontaneous reaction to my first impression...",[],{"_key":38095,"_type":9,"audioURL":4,"children":38096,"fileURL":4,"image":4,"markDefs":38101,"style":634},"28f52e5302d4",[38097],{"_key":38098,"_type":13,"marks":38099,"text":38100},"9a8d70925af20",[],"... but perhaps they will inspire you for Leonore #4 ;-)?",[],{"_key":38103,"_type":9,"audioURL":4,"children":38104,"fileURL":4,"image":4,"markDefs":38109,"style":18},"1b37ad12e144",[38105],{"_key":38106,"_type":13,"marks":38107,"text":38108},"ad558d0f55b2",[],"      ",[],{"_key":38111,"_type":9,"audioURL":4,"children":38112,"fileURL":4,"image":4,"markDefs":38117,"style":18},"863c9fd42166",[38113],{"_key":38114,"_type":13,"marks":38115,"text":38116},"1ad5689fb0930",[],"As always, I find André’s criticisms very useful, even when I don’t agree with everything he says. What I changed was a different selection of the “boxes” so that there was more than one quote of M2 and I made a decorated version (triplets in the violin parts) of M3 which made these so much more interesting that I later went back and added similar “decorations” to M3 itself.",[],{"_key":38119,"_type":9,"audioURL":4,"children":38120,"fileURL":4,"image":4,"markDefs":38125,"style":18},"2cb5552f45fe",[38121],{"_key":38122,"_type":13,"marks":38123,"text":38124},"30b5807852070",[],"His criticism of the contrapuntal writing in the“Coda” also made me thin out the texture slightly but the main problem with the lack of clarity was solved with the dynamics. Here is what the final version of the “map” looks like:",[],{"_key":38127,"_type":9,"audioURL":4,"children":38128,"fileURL":4,"image":4,"markDefs":38132,"style":18},"b9f09f342bb8",[38129],{"_key":38130,"_type":13,"marks":38131,"text":25},"dcd51c776e220",[],[],{"_key":38134,"_type":500,"alt":38135,"audioURL":4,"caption":38136,"fileURL":4,"image":38137,"markDefs":4},"21de1dd0a57d","M4 V11-8 - 1X Map","Final Shortened Version of M4 48-Box-Map",{"caption":4,"id":38138,"meta":38139,"parentID":4,"parentType":528,"url":38140},"c79bfb6359170beb3d0986dc3dc59d10e0c1f2fb",{"_type":506,"aspectRatio":22570,"height":22571,"width":22572},"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fc79bfb6359170beb3d0986dc3dc59d10e0c1f2fb-1663x1176.jpg",{"_key":38142,"_type":9,"audioURL":4,"children":38143,"fileURL":4,"image":4,"markDefs":38147,"style":18},"10171953616b",[38144],{"_key":38145,"_type":13,"marks":38146,"text":25},"ea90da6d85cd0",[],[],{"_key":38149,"_type":9,"audioURL":4,"children":38150,"fileURL":4,"image":4,"markDefs":38155,"style":18},"be7b956d17ee",[38151],{"_key":38152,"_type":13,"marks":38153,"text":38154},"2dd7221f8fbf0",[],"André 07. 08. 25:",[],{"_key":38157,"_type":9,"audioURL":4,"children":38158,"fileURL":4,"image":4,"markDefs":38163,"style":634},"229fedbae3c4",[38159],{"_key":38160,"_type":13,"marks":38161,"text":38162},"15e7820bab660",[],"We're still in Eglisau, but we're leaving for Slovenia this Saturday for a good week.",[],{"_key":38165,"_type":9,"audioURL":4,"children":38166,"fileURL":4,"image":4,"markDefs":38170,"style":634},"ecd3a82d003c",[38167],{"_key":38168,"_type":13,"marks":38169,"text":25},"611347ee9e97",[],[],{"_key":38172,"_type":9,"audioURL":4,"children":38173,"fileURL":4,"image":4,"markDefs":38178,"style":634},"ed5d88d1e3aa",[38174],{"_key":38175,"_type":13,"marks":38176,"text":38177},"e4d94aae1ec20",[],"Movement 4 is now really much better. I find it absolutely convincing up to figure 24. It continually builds tension, and overall, one feels like one is in a very long introduction. Then comes the clearly recognizable, good quotation from movement 2, but I would also quote tempo 70 here (at figure 24), because tempo 80 doesn't provide any contrast with basic paragraph 160. However, such a quotation would be appropriate and necessary after the long introduction.",[],{"_key":38180,"_type":9,"audioURL":4,"children":38181,"fileURL":4,"image":4,"markDefs":38185,"style":634},"ec86ec230a1d",[38182],{"_key":38183,"_type":13,"marks":38184,"text":25},"39b82b4d88d5",[],[],{"_key":38187,"_type":9,"audioURL":4,"children":38188,"fileURL":4,"image":4,"markDefs":38193,"style":634},"fc86bfc4a874",[38189],{"_key":38190,"_type":13,"marks":38191,"text":38192},"3a56546511900",[],"After figure 29, I would jump directly to figure 35: Sections 30-35 offer too little new for me and are a slowing-down conglomeration, which you have otherwise eliminated. An extended unison passage, figures 29 and 35, on the other hand, would give the movement momentum.",[],{"_key":38195,"_type":9,"audioURL":4,"children":38196,"fileURL":4,"image":4,"markDefs":38201,"style":634},"0710e9b71ff7",[38197],{"_key":38198,"_type":13,"marks":38199,"text":38200},"3cdd0a2f20610",[],"Fugue: interesting and good!",[],{"_key":38203,"_type":9,"audioURL":4,"children":38204,"fileURL":4,"image":4,"markDefs":38209,"style":634},"8648f1818aa4",[38205],{"_key":38206,"_type":13,"marks":38207,"text":38208},"dabf0fd2fa6c0",[],"Conclusion: I'd add a quiet, fading fermata, but I don't know why exactly...",[],{"_key":38211,"_type":9,"audioURL":4,"children":38212,"fileURL":4,"image":4,"markDefs":38216,"style":634},"af62a53f54fe",[38213],{"_key":38214,"_type":13,"marks":38215,"text":25},"315f8e2a8ac60",[],[],{"_key":38218,"_type":9,"audioURL":4,"children":38219,"fileURL":4,"image":4,"markDefs":38224,"style":634},"940d06d1ccc3",[38220],{"_key":38221,"_type":13,"marks":38222,"text":38223},"44e1c93dc1c80",[],"So, that's my quick first impression. ",[],{"_key":38226,"_type":9,"audioURL":4,"children":38227,"fileURL":4,"image":4,"markDefs":38232,"style":634},"84d59b95a003",[38228],{"_key":38229,"_type":13,"marks":38230,"text":38231},"71d710da8f33",[],"I hope it inspires you to play Leonore 4b ;-)",[],{"_key":38234,"_type":9,"audioURL":4,"children":38235,"fileURL":4,"image":4,"markDefs":38239,"style":18},"7c64c2109ed7",[38236],{"_key":38237,"_type":13,"marks":38238,"text":25},"4081565a73e80",[],[],{"_key":38241,"_type":9,"audioURL":4,"children":38242,"fileURL":4,"image":4,"markDefs":38247,"style":18},"152318d52c4e",[38243],{"_key":38244,"_type":13,"marks":38245,"text":38246},"49faec758e8a0",[],"Kit, 09. 08. 25 to André:",[],{"_key":38249,"_type":9,"audioURL":4,"children":38250,"fileURL":4,"image":4,"markDefs":38255,"style":634},"5178f485a18f",[38251],{"_key":38252,"_type":13,"marks":38253,"text":38254},"86f071e41dbc0",[],"First many thanks that you found the time for Deinen \"ersten Eindruck”.\nThe most important “fact” for me is that you see everything that comes before the fugue as Introduction.\nUp till now I have seen the fourth movement as it looks on the “Map”:",[],{"_key":38257,"_type":9,"audioURL":4,"children":38258,"fileURL":4,"image":4,"markDefs":38263,"style":634},"8af15d786436",[38259],{"_key":38260,"_type":13,"marks":38261,"text":38262},"218ebc0122e1",[],"(1) a short introduction (Beethoven), ",[],{"_key":38265,"_type":9,"audioURL":4,"children":38266,"fileURL":4,"image":4,"markDefs":38271,"style":634},"80a6fd81f8b5",[38267],{"_key":38268,"_type":13,"marks":38269,"text":38270},"cad8c41488a0",[],"(2) a biggish middle part (Powell) and ",[],{"_key":38273,"_type":9,"audioURL":4,"children":38274,"fileURL":4,"image":4,"markDefs":38279,"style":634},"b0808a840164",[38275],{"_key":38276,"_type":13,"marks":38277,"text":38278},"a4ac6f1da886",[],"(3) an extended Coda (the fugue)",[],{"_key":38281,"_type":9,"audioURL":4,"children":38282,"fileURL":4,"image":4,"markDefs":38287,"style":634},"29a20c871e79",[38283],{"_key":38284,"_type":13,"marks":38285,"text":38286},"02ff2393cd740",[],"Seeing M4 in this new way: “A long introduction to the Fugue as main statement” made a big difference. ",[],{"_key":38289,"_type":9,"audioURL":4,"children":38290,"fileURL":4,"image":4,"markDefs":38294,"style":18},"cabea52347ab",[38291],{"_key":38292,"_type":13,"marks":38293,"text":25},"1afb029d7608",[],[],{"_key":38296,"_type":9,"audioURL":4,"children":38297,"fileURL":4,"image":4,"markDefs":38302,"style":18},"90f1e9b92a0c",[38298],{"_key":38299,"_type":13,"marks":38300,"text":38301},"473789030dee",[15],"The Fugue was no longer merely a Coda it was the Goal of the whole movement.",[],{"_key":38304,"_type":9,"audioURL":4,"children":38305,"fileURL":4,"image":4,"markDefs":38310,"style":18},"0eb3b60fb2d1",[38306],{"_key":38307,"_type":13,"marks":38308,"text":38309},"b4b673a7b0c30",[],"I therefore added a short stretto into the fugue where the “Monday 1” theme appears with its inversion, and I added a “quiet, fading fermata” as André had suggested.",[],{"_key":38312,"_type":9,"audioURL":4,"children":38313,"fileURL":4,"image":4,"markDefs":38317,"style":18},"c3d635b2b36f",[38314],{"_key":38315,"_type":13,"marks":38316,"text":25},"05a44915c66d0",[],[],{"_key":38319,"_type":9,"audioURL":4,"children":38320,"fileURL":4,"image":4,"markDefs":38325,"style":18},"7cb1aadb3bb8",[38321],{"_key":38322,"_type":13,"marks":38323,"text":38324},"9d3ae36f0b4a0",[],"24. 08. 25, Email to Rod: ",[],{"_key":38327,"_type":9,"audioURL":4,"children":38328,"fileURL":4,"image":4,"markDefs":38333,"style":634},"c47f1f313915",[38329],{"_key":38330,"_type":13,"marks":38331,"text":38332},"4c680654b01e",[],"I have spent the last few days looking back at M1 with horror. I started thinking I must make sure that the tempi are the same as when it is quoted in M4 and then noticed that I had two quite different versions of M1. I shall make sure that the new one is the definitive one. I think it is already much better than the old one. I’ll show it to you when I’m quite sure.",[],{"_key":38335,"_type":9,"audioURL":4,"children":38336,"fileURL":4,"image":4,"markDefs":38340,"style":634},"46510f5c8ab7",[38337],{"_key":38338,"_type":13,"marks":38339,"text":25},"924493121e230",[],[],{"_key":38342,"_type":9,"audioURL":4,"children":38343,"fileURL":4,"image":4,"markDefs":38348,"style":18},"ddc46867feda",[38344],{"_key":38345,"_type":13,"marks":38346,"text":38347},"9d311e7d5f380",[],"As already mentioned, I went back to see that all these changes were consistent with what had been heard earlier. This meant changing tempi in M1 and M2 as well as adding the decorative passages to Vn 1+2 to M3.",[],{"_key":38350,"_type":9,"audioURL":4,"children":38351,"fileURL":4,"image":4,"markDefs":38355,"style":18},"54ce2428e587",[38352],{"_key":38353,"_type":13,"marks":38354,"text":25},"f640edd4cccd0",[],[],[38357,38359,38361,38363,38365,38367,38369,38371,38373,38375,38377,38379,38381,38383],{"caption":35978,"id":35980,"meta":38358,"parentID":22317,"parentType":528,"url":35984},{"_type":506,"aspectRatio":35982,"height":12540,"width":35983},{"caption":36001,"id":36003,"meta":38360,"parentID":22317,"parentType":528,"url":36008},{"_type":506,"aspectRatio":36005,"height":36006,"width":36007},{"caption":36053,"id":36055,"meta":38362,"parentID":22317,"parentType":528,"url":36059},{"_type":506,"aspectRatio":36057,"height":20479,"width":36058},{"caption":36118,"id":36120,"meta":38364,"parentID":22317,"parentType":528,"url":36125},{"_type":506,"aspectRatio":36122,"height":36123,"width":36124},{"caption":36220,"id":36222,"meta":38366,"parentID":22317,"parentType":528,"url":36226},{"_type":506,"aspectRatio":36224,"height":984,"width":36225},{"caption":4,"id":36307,"meta":38368,"parentID":22317,"parentType":528,"url":36311},{"_type":506,"aspectRatio":36309,"height":9711,"width":36310},{"caption":36469,"id":36471,"meta":38370,"parentID":22317,"parentType":528,"url":36475},{"_type":506,"aspectRatio":36473,"height":22950,"width":36474},{"caption":4,"id":36629,"meta":38372,"parentID":22317,"parentType":528,"url":36634},{"_type":506,"aspectRatio":36631,"height":36632,"width":36633},{"caption":4,"id":36654,"meta":38374,"parentID":22317,"parentType":528,"url":36659},{"_type":506,"aspectRatio":36656,"height":36657,"width":36658},{"caption":36851,"id":36853,"meta":38376,"parentID":22317,"parentType":528,"url":36858},{"_type":506,"aspectRatio":36855,"height":36856,"width":36857},{"caption":36962,"id":36964,"meta":38378,"parentID":22317,"parentType":528,"url":36968},{"_type":506,"aspectRatio":36966,"height":25882,"width":36967},{"caption":37590,"id":37592,"meta":38380,"parentID":22317,"parentType":528,"url":37597},{"_type":506,"aspectRatio":37594,"height":37595,"width":37596},{"caption":37962,"id":37964,"meta":38382,"parentID":22317,"parentType":528,"url":37966},{"_type":506,"aspectRatio":37594,"height":37595,"width":37596},{"caption":38136,"id":38138,"meta":38384,"parentID":22317,"parentType":528,"url":38140},{"_type":506,"aspectRatio":22570,"height":22571,"width":22572},"One day in mid 2024 while considering what was possibly my most original work, I settled on \"Three Chance Pieces Plus One\" for piano (No. 47). I thought, if I were to extend the ideas of this work, it would be most interesting to use them for a string quartet. I decided to do this using the same \"cells\" and form which I had used for the piano piece, that is, a four movement piece: 1. fast, 2. slow, 3. fast, 4. mixed tempi, where the last movement is a synthesis of the three first movements.\n\nFirst Movement\n\nAt first I planned to use the same rhythmic and register patterns I had used for the piano pieces but since I was now able to use a computer instead of a die I could have chance operations with different probabilities (as 1-6). My adaptation of the earlier plan now looked like this:\n\nRegister refers to the pitch regions (high, middle, low) of the instruments in pairs: 2 Violins (top) as one pair and Viola and Cello (bottom) as the other. There are 8 register diagrams showing lines in regions high or low or of lines depicting movement from one region to another. The 8 Register diagrams have equal probabilities.\n\nThen there are 8 rhythmic shapes and since 2+3, 4+5, and 6+7 are all equal pairs the three different shapes have a probability of a quarter while 1 and 8 each have a probability of one eighth. However after an early trial I decided to delete rhythmic shape number one and double number eight, so in the end number eight also had a probability of one quarter. The colour scheme corresponding to the Rhythmic shapes is explained below the next diagram.\n\nAt this stage I wrote to Rod Harries about the project and he agreed to design me a computer program which would produce a diagram of the complete movement. The text of this program will be published here at a later date.\n\nI wanted the piece to be made of 50 bars of irregular lengths. These would be shown on the diagram as \"boxes\" and would have durations in seconds using numbers from the Fibonacci series: 1, 2, 3, 5, 8, 13. These \"boxes\" would occur with different probabilities: durations 1 and 13 would each have probabilities of 0.1 and the durations (2, 3, 5, 8,) of 0.2 each. My wish was to have as much information as possible on this diagram. Rod set aside the left of each \"box\" for four numbers, plus two numbers in the middle, another above and two beneath. Taking \"box\" 16 as an example I have labeled these \"box\"-numbers a, b, c, d, e, f, g, h, i (in red) and described them below. At the top and bottom of the \"boxes\" are groups of  2 or 3 \"coloured blobs\", (marked with red square brackets). These are to show how the quavers in this \"box\" are to be grouped in 2s and 3s.\n\nThe colours of these \"blobs\" are used to show the Rhythmic patterns. Since there are now just 4 different Rhythmic patterns only 4 colours are needed and it is unimportant whether the blobs are \"filled or empty\".\n\nBlack: 8.  Red: 2 or 3.  Green: 4 or 5.  Blue: 6 or 7.\n\nAnother important principle is that of a surprise. Since so much of the sound material is quaver movement, the need for a surprise is great. To this end there are two sorts of \"contrasting boxes\": one marked orange where the quavers are replaced by tremolandi and the other green where we hear loud glissandi.\n\nI let the program run several times and then chose the following diagram to realise in musical notation:\n\nThe next job was to transfer all this information onto the score. This \"working score\" contained 4 extra staves, two for the Pitch Cells (top and bottom pairs of instruments) and two more for Register (also top and bottom pairs) and Rhythmic shapes:\n\nAlthough so much was determined by the chance system of the computer program there was still much that I could decide myself. The most obvious parameter which has not yet been mentioned is loudness (dynamics). I also allowed myself to include extra rests and occasionally longer notes. Tempo and tempo changes were determined later as was timbre (arco\u002Fpizz.).\n\nSecond Movement\n\nThe basis of this movement is a series of 20 ostinati, selected at random from the Pitch Cell-Table (see first diagram above). In a first version of this movement the viola played the ostinati throughout. Later I changed this — see André Fischer's criticism of this below.\n\nAgainst this as background the other instruments, which are not playing the ostinato, play two sets of material described in the score as Hauptthema (main theme) and Nebenthema (subordinate theme) built on a separate selection of the Pitch Cells. \n\nHere Rod Harries wrote a new program to produce a diagram (now called a Map) of the movement:\n\nThe ostinati have different numbers of notes depending on which Pitch Cell is chosen. The length of each bar is the number of notes in the chosen cell measured in quavers. The computer program chooses a Pitch Cell, reads how many notes the cell contains and draws a bar with a \"Stepped Line\", the number of steps being that of the number of notes in the cell. It then selects a new random number between 2 and 8 for the number of repetitions of the ostinato and draws a corresponding number of bars on the Map. For the element of surprise it interpolates an extra bar (with a probability of one tenth) which is labelled \"Hold\". This is so named because the last note of the last ostinato is held over into the extra bar. The last two bars of the movement are also \"Hold\"-bars.\n\nThe \"Stepped Line\" is drawn in 4 different colours: red, green, blue, brown. The colours indicate the rhythmic shape of the Hauptthema:\n\nRed, (with a probability of one third) — no Hauptthema (HT)\n\nGreen, (with a probability of one half) — ascending or descending HT\n\nBlue, (with a probability of one sixth) — chord as HT\n\nBrown, just for \"Hold\" bars\n\nWhen I showed André Fischer a \"work in progress\"-version of the first three movements, his comment to M2 was: \"Warum belässt du das Achtel-Motiv ausschliesslich in der Viola?\" (\"Why do you give the quaver-motive exclusively to the Viola?\") — and further: \"It would enliven the movement if the roles were not fixed.\" This seemed a very reasonable criticism and so (in keeping with the philosophy of the whole work) I made a short program which printed out which instrument should play the ostinato and when the change should take place.\n\n\n\nBar4   Vla,    Bar8   Vla,    Bar11  Cello,  Bar14  Vla,    Bar17  Vn1,    Bar19   Vla,\n\nBar24 Vn1,    Bar26 Vn1,   Bar28 Vla,    Bar31  Vn1,    Bar34 Vn2,   Bar38  Vn2,\n\nBar40 Vn2,   Bar45 Vla,   Bar49 Vla,    Bar52  Vn1,    Bar57  Vla,    Bar59 Cello, \n\nBar61  Vn2,   Bar64 Vla,   Bar68  Vla,  Bar72  Vn1,\t   Bar74  Cello, Bar76  Vn2,\t\n\nBar80  Vla,    Bar82 Vla,   Bar87  Vn2.\n\n\n\nAnd of course André was right. It gave the movement a new feeling of unpredictability, and because of the resulting conflict of functions I was sometimes forced to make the change in the middle of an ostinato which adds to the surprise. These ostinato-changes are all shown in the score, for example: before figure 3, where the viola is playing the ostinato, one reads in the viola part: \"to Cello\",and after figure 3 in the cello part is written: \"from Viola\". My wish is that the players involved will make a gesture of \"handing over\" and of \"receiving\" so that the audience will notice the change. \n\nThird Movement\n\nThe third movement is an A B A’ form. The second A has a dash to indicate that it is shorter than the first. Since the form was determined in advance there was no need for a program to produce a diagram (or \"map\") of the movement.\n\nBoth the A and the B sections contain five patterns or Types: \n\nA1 A2 A3 A4 A5 and B1 B2 B3 B4 B5\n\nThe first three A and B Types are variants of the same basic patterns, the others are contrasting ideas. These are best shown graphically:\n\nI have seldom had such difficulty to realise ideas for a piece. First attempts to test the sounds of A1, A2 + A3 showed that this lacked complexity so I added the “Long Note” (see ‘+‘ on the diagram above). More difficult were the corresponding B-sections which went through at least 10 different test phases.\n\nIn order to know more clearly what programs I would need, I made a trial version of M3. I discovered that my original plan of A (20 sections), B (20 sections), A’ (10 sections) was rather too long. The final best solution was made with the program Quart3V5.bas where the lengths are reduced to A (16), B (16), A’ (8) from which I chose one print-out.\n\n\n\nThe data are headed with:\n\nBox Type C1 C2 Rpt Reg P LN which mean:\n\nBox: is what I have called sections above. These are marked in the working score with “Rehearsal Numbers” 1 to 40\n\nType: is the pattern number, ie. A1, A2, A3, A4, A5,B1, B2, B3, B4, B5.\n\nC1 C2: are the cell numbers. These are used in the A sections for the chords, C1 for the violins and C2 for viola and cello\n\nRpt: Originally meant “repetitions” but here it gives the length of each bar: 3, 5, 8 or 13 beats long.\n\nReg: Register. H (high) M (middle) L (low) — of the various instruments,\n\nP: Pitch. This was originally planned for the pitch of the main note in the B-sections, but then was also used for the “Long Note” in the A-sections.\n\nLN: “Long Note” — see above. Since not all A-sections were to contain a “Long Note” the symbols + and – were used to mean: + = with LN and – = without LN\n\nAn important additional program, M3.bas was used for the accents in the A-sections 1, 2 + 3. This used an accumulation of Fibonacci numbers, 2, 3, 5, and 8\n\nNB: the first beat is always accented:\n\nFinally the contrasting material of A5 and B4 and B5 was kindly supplied by a program from Rod in the form of a Basic File which generates a Musicxml file: QuintP3.bas. The program uses all notes of the chromatic scale (with equal probabilities) and durations of 1,2, 3, or 5 beats. At first I didn’t realise that I had to add the suffix “.xml” to the file generated by the basic file. Rod answered my question on a Monday thus:\n\n“When QuintP runs it puts up a dialog box to open an output file. The xml is written to this file as well as, mixed with other stuff, to the screen. That output file needs to be given a .musicxml extension. The easiest way to do that is to change the name “temp” which appears in the dialog box to, for example, Monday.musicxml otherwise you have to rename the file afterwards. That renamed file should be acceptable to Sibelius etc.”\n\nSo all the melodies made with this program are called Monday 1 – 10!! If one looks at rehearsal number 2 (below) one can see “Monday 1”as it was written by the program and above in the string parts, the liberties I took with transposition. For the B sections I took even greater liberties: see rehearsal no. 20 where Monday 3 is used and nos. 28 and 29 for Monday 8 and 5.\n\nFourth Movement\n\nIf M3 was difficult then M4 was severely difficult. It should have been quite straight forward, since I knew from the beginning that, based on “Plus One” of the “Three Chance Pieces for Piano”, it would use the same material for the first three movements, and this would sound new since chance was operating and would produce versions of that material which we had not yet heard. I therefore asked Rod for a “Map” of M4 with 60 “boxes”.\n\n\n\n6. 04. 25, Email from Kit to Rod:\n\n\n\nAs I mentioned at the beginning this will be made of material from the first three Ms. It should have about 60 “bars” and the music of the first 20 “bars” will come mainly from the programs used for creating M1 and in “bars” 21 to 40 mainly from those used for M2 and similarly for 41 to 60 from those used for M3. “Mainly” means this:\n\nBars 1 to 20 will be: M1 60% M2 20% M3 20%\n\nBars 21 to 40 will be: M1 20% M2 60% M3 20%\n\nBars 41 to 60 will be: M1 20% M2 20% M3 60%\n\n\nAlso, sprinkled in at unsuspecting moments (called interpolations) will be a chord, heard once, twice or thrice. There will be about 3 to 5 interpolations.\n      \nNow I have had a new thought:\n\n      \nM4 could have a Coda which would be a fugue using themes which we have already heard.\n\n\n\n12. 04. 25, Email from Rod:\n\nI have read the Notes on M3 and found them entertaining. ‘Is comprised of’ is still present to jarr my sensibilities. ‘Comprises’ is what is needed, though, strictly speaking, ‘comprises’ should be followed by an exhaustive list, otherwise ‘contains’.\n\n\n\nI have also listened (twice) to the m3.mp3. My irreformably Baroque mind kept waiting for a tune or thema to appear, but once I had persuaded it to go to sleep for a bit, I enjoyed it.\n\n\n\n13. 04. 25, Email from Kit:\n\nMany thanks for your comments on M3, both to the words and to the music. I have changed “is comprised of\" to “contains”.\nStrange that you were waiting for a theme or a melody — I thought there was one, where all instruments play a “Monday” theme unisono or in octaves.\n      \nI have had a new thought for M4, partly inspired by Nelson Wattie to whom I showed M1. He said he thought he had heard a quote from Beethoven’s “Grosse Fuge”. No idea why he thought that, but it set me thinking that I could perhaps repeat material from M1, M2 + M3 in the form of a fugue, and perhaps even quote Beethoven or “Die Kunst der Fuge” or both. I’ve been working on a fragment of a fugue, called \"Unfug M4\", to have an idea of what I would need from a computer program. Still not sure what such a pogrom would look like, but I should be able to tell you very soon.\n\nThe process of drawing a map for M4 went through several preliminary stages. Here is one of the early versions (29. 04. 25) \n\n02. 05. 25, Email from Rod:\n\nOn MayDay I got most of the subroutine which makes m2 boxes done, and finished(?) it this morning, but, if you run it you will notice that it has a slight bug. I will fix(?) this shortly(?). You will also notice that I discovered how to retain enough of the glorious technicolour to be useful.\n\n\n\n02. 05. 25, Email from Kit:\n\nThat’s getting very close now to a usable map — congratulations and many thanks! And it’s good with the colour bands. A tiny worry struck me: It could be that the M2 material is rather too much, since it is played at about half the tempo of the M1 and M3 stuff. There might be two ways of correcting this: 1) Reducing the size of M2 or 2) Removing the bar length 13 for M2. But I’ll wait until the M3s are there before asking for a change. One other thing though: the space for the whole map is often bigger than my screen. It’s a pity that one can’t write text (and numbers) smaller in Chipmunk. I can’t see how you can save much space anywhere?\n\n03. 05. 25, Email from Rod:\n\nI have made two small changes: \n\n\n\n(1) since I do not know how to calculate the actual duration of m3 boxes I have set them all to zero;\n\n\n(2) I have shaved a few pixels off various things to help with screen overflow problems. \n\n\n\nThere is a parameter ‘rebound’, the third entry in the Page and Box Layout Dimensions. It determines the maximum width that rows will go to. If you increase it the diagram will become wider but shorter, and v.v.\nThis is why I moaned earlier on about lack of scroll bars in the graphics window. If it had them it wouldn’t matter how big the diagram became and providing them would have been very simple for the composer of Chipmunk. All the hard work is done by the Apple graphics system. But it’s too late now.\n\n\n\n07. 05. 25, Email from Kit: \n\nBusy day yesterday with Brigittchen’s b-day: lotza telephones and visitors and an expotition to the Zürcher Kunsthaus. Hardly had a moment to look at Quart4V8. Now I have and think there is still too much red (M2) in it. Therefore I am asking if you could kindly make this adjustment:\n\nBars 1 to 25 will be: M1 70% M2 10% M3 20%\n\nBars 26 to 35 will be: M1 33% M2 33% M3 33%\n\nBars 36 to 60 will be: M1 20% M2 10% M3 70%\n\nThis should ensure that the predominant tempi are the two faster ones — but feel free to put in other numbers if you wish.\n\n\n\n08. 05. 25 Email from Rod: habemus papam\n\nPope Leo XIV and a bloody American but also a Mathematician.\n\n\n\n09. 05. 25, Email from Rod:\n\nI realised the other day that all the drawing that Chipmunk does in its graphics window is perfectly easy to do in Swift, viz ‘color’, ‘moveto’, ‘lineto’, ‘rect’, fillrect’, ‘oval’, ‘filloval’, and a lot of others which Chipmunk can’t do. I also suspect that my problems earlier stemmed from not being careful enough when starting the project to choose correctly amongst the baffling array of options offered in the set-up screens. I might cautiously investigate this.\nThe great advantage would be that I could draw into a view with scrollbars, so overflowing the physical screen wouldn’t happen. It ought to be possible to print the view contents, but I have no idea how one does that.\n\n\n\nThe results of this “cautious investigation” were that it was safer to stay as we were with Chipmunk Basic. If the green boxes were drawn to scale the screen would overflow and besides, the durations of those boxes were clearly shown by numbers which were easy for me to use.\n\n\n\n22. 05. 25, Email from Kit: \n\nNearly a week has elapsed since I started on M4 and am half way through. The fact that the green bits (M3s) don’t show the correct length is in fact no problem at all.\n\n\n\nThen on 2. 6. 25 came this horrifying message from Rod:\n\n\n\nI think I’m having a stroke\nHave summoned aid\nRod\n\n\n\nAt first stunned — how does one help a friend having a stroke on the other side of this globe? Then I rang Philip Woollaston who lives in Upper Moutere not far from Rod in Motueka. He tried ringing Rod’s sister Gwyneth, but she and her husband were in Australia on holiday. However the Nelson Public Hospital could confirm that he was there. Rod was indeed partly paralysed but it was good that he had reacted so quickly, the chances for a recovery were good.\n\n\n\nOver the next few weeks I bombarded him with short emails and made it clear that we didn’t expect answers. Already, though, on the 9th of June he wrote a longish “reply” which shows how well his brain was still working:\n\n\n\n09. 06. 25, Email from Rod: \n\nI came across a clue & solution in a cryptic crossword in the New Scientist which made me laugh. The clue is: musical dances seen in Persian upbringing, perhaps. 9 letters.\nI tried all sorts of tricks with “ballet” to see if it helped, but no. Eventually from filling in other things I decided that the last five letters were “balls”. At first I thought that accounted for “musical dances”, but eventually concluded that it was only “dances”, and that “musical” implied a singing stage performance, four letters, so ‘hair’. So we have “hairballs” for “musical dances”. “Persian” as in Persian cat. Upbringing as in throwing up.\nAnd of course hairballs are often found in cat vomit. What ingenuity went into constructing that clue!\n\n\n\n10. 06. 25, Email from Kit:\n\nHere is a “progress” report to M4. I have finished the 60 boxes of your M4-map and have decided that it needs a Coda! — and that the Coda needs a Codetta!! The Coda I wrote some time ago. It is a Fugue, since I wanted to quote Beethoven’s \"Grosse Fuge”. Now for the Codetta I have made a tiny ChipMunk for just 8 boxes:\n\n\n\nI even notated it à la Harries.\n\n… and the version I chose is this:\n\n\n\nBar 89A3 LC1 = 69 C2 = 37 R = 5 B1 = 8 -\n\nBar 91A3 HC1 = 47 C2 = 52 R = 8 B1 = 4 -\n\nBar 93A2 LC1 = 62 C2 = 31 R = 13 B1 = 3 -\n\nBar 95A1 MC1 = 60 C2 = 69 R = 5 B1 = 6 -\n\nBar 97A3 HC1 = 47 C2 = 17 R = 13 B1 = 7 +\n\nBar 99A1 HC1 = 14 C2 = 11 R = 13 B1 = 7 -\n\nBar 101A3 HC1 = 28 C2 = 62 R = 13 B1 = 1 +\n\nBar 103A3 MC1 = 32 C2 = 41 R = 13 Final Bar\n\n\n\nAnd if you want to know what the Beethoven theme is, it is in the link above as the first of “Other motifs” both as notation and as sounds.\n\n\n\nAs soon as I have finished the Codetta I shall try and turn the whole thing into sounds and if they are not too doridiculous you will hear them. I suspect this might take some time, hopefully (for you) more time than you will be in hospital.\n\n\n\n14. 06. 25, Email from Kit:\n\nI have been listening to the first “complete” version of M4 (plus coda and codetta) and am coming sadly (after lots of work) to the opinion that it is too long.\n\n\n\nI therefore asked Rod what I should change in the program for the “map” of M4 to reduce the 20 sections to 16.\n\n\n\n14. 06. 25, Email from Kit:\n\nIn Quart4V10 you wrote: ‘Each section is divided into 20 sub-sections which are called herein ‘boxes’ {box}\n\n\n\nPerhaps 16 sub-sectionsmight be better. I might try (with a heavy heart) to find where that 20 is mentioned and see if I can change it.\n\n\n\nBoth the Coda and the Codetta contain quotes from Beethoven’s “Grosse Fuge” which work well I think. This gives rise to a new question: Should a theme or themes from that work also appear earlier? No one has answered that yet.\n\n\n\n15. 06. 25, Email from Rod:\n\nI’ll make this short because G&B are coming.\nI think there is an outer for-loop going 1 to 3 or 0 to 2\nInside that there is probably a ‘select case …’\nEach ‘case’ inside the select probably calls a subroutine\nSo you need to find those subroutines\nThey will each have a for-loop probably going 1 to 20\nOn reflection I am pretty sure the outer loop is 0 to 2\nAnyhow you need to change the upper limit of those three inner loops\nI imagine Philip could find them easily.\n\n\n\n15. 06. 25, Email from Kit:\n\nMerci for those lines about M4. You are right, Philip found the place to change quite quickly. I had spent a half hour studying the text and looking for the number 20 without success. I had completely forgotten that you had (at my request) reduced the size of the 2nd section and so the number 20 was no longer present.\n\nAll I had to do was to change\n\n144 case 0 : exb = 1 : adb = 25\n\n146 case 1 : exb = 26 : adb = 35\n\n148 case 2 : exb = 36 : adb = 60\n\nto\n\n144 case 0 : exb = 1 : adb = 20\n\n146 case 1 : exb = 21 : adb = 28\n\n148 case 2 : exb = 29 : adb = 48\n\n\n\nand it worked perfectly!\n\n\n\n\n\n19. 06. 25, Email from Rod entitled Covid\n\nI’m positive though feeling ok. More later. Rod\n\n\n\n20. 06. 25, Email from Rod:\n\nStill feeling ok. I’m still in bed 8B but the original roommate has been brought back and the more recent one moved to safety – if there is any such thing now, because I think there are a lot of covid cases. I’ll keep you posted. Love, Rod\n\n\n\n27. 06. 25: Email from Kit:\n\n\n\nI had shown M1 M2 and M3 to André Fischer my Music Theory, conductor and composer friend. He was quite positive about most of it, but thought it strange that the Viola played the ostinati in M2 throughout — why not divide the ostinato-part up among all 4 instruments? he asked. (see details above in Movement 2)\n\nI also asked some specific questions:\n\n1. What do you think of the three movements in general? \n\n— great, I’m curious about the Finale that will follow.\n\n2. What look like “rehearsal\" numbers are in fact “construction” numbers. Should there be fewer of these for a performing score?\n\n— No, they’re fine and do not disturb my reading. \n\n3. First Movement: I’m worried that the grouping of twos and threes at the fast speed might be terribly difficult to play. What do you think? \n\n— No worry about that!\n\n4. Second Movement: \n\n— OK I think see my comments above.\n\n5. Third Movement: The bars with 8 or 13 beats are also “construction” numbers. These would be better divided e.g: 8 = 4+4 and 13 = 3+3+3+4 for a performing score? \n\n— Yes, the Perform - Full Score is much better to read.\n\n6. Third Movement: Are all the down-bows possible at that fast speed? \n\n— I would think so. Much more difficult in general are Pizzicato-passages at fast speed.\n\n\n\n07. 07. 25 Email from Rod:\n\nHome. Toileted. Lunched. Warm. Quiet\nFree from shouting and crashing and being interrogated \n\nabout how I’m going to do that at home.\nWaiting for Alis to decide the coast is clear\nRod\n\n\n\n24. 07. 25, Letter from Kit to André Fischer:\n\n\n… Originally the idea was (as in the “Plus One” of the “Three Chance Pieces\" for piano) to make the last movement with material from the first three movements — see the diagram below where blue is M1, red is M2 and green is M3. Suddenly it seemed that such an expectation could never be met with the same old stuff again! Then I remembered the comment of my old friend Nelson Wattie in Wellington to whom I had sent the same simulations which you heard. He asked: “Is there a quote from Beethoven’s Grosse Fuge\" in the first movement? Of course there wasn’t, but it set me thinking!\n\n\n\nNow come the following big questions to you, dear André: Does this M4 with its Beethoven allusions fulfil your expectations? Or does it leave you wondering \"why Beethoven?” and \"why only in M4? Why not earlier too?\" I am hoping for comforting answers since it sounds good to me now.\n\n\n\nMy only answer to “why Beethoven?” is that I admire the “Grosse Fuge\" greatly and it stands for me as one of the most important works in the whole string quartet literature.\n\n\n\nYou may wonder why I have called this the shortened version. Originally I had a plan with 60 boxes. I completed this, but then found it much too long. I made a new plan with 48 boxes and completed this too, this time with the Beethoven quotes as well. I found this also too long, but felt that the Beethoven parts were good. So what I am sending you is the third version of M4 — (all this reminds me of Beethoven’s struggle with his Leonore Overtures!):\n\n\n\nNB.: Before box1 of the diagram below is a seven bar Introduction (a distorted version of the opening of the “Grosse Fuge”) and after the last box (38 — new numbers) is an extended Coda (numbers 39 to 44), a fugue combining my material with Beethoven’s.\n\n\n\nBlack crosses in the boxes below show what has been crossed out from the “48 box” plan.\n\n\n\nAnd André’s reply:\n\nI listened to the first three movements again in context and then to the new fourth. My first impression (and it's always important) can be summarized as follows:\n\nI hear material from movement 3 too early (already starting with figure 2), too much, and too often (the same old stuff, in fact).\n\nThe single quotation from movement 2 (figure 13) seems incoherent, lost, and not understandable to me at this point.\n\nmovement 4 is a conglomerate overall: too disparate, lacking the (unifying) feature that the other movements all have.\n\n\n\nAnd here's what I like:\n\nThe beginning (connection to movement 3).\n\nFigure 15-20 (because this passage has drive).\n\nFigure 38 (because, due to the omission of the references, the old stuff material reveals itself from a new perspective... which then becomes unnecessarily repeated at the end of the movement).\n\nthe coda, where the (up to three) counterpunctual voices are too dense, too dominant for me (they distract me too much from the subject).\n\nWhat I would try if I had the right to arrange ;-):\n\ngive the material from movement 3 a new rhythm from the beginning, so that it doesn't seem like a quotation at all, e.g., a sixteenth-note (instead of eighth-note) cadence or triplet (basic shuffle rhythm). This new rhythm could then be reversed (made Lombard-like) and combined into variations from the original and the retrograde.\n\ngradually intersperse (prepare) the ostinato from movement 2 starting at figure 12 and present it only in fragments, e.g., shortened to a maximum of three continuous eighth notes, interrupted by rests of varying lengths. It would then no longer be a quotation, but merely a (subtle) allusion to movement 2.\n\nLoosen up the contrapuntal voices of the coda (e.g., intersperse them with rests) so that the subject comes across better. Generally, have this subject played in unison by two instruments each (in unison, in octaves, several octaves apart, etc.).\n\nThese are a few ideas, very casual, half-baked, as a spontaneous reaction to my first impression...\n\n... but perhaps they will inspire you for Leonore #4 ;-)?\n\n      \n\nAs always, I find André’s criticisms very useful, even when I don’t agree with everything he says. What I changed was a different selection of the “boxes” so that there was more than one quote of M2 and I made a decorated version (triplets in the violin parts) of M3 which made these so much more interesting that I later went back and added similar “decorations” to M3 itself.\n\nHis criticism of the contrapuntal writing in the“Coda” also made me thin out the texture slightly but the main problem with the lack of clarity was solved with the dynamics. Here is what the final version of the “map” looks like:\n\n\n\n\n\nAndré 07. 08. 25:\n\nWe're still in Eglisau, but we're leaving for Slovenia this Saturday for a good week.\n\n\n\nMovement 4 is now really much better. I find it absolutely convincing up to figure 24. It continually builds tension, and overall, one feels like one is in a very long introduction. Then comes the clearly recognizable, good quotation from movement 2, but I would also quote tempo 70 here (at figure 24), because tempo 80 doesn't provide any contrast with basic paragraph 160. However, such a quotation would be appropriate and necessary after the long introduction.\n\n\n\nAfter figure 29, I would jump directly to figure 35: Sections 30-35 offer too little new for me and are a slowing-down conglomeration, which you have otherwise eliminated. An extended unison passage, figures 29 and 35, on the other hand, would give the movement momentum.\n\nFugue: interesting and good!\n\nConclusion: I'd add a quiet, fading fermata, but I don't know why exactly...\n\n\n\nSo, that's my quick first impression. \n\nI hope it inspires you to play Leonore 4b ;-)\n\n\n\nKit, 09. 08. 25 to André:\n\nFirst many thanks that you found the time for Deinen \"ersten Eindruck”.\nThe most important “fact” for me is that you see everything that comes before the fugue as Introduction.\nUp till now I have seen the fourth movement as it looks on the “Map”:\n\n(1) a short introduction (Beethoven), \n\n(2) a biggish middle part (Powell) and \n\n(3) an extended Coda (the fugue)\n\nSeeing M4 in this new way: “A long introduction to the Fugue as main statement” made a big difference. \n\n\n\nThe Fugue was no longer merely a Coda it was the Goal of the whole movement.\n\nI therefore added a short stretto into the fugue where the “Monday 1” theme appears with its inversion, and I added a “quiet, fading fermata” as André had suggested.\n\n\n\n24. 08. 25, Email to Rod: \n\nI have spent the last few days looking back at M1 with horror. I started thinking I must make sure that the tempi are the same as when it is quoted in M4 and then noticed that I had two quite different versions of M1. I shall make sure that the new one is the definitive one. I think it is already much better than the old one. I’ll show it to you when I’m quite sure.\n\n\n\nAs already mentioned, I went back to see that all these changes were consistent with what had been heard earlier. This meant changing tempi in M1 and M2 as well as adding the decorative passages to Vn 1+2 to M3.\n\n",{"_type":375,"current":22318},{"_id":38388,"chapters":38389,"content":38390,"images":38738,"rawText":38739,"slug":38740,"title":38742},"96f41a94-6b8a-4633-acbd-97515db6ea60",[],[38391,38407,38450,38458,38477,38485,38493,38501,38523,38530,38538,38545,38552,38560,38570,38580,38590,38600,38610,38620,38630,38640,38650,38660,38671,38681,38691,38701,38711,38721,38731],{"_key":38392,"_type":9,"audioURL":4,"children":38393,"fileURL":4,"image":4,"markDefs":38406,"style":18},"bf1b5e653a5b",[38394,38398,38402],{"_key":38395,"_type":13,"marks":38396,"text":38397},"e5a7195f5ccf0",[],"My interest in electroacoustic music goes back well before the computer age. My earliest composer model, Douglas Lilburn, had set up the first electronic music studio in New Zealand in the 1960s. His work ",{"_key":38399,"_type":13,"marks":38400,"text":38401},"e5a7195f5ccf1",[73],"The Return ",{"_key":38403,"_type":13,"marks":38404,"text":38405},"e5a7195f5ccf2",[],"I still see as one of the greatest of New Zealand pieces in this category.",[],{"_key":38408,"_type":9,"audioURL":4,"children":38409,"fileURL":4,"image":4,"markDefs":38445,"style":18},"e1feed4d50c9",[38410,38414,38418,38422,38426,38430,38434,38438,38442],{"_key":38411,"_type":13,"marks":38412,"text":38413},"5064744d5fd20",[],"While in Europe in 1966\u002F67 I visited the already famous new music course in Darmstadt (1), Germany, and was inspired by Stockhausen’s idea of using the microphone like a stethoscope, as in ",{"_key":38415,"_type":13,"marks":38416,"text":38417},"5064744d5fd21",[73],"Mikrophonie I ",{"_key":38419,"_type":13,"marks":38420,"text":38421},"5064744d5fd22",[],"und ",{"_key":38423,"_type":13,"marks":38424,"text":38425},"5064744d5fd23",[73],"II (2). ",{"_key":38427,"_type":13,"marks":38428,"text":38429},"5064744d5fd24",[],"Back in New Zealand I made my first experiments (combined with tape manipulation and splicing) in this direction. It was not, however, until 1981, during my second major stay in Europe, that I did my first practical course (given by ",{"_key":38431,"_type":13,"marks":38432,"text":5833},"ddc6c7cee974",[38433],"6a1be6975df5",{"_key":38435,"_type":13,"marks":38436,"text":38437},"483dbd62264e",[],") in this field of music. I went with him and some of his students twice to the Bourges studio (3) in France (see ",{"_key":38439,"_type":13,"marks":38440,"text":6028},"9c8409245af5",[38441],"628b3eb8d279",{"_key":38443,"_type":13,"marks":38444,"text":9601},"f6aede97c8b0",[],[38446,38448],{"_key":38441,"_type":321,"reference":38447,"slug":6039,"type":528},{"_ref":6038,"_type":324},{"_key":38433,"_type":321,"reference":38449,"slug":5842,"type":326},{"_ref":5841,"_type":324},{"_key":38451,"_type":9,"audioURL":4,"children":38452,"fileURL":4,"image":4,"markDefs":38457,"style":18},"114d3e1e8b07",[38453],{"_key":38454,"_type":13,"marks":38455,"text":38456},"6885a925897a0",[],"With the advent of the computer everything changed. Tapes no longer needed to be cut and spliced, the complicated and space consuming devices for reverberation and distortion could be replaced with computer programs. This is not to say that the first computers were not space consuming, on the contrary, they were enormous, often housed in a special room far away from the keyboard and screen. That was in the early 1980s.",[],{"_key":38459,"_type":9,"audioURL":4,"children":38460,"fileURL":4,"image":4,"markDefs":38474,"style":18},"310558756634",[38461,38465,38470],{"_key":38462,"_type":13,"marks":38463,"text":38464},"994c9e084bb80",[],"Later in that decade the first private computers appeared. I bought an Atari (see also ",{"_key":38466,"_type":13,"marks":38467,"text":38469},"f3396eb4f4da",[38468],"9b135097c1f7","Swiss Computer Music Center",{"_key":38471,"_type":13,"marks":38472,"text":38473},"f6f71579c3c9",[],") because a group of computer musicians had developed “The Composers’ Desktop Project” with which you could make your own music at home. Compared with the modern computers the Atari and others of the time were incredibly slow, especially for computing sound files. It was normal to leave the computer working over night — only to find out in the morning that a mistake had crept in and the whole process had to be repeated!",[38475],{"_key":38468,"_type":321,"reference":38476,"slug":8243,"type":968},{"_ref":8242,"_type":324},{"_key":38478,"_type":9,"audioURL":4,"children":38479,"fileURL":4,"image":4,"markDefs":38484,"style":18},"62153e165db4",[38480],{"_key":38481,"_type":13,"marks":38482,"text":38483},"69e782651af90",[],"As yet there was still no program for conventional notation. To this end I spent hours creating clefs and staves and notes of various durations to be able to print very simple scores.",[],{"_key":38486,"_type":9,"audioURL":4,"children":38487,"fileURL":4,"image":4,"markDefs":38492,"style":18},"7f615b0b0db6",[38488],{"_key":38489,"_type":13,"marks":38490,"text":38491},"a1d1c61a97eb0",[],"Towards the end of the 1990 I bought my first Macintosh and was astonished at the speed and range of possibilities. Not only could Csound (4) be run for certain processes in real time, but there were now notation programs which allowed one to make a score for a whole orchestra.",[],{"_key":38494,"_type":9,"audioURL":4,"children":38495,"fileURL":4,"image":4,"markDefs":38500,"style":18},"7cdfeea354b7",[38496],{"_key":38497,"_type":13,"marks":38498,"text":38499},"1768469b06f90",[],"And so it goes on. Every few months there are updates, every few years one must buy a new computer, smaller but with more memory space, and greater speed to make the impossible possible.",[],{"_key":38502,"_type":9,"audioURL":4,"children":38503,"fileURL":4,"image":4,"markDefs":38522,"style":634},"3969ca724381",[38504,38508,38511,38514,38518],{"_key":38505,"_type":13,"marks":38506,"text":38507},"0022384eee260",[],"1 Internationale Ferienkurse für Neue Musik, Darmstadt, Germany, founded 1946\n2 Karlheinz Stockhausen, ",{"_key":38509,"_type":13,"marks":38510,"text":38417},"0022384eee261",[73],{"_key":38512,"_type":13,"marks":38513,"text":38421},"0022384eee262",[],{"_key":38515,"_type":13,"marks":38516,"text":38517},"0022384eee263",[73],"II, ",{"_key":38519,"_type":13,"marks":38520,"text":38521},"0022384eee264",[],"composed 1964\n3 Institut International de Musique Electroacoustique de Bourges, France\n4 Csound: a software program for creating sounds",[],{"_key":38524,"_type":9,"audioURL":4,"children":38525,"fileURL":4,"image":4,"markDefs":38529,"style":634},"0269f193a10f",[38526],{"_key":38527,"_type":13,"marks":38528,"text":25},"31078a68971e0",[],[],{"_key":38531,"_type":9,"audioURL":4,"children":38532,"fileURL":4,"image":4,"markDefs":38537,"style":634},"f99b2c99e49c",[38533],{"_key":38534,"_type":13,"marks":38535,"text":38536},"1087f0a4ff9f0",[],"Kit's electroacoustic music always seemed to me effortless, but this cannot possibly be true. Electroacoustic music is always difficult, nothing sounds as one hopes the first time, and one works very slowly. But Kit eradicates any trace of difficulty and slowness from the music itself so that it seems as if it were just being invented. In addition, his electroacoustic music has a physicality which I greatly admire: it sounds as though it is being played that very moment on strange and wonderful instruments that we have neither seen nor heard before. The sound often sparkles with a freshness and liveliness which are far from the rule in electroacoustic music, and the gestures the music suggests – the movements our mind's eye attributes to the imaginary players of these imaginary and imaginative instruments – are evocative, poetic, often full of gentle humor and always captivating. Kit's electroacoustic compositions make up only a small part of his astonishingly rich list of works, but they constitute a body of completely original pieces whose composer has seemed to be able to convince the basically intractable medium of electronics to do precisely what he wants. As I write these words, however, I realize they may not be appropriate for someone who has been so strongly interested in randomness and indeterminacy as has Kit. 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interest in electroacoustic music goes back well before the computer age. My earliest composer model, Douglas Lilburn, had set up the first electronic music studio in New Zealand in the 1960s. His work The Return I still see as one of the greatest of New Zealand pieces in this category.\n\nWhile in Europe in 1966\u002F67 I visited the already famous new music course in Darmstadt (1), Germany, and was inspired by Stockhausen’s idea of using the microphone like a stethoscope, as in Mikrophonie I und II (2). Back in New Zealand I made my first experiments (combined with tape manipulation and splicing) in this direction. It was not, however, until 1981, during my second major stay in Europe, that I did my first practical course (given by Gerald Bennett) in this field of music. I went with him and some of his students twice to the Bourges studio (3) in France (see Abelian Form).\n\nWith the advent of the computer everything changed. Tapes no longer needed to be cut and spliced, the complicated and space consuming devices for reverberation and distortion could be replaced with computer programs. This is not to say that the first computers were not space consuming, on the contrary, they were enormous, often housed in a special room far away from the keyboard and screen. That was in the early 1980s.\n\nLater in that decade the first private computers appeared. I bought an Atari (see also Swiss Computer Music Center) because a group of computer musicians had developed “The Composers’ Desktop Project” with which you could make your own music at home. Compared with the modern computers the Atari and others of the time were incredibly slow, especially for computing sound files. It was normal to leave the computer working over night — only to find out in the morning that a mistake had crept in and the whole process had to be repeated!\n\nAs yet there was still no program for conventional notation. To this end I spent hours creating clefs and staves and notes of various durations to be able to print very simple scores.\n\nTowards the end of the 1990 I bought my first Macintosh and was astonished at the speed and range of possibilities. Not only could Csound (4) be run for certain processes in real time, but there were now notation programs which allowed one to make a score for a whole orchestra.\n\nAnd so it goes on. Every few months there are updates, every few years one must buy a new computer, smaller but with more memory space, and greater speed to make the impossible possible.\n\n1 Internationale Ferienkurse für Neue Musik, Darmstadt, Germany, founded 1946\n2 Karlheinz Stockhausen, Mikrophonie I und II, composed 1964\n3 Institut International de Musique Electroacoustique de Bourges, France\n4 Csound: a software program for creating sounds\n\n\n\nKit's electroacoustic music always seemed to me effortless, but this cannot possibly be true. Electroacoustic music is always difficult, nothing sounds as one hopes the first time, and one works very slowly. But Kit eradicates any trace of difficulty and slowness from the music itself so that it seems as if it were just being invented. In addition, his electroacoustic music has a physicality which I greatly admire: it sounds as though it is being played that very moment on strange and wonderful instruments that we have neither seen nor heard before. The sound often sparkles with a freshness and liveliness which are far from the rule in electroacoustic music, and the gestures the music suggests – the movements our mind's eye attributes to the imaginary players of these imaginary and imaginative instruments – are evocative, poetic, often full of gentle humor and always captivating. Kit's electroacoustic compositions make up only a small part of his astonishingly rich list of works, but they constitute a body of completely original pieces whose composer has seemed to be able to convince the basically intractable medium of electronics to do precisely what he wants. As I write these words, however, I realize they may not be appropriate for someone who has been so strongly interested in randomness and indeterminacy as has Kit. Perhaps it would be more accurate to say that Kit is able to create musical environments in which the often indeterminate events of electronics and computers take on perfect and expressive rightness.\n\nGerald Bennett\n\n\n\nWorks using electroacoustic music:\n\nPiece of 4\n\nTexts for Composition\n\nKrähenalles\n\nStonepoem for Clarinet and Tape\n\nNelson Songs\n\nFlötenspieler und Fledermäuse\n\nChinese Songs\n\nFather's Telescope\n\nUn Quart d'Heure avec Dom Juan\n\nWHALE\n\nDappel Metal\n\nCredo in unam Naturam\n\nDie Poppa\n\nContrasts\n\nChance Piece for Flute and Tape\n\nSchubert 1828\n\nKiln Tower Film Music\n\n",{"_type":375,"current":38741},"electroacoustic-music","Electroacoustic Music",{"_id":38744,"chapters":38745,"content":38746,"images":39069,"rawText":39080,"slug":39081,"title":39083},"156978ef-82f2-4345-8a84-3a30ed887ff7",[],[38747,38830,38852,38861,38889,38898,38903,38920,38929,38937,38947,38954,38962,38972,38982,38992,39002,39012,39022,39032,39042,39052,39062],{"_key":38748,"_type":9,"audioURL":4,"children":38749,"fileURL":4,"image":4,"markDefs":38817,"style":18},"45bd9906cf9a",[38750,38754,38759,38763,38768,38772,38776,38780,38784,38788,38792,38795,38799,38802,38806,38809,38813],{"_key":38751,"_type":13,"marks":38752,"text":38753},"1cb536d14e820",[],"In 1968 through the success of ",{"_key":38755,"_type":13,"marks":38756,"text":38758},"95762232c1f6",[38757],"3a887a5845bd","Palindrome for 5 Orchestras",{"_key":38760,"_type":13,"marks":38761,"text":38762},"075294188e7d",[]," I was invited to form an experimental group of children percussionists to perform in the ",{"_key":38764,"_type":13,"marks":38765,"text":38767},"1cb536d14e823",[73,38766],"22650577f4f3","Christchurch Primary Schools Festival",{"_key":38769,"_type":13,"marks":38770,"text":38771},"1cb536d14e824",[],". The first of these ",{"_key":38773,"_type":13,"marks":38774,"text":38775},"1cb536d14e825",[73],"Creative Percussion",{"_key":38777,"_type":13,"marks":38778,"text":38779},"1cb536d14e826",[]," groups was in 1973 and continued until 1979. Although the children were creating the music, I was learning a great deal about percussion instruments. As the years went by I felt obliged to produce “different” sounds in each concert. I looked for new sounds in ",{"_key":38781,"_type":13,"marks":38782,"text":38783},"1cb536d14e827",[73],"found instruments",{"_key":38785,"_type":13,"marks":38786,"text":38787},"1cb536d14e828",[]," (stone, metal, wood, glass, etc.) and encouraged the children to do likewise. This has had an obvious impact on my own work, especially ",{"_key":38789,"_type":13,"marks":38790,"text":3535},"5885df47e166",[38791],"f03b699c8843",{"_key":38793,"_type":13,"marks":38794,"text":2617},"b6e98c65fce0",[],{"_key":38796,"_type":13,"marks":38797,"text":4687},"096f2a7b8821",[38798],"61880c528255",{"_key":38800,"_type":13,"marks":38801,"text":32959},"d1d80eecb57a",[],{"_key":38803,"_type":13,"marks":38804,"text":5759},"3eb32073a223",[38805],"25c38e1265aa",{"_key":38807,"_type":13,"marks":38808,"text":32967},"d49cbec9ad4c",[],{"_key":38810,"_type":13,"marks":38811,"text":4378},"d07beec73ff9",[38812],"d52a85250b2c",{"_key":38814,"_type":13,"marks":38815,"text":38816},"fe75e580d653",[],", all of which use percussion prominently—both conventional instruments and found ones.",[38818,38820,38822,38824,38826,38828],{"_key":38757,"_type":321,"reference":38819,"slug":3035,"type":510},{"_ref":2975,"_type":324},{"_key":38791,"_type":321,"reference":38821,"slug":3612,"type":510},{"_ref":3357,"_type":324},{"_key":38798,"_type":321,"reference":38823,"slug":4904,"type":510},{"_ref":4640,"_type":324},{"_key":38805,"_type":321,"reference":38825,"slug":5874,"type":510},{"_ref":5740,"_type":324},{"_key":38812,"_type":321,"reference":38827,"slug":2343,"type":510},{"_ref":2342,"_type":324},{"_key":38766,"_type":316,"href":38829},"https:\u002F\u002Fmusicfestival.school.nz\u002F",{"_key":38831,"_type":9,"audioURL":4,"children":38832,"fileURL":4,"image":4,"markDefs":38851,"style":18},"5e30c8f8dc7c",[38833,38837,38841,38844,38847],{"_key":38834,"_type":13,"marks":38835,"text":38836},"a7ded08cc7e50",[],"In 1980 \u002F 81 during my sabbatical leave in Europe I was asked to write a booklet for teachers about how to make music with found objects. It was an opportunity to put down in writing all I had learned working with children over the previous years. The book is divided up according to materials: Stones, Wood, Plastic, Metal, Tubes and Glass and shows what sort of objects to choose, how to make the sound and how to put pieces together with them. The text was written in Switzerland (I wrote it in English and Brigitte translated it into German) and the photos were made in NZ at the teachers College in Christchurch after our return. 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The gongs in the picture above were later used in my ",{"_key":38911,"_type":13,"marks":38912,"text":4687},"9176e252ced1",[38913],"47146b4dc291",{"_key":38915,"_type":13,"marks":38916,"text":104},"38565f52f8e1",[],[38918],{"_key":38913,"_type":321,"reference":38919,"slug":4904,"type":510},{"_ref":4640,"_type":324},{"_key":38921,"_type":500,"alt":38922,"audioURL":4,"caption":38922,"fileURL":4,"image":38923,"markDefs":4},"f17f71f7bebb","The beginning of Contemplating the Letter O. 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1968 through the success of Palindrome for 5 Orchestras I was invited to form an experimental group of children percussionists to perform in the Christchurch Primary Schools Festival. The first of these Creative Percussion groups was in 1973 and continued until 1979. Although the children were creating the music, I was learning a great deal about percussion instruments. As the years went by I felt obliged to produce “different” sounds in each concert. I looked for new sounds in found instruments (stone, metal, wood, glass, etc.) and encouraged the children to do likewise. This has had an obvious impact on my own work, especially Stone Poem, Devotion to the Small, and Piece of 4, and to a lesser extent The Ever-Circling Light, all of which use percussion prominently—both conventional instruments and found ones.\n\nIn 1980 \u002F 81 during my sabbatical leave in Europe I was asked to write a booklet for teachers about how to make music with found objects. It was an opportunity to put down in writing all I had learned working with children over the previous years. The book is divided up according to materials: Stones, Wood, Plastic, Metal, Tubes and Glass and shows what sort of objects to choose, how to make the sound and how to put pieces together with them. The text was written in Switzerland (I wrote it in English and Brigitte translated it into German) and the photos were made in NZ at the teachers College in Christchurch after our return. Musik mit gefundenen Gegenständen was published by Pan Verlag 1982.\n\nMy first work to use found objects was Stone Poem for double wind quintet and stone curtain. This was also the first work composed together with Michael Harlow, who played the stones with me and who was the inspiration for the text: words for stones in various languages.\n\nThese years working with primary and secondary school children had a huge influence on my own work. The gongs in the picture above were later used in my Devotion to the Small:\n\nMore Found Instruments\n\n\n\nWorks using found objects:\n\nStone Poem\n\nPiece of 4\n\nTexts for Composition\n\nThe Ever-Circling Light\n\nDevotion to the Small\n\nStonepoem for Clarinet and Tape\n\nLes Épisodes\n\nFather's Telescope\n\nContrasts\n\nChance Piece for Flute and Tape\n\n",{"_type":375,"current":39082},"music-with-found-objects","Music with Found Objects",{"_id":526,"chapters":39085,"content":39086,"images":39673,"rawText":39682,"slug":39683,"title":39093},[],[39087,39095,39103,39111,39127,39170,39182,39205,39213,39228,39235,39247,39255,39263,39271,39288,39300,39308,39316,39325,39342,39360,39375,39383,39406,39413,39421,39440,39452,39460,39469,39477,39485,39492,39500,39508,39515,39523,39531,39539,39547,39554,39562,39572,39582,39592,39602,39616,39626,39640,39654,39664],{"_key":39088,"_type":9,"audioURL":4,"children":39089,"fileURL":4,"image":4,"markDefs":39094,"style":18},"6d0ee70d437a",[39090],{"_key":39091,"_type":13,"marks":39092,"text":39093},"c9de917beafe0",[15],"Music with just a few notes",[],{"_key":39096,"_type":9,"audioURL":4,"children":39097,"fileURL":4,"image":4,"markDefs":39102,"style":18},"089c10a5707f",[39098],{"_key":39099,"_type":13,"marks":39100,"text":39101},"eeb20011ac3c0",[],"The idea of restricting the number of notes used in a piece probably came originally from the Schönbergian 12 note technique but it differs from it in one major point. When one has a set of 3, 4 or 5 notes then there is no need to use a serial system, indeed ordering so few notes would lead to a ridiculous predictability. The notes can therefore be repeated as often as one wishes and the order in which they are used is free, the only restriction is that one uses exclusively the notes of the set chosen at the outset.",[],{"_key":39104,"_type":9,"audioURL":4,"children":39105,"fileURL":4,"image":4,"markDefs":39110,"style":18},"ab5f80348787",[39106],{"_key":39107,"_type":13,"marks":39108,"text":39109},"e13c8ad47d4f0",[],"This is quite a severe restriction, but in this lies the challenge to be able to use the few notes expressively. One can of course, use octave transpositions  which greatly increases the interest in this sound material.",[],{"_key":39112,"_type":9,"audioURL":4,"children":39113,"fileURL":4,"image":4,"markDefs":39126,"style":18},"f23db2f1be39",[39114,39118,39122],{"_key":39115,"_type":13,"marks":39116,"text":39117},"d0c19b3ae6260",[],"The choice of notes for such a set has similar recommendations as for a 12-tone row: one avoids tonal combinations, although this is very difficult with just a few notes. The choice of the number of notes is also free: from about 2 to 6. The larger the number, the more it will sound like a Schönbergian row and therefore will probably need to be used serially, much as Stravinsky does when he limits the number of notes in his serial works (cf. “In Memoriam Dylan Thomas” - ",{"_key":39119,"_type":13,"marks":39120,"text":39121},"d0c19b3ae6261",[73],"Do not go gentle into that good night ",{"_key":39123,"_type":13,"marks":39124,"text":39125},"d0c19b3ae6262",[],"in which he uses a 7 note row).",[],{"_key":39128,"_type":9,"audioURL":4,"children":39129,"fileURL":4,"image":4,"markDefs":39143,"style":18},"8017f6ec749b",[39130,39134,39139],{"_key":39131,"_type":13,"marks":39132,"text":39133},"4f389b8fae200",[],"My student colleague at the Cambridge summer school in the early 60s, Robin Maconie (later famous as Stockhausen ",{"_key":39135,"_type":13,"marks":39136,"text":39138},"6261d27d6b92",[39137],"b89441f6b919","biographer",{"_key":39140,"_type":13,"marks":39141,"text":39142},"4024d9598065",[],", wrote a piece for string quartet using just two notes (E & F, in all possible octaves). I don’t remember ever hearing a performance of this but the score alone impressed and inspired me.",[39144],{"_key":39137,"_type":39145,"text":39146},"footnote",[39147],{"_key":39148,"_type":9,"children":39149,"markDefs":39167,"style":18},"7f1733228edd",[39150,39154,39158,39163],{"_key":39151,"_type":13,"marks":39152,"text":39153},"b7486c6761cb0",[15],"Maconie, Robin",{"_key":39155,"_type":13,"marks":39156,"text":39157},"ed585fe7c33e",[],". 1976. ",{"_key":39159,"_type":13,"marks":39160,"text":39162},"b7486c6761cb1",[73,39161],"34b335b0fc3f","The Works of Karlheinz Stockhausen",{"_key":39164,"_type":13,"marks":39165,"text":39166},"b7486c6761cb2",[],".\nLondon, New York, Toronto: Oxford University Press",[39168],{"_key":39161,"_type":316,"href":39169},"https:\u002F\u002Farchive.org\u002Fdetails\u002Fworksofkarlheinz0000maco\u002Fpage\u002Fn5\u002Fmode\u002F2up",{"_key":39171,"_type":9,"audioURL":4,"children":39172,"fileURL":4,"image":4,"markDefs":39181,"style":18},"4dfdd6b89bc8",[39173,39177],{"_key":39174,"_type":13,"marks":39175,"text":39176},"b3ffcd13272e0",[15],"4 Carols on 4 Notes ",{"_key":39178,"_type":13,"marks":39179,"text":39180},"b3ffcd13272e1",[],"for Choir SATB (1979)",[],{"_key":39183,"_type":9,"audioURL":4,"children":39184,"fileURL":4,"image":4,"markDefs":39204,"style":18},"245ac698a473",[39185,39189,39192,39196,39200],{"_key":39186,"_type":13,"marks":39187,"text":39188},"c0b49b9134870",[],"My first piece in this system “A Carol for Christmas” (SATB – a cappella, 1961), was written while still a student. Later I made a suite of ",{"_key":39190,"_type":13,"marks":39191,"text":39176},"c0b49b9134871",[15,73],{"_key":39193,"_type":13,"marks":39194,"text":39195},"c0b49b9134872",[],"with the original piece as the fourth movement. The technique lends itself particularly well to sung compositions because within a short time of working on a piece, singers have a strong feeling for right or wrong notes, the latter being all those ",{"_key":39197,"_type":13,"marks":39198,"text":39199},"c0b49b9134873",[73],"not ",{"_key":39201,"_type":13,"marks":39202,"text":39203},"c0b49b9134874",[],"in the set chosen for the piece.",[],{"_key":39206,"_type":9,"audioURL":4,"children":39207,"fileURL":4,"image":4,"markDefs":39212,"style":18},"1c08def422f8",[39208],{"_key":39209,"_type":13,"marks":39210,"text":39211},"9593b7b884b80",[],"Even with just a few notes, it is possible to reserve one or two of the set for 'special' moments:",[],{"_key":39214,"_type":9,"audioURL":4,"children":39215,"fileURL":4,"image":4,"markDefs":39227,"style":18},"059d754f5352",[39216,39220,39223],{"_key":39217,"_type":13,"marks":39218,"text":39219},"a5007322b05f",[],"In “Now I Joseph was walking” (the first song of ",{"_key":39221,"_type":13,"marks":39222,"text":4362},"9593b7b884b81",[15,73],{"_key":39224,"_type":13,"marks":39225,"text":39226},"9593b7b884b82",[],") just two notes (C and D) predominate. At the climax however these two notes are “widened” to a chromatic cluster (see bars 14-16 and 19-23 in the link below):",[],{"_key":39229,"_type":413,"audioURL":4,"description":39230,"file":39231,"fileURL":39234,"image":4,"markDefs":4},"c172bc15ba81","Now I Joseph was Walking",{"_type":416,"asset":39232},{"_ref":39233,"_type":324},"file-75de5af8cac7e90f30a3e38db8bed25b234bfbb6-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002F75de5af8cac7e90f30a3e38db8bed25b234bfbb6.pdf",{"_key":39236,"_type":9,"audioURL":4,"children":39237,"fileURL":4,"image":4,"markDefs":39246,"style":18},"b513183a824e",[39238,39242],{"_key":39239,"_type":13,"marks":39240,"text":39241},"38505b0cd7c30",[15],"Suite for Solo Trombone ",{"_key":39243,"_type":13,"marks":39244,"text":39245},"38505b0cd7c31",[],"(1961)",[],{"_key":39248,"_type":9,"audioURL":4,"children":39249,"fileURL":4,"image":4,"markDefs":39254,"style":18},"814ea0a28178",[39250],{"_key":39251,"_type":13,"marks":39252,"text":39253},"2fda114d3efb0",[],"This work has 5 movements. The even numbered movements use the following tone row:",[],{"_key":39256,"_type":9,"audioURL":4,"children":39257,"fileURL":4,"image":4,"markDefs":39262,"style":18},"39d1a46f8e65",[39258],{"_key":39259,"_type":13,"marks":39260,"text":39261},"f90cf3ca2c060",[],"The odd numbered movements use just the last four notes of this row.",[],{"_key":39264,"_type":500,"audioURL":4,"caption":39265,"fileURL":4,"image":39266,"markDefs":4},"f8be23ff8bfa","Trombone Suite Tone Row",{"caption":4,"id":39267,"meta":39268,"parentID":4,"parentType":528,"url":39270},"8302af0770a0e4b12a13479e6c0ad7ca75761e7c",{"_type":506,"aspectRatio":713,"height":39269,"width":19390},141,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F8302af0770a0e4b12a13479e6c0ad7ca75761e7c-705x141.png",{"_key":39272,"_type":9,"audioURL":4,"children":39273,"fileURL":4,"image":4,"markDefs":39285,"style":18},"90079c1ec976",[39274,39278,39282],{"_key":39275,"_type":13,"marks":39276,"text":39277},"bcd140e0874f",[],"See first two movements ",{"_key":39279,"_type":13,"marks":39280,"text":22310},"b8f65f2072d7",[39281],"3099d210196b",{"_key":39283,"_type":13,"marks":39284,"text":2020},"9bf2c850c288",[],[39286],{"_key":39281,"_type":321,"reference":39287,"slug":534,"type":510},{"_ref":487,"_type":324},{"_key":39289,"_type":9,"audioURL":4,"children":39290,"fileURL":4,"image":4,"markDefs":39299,"style":18},"623b25aabd53",[39291,39295],{"_key":39292,"_type":13,"marks":39293,"text":39294},"bcf9843b96a40",[15],"Chinese Songs ",{"_key":39296,"_type":13,"marks":39297,"text":39298},"bcf9843b96a41",[],"for Soprano and Tape (1988)",[],{"_key":39301,"_type":9,"audioURL":4,"children":39302,"fileURL":4,"image":4,"markDefs":39307,"style":18},"dd88cb4d2b5d",[39303],{"_key":39304,"_type":13,"marks":39305,"text":39306},"ec554d7287ac0",[],"This song cycle was planned so that each song uses a small selection of a 12-note tone row. The tone row is repeated (below) so as to be able to show the way the notes for each song are selected. There are groups of 3, 4, 5 and 6 notes.",[],{"_key":39309,"_type":9,"audioURL":4,"children":39310,"fileURL":4,"image":4,"markDefs":39315,"style":18},"9e9c03a6b994",[39311],{"_key":39312,"_type":13,"marks":39313,"text":39314},"f9c2bfac25bd0",[],"The numbers above and below the row refer to the songs with “Tao” texts – the “I Ching” texts are given with graphic notation and correspond to the missing numbers. ",[],{"_key":39317,"_type":500,"audioURL":4,"caption":39318,"fileURL":4,"image":39319,"markDefs":4},"befc8c66f91d","Chinese Songs Tone Row",{"caption":4,"id":39320,"meta":39321,"parentID":4,"parentType":528,"url":39324},"8e8ac01245719367d0285f79ee5e90c388f68829",{"_type":506,"aspectRatio":39322,"height":14571,"width":39323},7.305882352941176,621,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F8e8ac01245719367d0285f79ee5e90c388f68829-621x85.png",{"_key":39326,"_type":9,"audioURL":4,"children":39327,"fileURL":4,"image":4,"markDefs":39339,"style":18},"ce6ffa72c99f",[39328,39332,39336],{"_key":39329,"_type":13,"marks":39330,"text":39331},"2ad18e62bb4c",[],"See score ",{"_key":39333,"_type":13,"marks":39334,"text":22310},"4068991e0d07",[39335],"126dda78c10f",{"_key":39337,"_type":13,"marks":39338,"text":2020},"d5b97250775c",[],[39340],{"_key":39335,"_type":321,"reference":39341,"slug":8362,"type":510},{"_ref":8086,"_type":324},{"_key":39343,"_type":9,"audioURL":4,"children":39344,"fileURL":4,"image":4,"markDefs":39359,"style":18},"5dde102e3320",[39345,39348,39352,39355],{"_key":39346,"_type":13,"marks":39347,"text":19900},"4e98aa85c5c50",[15],{"_key":39349,"_type":13,"marks":39350,"text":39351},"4e98aa85c5c51",[]," from the “Kyrie” of the ",{"_key":39353,"_type":13,"marks":39354,"text":2203},"4e98aa85c5c52",[15,73],{"_key":39356,"_type":13,"marks":39357,"text":39358},"4e98aa85c5c53",[]," for tenor solo and orchestra (2010)",[],{"_key":39361,"_type":9,"audioURL":4,"children":39362,"fileURL":4,"image":4,"markDefs":39374,"style":18},"7edb22179342",[39363,39367,39370],{"_key":39364,"_type":13,"marks":39365,"text":39366},"38e27adc39e10",[],"This is the first solo and “profane” song from the ",{"_key":39368,"_type":13,"marks":39369,"text":2203},"38e27adc39e11",[15,73],{"_key":39371,"_type":13,"marks":39372,"text":39373},"38e27adc39e12",[],". The note set is A, Bb, C, D#, E.",[],{"_key":39376,"_type":9,"audioURL":4,"children":39377,"fileURL":4,"image":4,"markDefs":39382,"style":18},"121b5c4e11c3",[39378],{"_key":39379,"_type":13,"marks":39380,"text":39381},"a55b2725e3bd0",[],"Both the soloist and the accompaniment are restricted to these notes. The woodwind and brass are not used in this piece.",[],{"_key":39384,"_type":9,"audioURL":4,"children":39385,"fileURL":4,"image":4,"markDefs":39405,"style":18},"5d06622bbb65",[39386,39390,39394,39397,39401],{"_key":39387,"_type":13,"marks":39388,"text":39389},"4183ef9eb0a30",[],"The ideas of ",{"_key":39391,"_type":13,"marks":39392,"text":39393},"4183ef9eb0a31",[73],"Delight",{"_key":39395,"_type":13,"marks":39396,"text":2625},"4183ef9eb0a32",[],{"_key":39398,"_type":13,"marks":39399,"text":39400},"4183ef9eb0a33",[73],"Innocence",{"_key":39402,"_type":13,"marks":39403,"text":39404},"4183ef9eb0a34",[]," as expressed in Harlow’s poem are an example of a “profane” text with sentiments which (in our view) are missing from or insufficiently dealt with in the liturgy.",[],{"_key":39407,"_type":413,"audioURL":4,"description":39408,"file":39409,"fileURL":39412,"image":4,"markDefs":4},"de14d56d1419","Canticle Beginning",{"_type":416,"asset":39410},{"_ref":39411,"_type":324},"file-a9f1ebb9e5d53e7926d5bf30f4627757fcc67193-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fa9f1ebb9e5d53e7926d5bf30f4627757fcc67193.pdf",{"_key":39414,"_type":9,"audioURL":4,"children":39415,"fileURL":4,"image":4,"markDefs":39420,"style":18},"17d1987fba78",[39416],{"_key":39417,"_type":13,"marks":39418,"text":39419},"7e4e78f662490",[],"This setting with just five notes helps underline the ingenuousness and freshness of the text:",[],{"_key":39422,"_type":754,"audioURL":4,"author":3405,"fileURL":4,"image":4,"markDefs":4,"poem":39423,"title":39432},"5a82453597db",[39424],{"_key":39425,"_type":9,"children":39426,"markDefs":39431,"style":18},"7f247cd6550f",[39427],{"_key":39428,"_type":13,"marks":39429,"text":39430},"a0e0d9da396b0",[],"This young boy and his sister\non their skipping way to school\nand everywhere tossing shouts\nof laughter into the air. In a shower\nof light on the bright whitewash wall\nof the Church of Saint Dionysia, they throw\ntheir shadows. They sign themselves\nand their animal friends, letting words\ntalk to each other; they tell their dreams.\nThey do no less than risk delight: despite\nevery dark thing there is in the world,\nthere will always be music. And they\nwonder: what is the name of this song?",[],[39433],{"_key":39434,"_type":9,"children":39435,"markDefs":39439,"style":18},"db032317fb1b",[39436],{"_key":39437,"_type":13,"marks":39438,"text":19900},"85c21a63dea7",[15,73],[],{"_key":39441,"_type":9,"audioURL":4,"children":39442,"fileURL":4,"image":4,"markDefs":39451,"style":18},"fcf922951915",[39443,39447],{"_key":39444,"_type":13,"marks":39445,"text":39446},"c10e2e50e8750",[15],"Scheint den die Sonne heut’ nicht? ",{"_key":39448,"_type":13,"marks":39449,"text":39450},"c10e2e50e8751",[],"(2022) Walser-Vertonungen. New version for three singers (S, A, B) and Ensemble",[],{"_key":39453,"_type":9,"audioURL":4,"children":39454,"fileURL":4,"image":4,"markDefs":39459,"style":18},"439dcbcce1da",[39455],{"_key":39456,"_type":13,"marks":39457,"text":39458},"9fb6f1e61b790",[],"The earlier version of this work is mentioned in connection with Abelian form. It is however also an example of 'music with just a few notes'. Here are the notes used in the 9 songs:",[],{"_key":39461,"_type":500,"audioURL":4,"caption":39462,"fileURL":4,"image":39463,"markDefs":4},"c7055db4fd40","Walser Cycle Tone Row",{"caption":4,"id":39464,"meta":39465,"parentID":4,"parentType":528,"url":39468},"51c778b02925573a8f036a694132cbdaa8e0e24c",{"_type":506,"aspectRatio":39466,"height":2304,"width":39467},3.406614785992218,1751,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F51c778b02925573a8f036a694132cbdaa8e0e24c-1751x514.png",{"_key":39470,"_type":9,"audioURL":4,"children":39471,"fileURL":4,"image":4,"markDefs":39476,"style":18},"767685bb63c4",[39472],{"_key":39473,"_type":13,"marks":39474,"text":39475},"8a97984ee7170",[],"Songs 1, 5, 9 are all self reflecting and as one can see above, no. 9 (“Trug”) has only 3 notes (A#, B, G#), which makes a further challenge on the placing of these notes, so that the text is effectively expressed.",[],{"_key":39478,"_type":9,"audioURL":4,"children":39479,"fileURL":4,"image":4,"markDefs":39484,"style":18},"7e1120a23538",[39480],{"_key":39481,"_type":13,"marks":39482,"text":39483},"bb81e1731731",[],"Here is the opening of the last song in the version for 3 singers and ensemble:",[],{"_key":39486,"_type":413,"audioURL":4,"description":39487,"file":39488,"fileURL":39491,"image":4,"markDefs":4},"f56879db01f9","9. Trug from the Walser Cycle \"Scheint denn die Sonne heut' nicht?\"",{"_type":416,"asset":39489},{"_ref":39490,"_type":324},"file-c149294e8b92602713530820a5e0ffbe4695240b-pdf","https:\u002F\u002Fcdn.sanity.io\u002Ffiles\u002Feyqp364p\u002Fproduction\u002Fc149294e8b92602713530820a5e0ffbe4695240b.pdf",{"_key":39493,"_type":9,"audioURL":4,"children":39494,"fileURL":4,"image":4,"markDefs":39499,"style":18},"fd0c6c77da61",[39495],{"_key":39496,"_type":13,"marks":39497,"text":39498},"1481a2c422ac0",[],"Only the singer is restricted to the three notes, the instruments use all 12.",[],{"_key":39501,"_type":9,"audioURL":4,"children":39502,"fileURL":4,"image":4,"markDefs":39507,"style":18},"79fd3e00fae7",[39503],{"_key":39504,"_type":13,"marks":39505,"text":39506},"3f59eb2e8432",[],"Important to mention is the goal set at the beginning of this work:",[],{"_key":39509,"_type":9,"audioURL":4,"children":39510,"fileURL":4,"image":4,"markDefs":39514,"style":18},"e46e4b94c183",[39511],{"_key":39512,"_type":13,"marks":39513,"text":25},"afc4cd325078",[],[],{"_key":39516,"_type":9,"audioURL":4,"children":39517,"fileURL":4,"image":4,"markDefs":39522,"style":634},"d7f82d50a43e",[39518],{"_key":39519,"_type":13,"marks":39520,"text":39521},"3ae9c87a84200",[],"When one reads these Walser texts, one is first struck by the passion and the strength of his message.",[],{"_key":39524,"_type":9,"audioURL":4,"children":39525,"fileURL":4,"image":4,"markDefs":39530,"style":634},"b40c17e145c9",[39526],{"_key":39527,"_type":13,"marks":39528,"text":39529},"9b40f10a21350",[],"On closer observation (of the German) one sees a strict structure.",[],{"_key":39532,"_type":9,"audioURL":4,"children":39533,"fileURL":4,"image":4,"markDefs":39538,"style":634},"5fb33e06b539",[39534],{"_key":39535,"_type":13,"marks":39536,"text":39537},"15e31d17c2c50",[],"With these settings I have tried to achieve both: Passion and Structure.",[],{"_key":39540,"_type":9,"audioURL":4,"children":39541,"fileURL":4,"image":4,"markDefs":39546,"style":18},"a1f3c80326b7",[39542],{"_key":39543,"_type":13,"marks":39544,"text":39545},"5d330bba1e6d",[],"Although this song \"Trug\" uses just three notes, I believe it is one of the most passionate songs I have written.",[],{"_key":39548,"_type":500,"audioURL":4,"caption":39549,"fileURL":4,"image":39550,"markDefs":4},"597bb71831f9","Soprano part of no. 9. 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(3rd song)",[39614],{"_key":39608,"_type":321,"reference":39615,"slug":18636,"type":510},{"_ref":18383,"_type":324},{"_key":39617,"_type":9,"audioURL":4,"children":39618,"fileURL":4,"image":4,"level":382,"listItem":2078,"markDefs":39623,"style":18},"01c5ab29d721",[39619],{"_key":39620,"_type":13,"marks":39621,"text":19814},"1b0dcf149611",[39622],"16d2f1772b51",[39624],{"_key":39622,"_type":321,"reference":39625,"slug":19813,"type":510},{"_ref":19666,"_type":324},{"_key":39627,"_type":9,"audioURL":4,"children":39628,"fileURL":4,"image":4,"level":382,"listItem":2078,"markDefs":39637,"style":18},"6b6d5b0235d9",[39629,39633],{"_key":39630,"_type":13,"marks":39631,"text":2203},"82490e80c23e",[39632],"1ef59b1cd7cf",{"_key":39634,"_type":13,"marks":39635,"text":39636},"35796f96ef5d",[]," (Canticle)",[39638],{"_key":39632,"_type":321,"reference":39639,"slug":2211,"type":510},{"_ref":2210,"_type":324},{"_key":39641,"_type":9,"audioURL":4,"children":39642,"fileURL":4,"image":4,"level":382,"listItem":2078,"markDefs":39651,"style":18},"f0e5c1d2da1f",[39643,39647],{"_key":39644,"_type":13,"marks":39645,"text":20131},"ee6c93cd5686",[39646],"d1f229d19345",{"_key":39648,"_type":13,"marks":39649,"text":39650},"102dfa10ba87",[]," (no. 15)",[39652],{"_key":39646,"_type":321,"reference":39653,"slug":20202,"type":510},{"_ref":20057,"_type":324},{"_key":39655,"_type":9,"audioURL":4,"children":39656,"fileURL":4,"image":4,"level":382,"listItem":2078,"markDefs":39661,"style":18},"be991cc1accd",[39657],{"_key":39658,"_type":13,"marks":39659,"text":20216},"5527a4623591",[39660],"f22184597c33",[39662],{"_key":39660,"_type":321,"reference":39663,"slug":20407,"type":510},{"_ref":20207,"_type":324},{"_key":39665,"_type":9,"audioURL":4,"children":39666,"fileURL":4,"image":4,"level":382,"listItem":2078,"markDefs":39671,"style":18},"f7d708197f3a",[39667],{"_key":39668,"_type":13,"marks":39669,"text":17393},"85ef149d8e4c",[39670],"f06e199daba1",[39672],{"_key":39670,"_type":321,"slug":4,"type":4},[39674,39676,39678,39680],{"caption":39265,"id":39267,"meta":39675,"parentID":526,"parentType":528,"url":39270},{"_type":506,"aspectRatio":713,"height":39269,"width":19390},{"caption":39318,"id":39320,"meta":39677,"parentID":526,"parentType":528,"url":39324},{"_type":506,"aspectRatio":39322,"height":14571,"width":39323},{"caption":39462,"id":39464,"meta":39679,"parentID":526,"parentType":528,"url":39468},{"_type":506,"aspectRatio":39466,"height":2304,"width":39467},{"caption":39549,"id":39551,"meta":39681,"parentID":526,"parentType":528,"url":39553},{"_type":506,"aspectRatio":2383,"height":2384,"width":2385},"Music with just a few notes\n\nThe idea of restricting the number of notes used in a piece probably came originally from the Schönbergian 12 note technique but it differs from it in one major point. When one has a set of 3, 4 or 5 notes then there is no need to use a serial system, indeed ordering so few notes would lead to a ridiculous predictability. The notes can therefore be repeated as often as one wishes and the order in which they are used is free, the only restriction is that one uses exclusively the notes of the set chosen at the outset.\n\nThis is quite a severe restriction, but in this lies the challenge to be able to use the few notes expressively. One can of course, use octave transpositions  which greatly increases the interest in this sound material.\n\nThe choice of notes for such a set has similar recommendations as for a 12-tone row: one avoids tonal combinations, although this is very difficult with just a few notes. The choice of the number of notes is also free: from about 2 to 6. The larger the number, the more it will sound like a Schönbergian row and therefore will probably need to be used serially, much as Stravinsky does when he limits the number of notes in his serial works (cf. “In Memoriam Dylan Thomas” - Do not go gentle into that good night in which he uses a 7 note row).\n\nMy student colleague at the Cambridge summer school in the early 60s, Robin Maconie (later famous as Stockhausen biographer, wrote a piece for string quartet using just two notes (E & F, in all possible octaves). I don’t remember ever hearing a performance of this but the score alone impressed and inspired me.\n\n4 Carols on 4 Notes for Choir SATB (1979)\n\nMy first piece in this system “A Carol for Christmas” (SATB – a cappella, 1961), was written while still a student. Later I made a suite of 4 Carols on 4 Notes with the original piece as the fourth movement. The technique lends itself particularly well to sung compositions because within a short time of working on a piece, singers have a strong feeling for right or wrong notes, the latter being all those not in the set chosen for the piece.\n\nEven with just a few notes, it is possible to reserve one or two of the set for 'special' moments:\n\nIn “Now I Joseph was walking” (the first song of 4 Carols on 4 Notes) just two notes (C and D) predominate. At the climax however these two notes are “widened” to a chromatic cluster (see bars 14-16 and 19-23 in the link below):\n\nSuite for Solo Trombone (1961)\n\nThis work has 5 movements. The even numbered movements use the following tone row:\n\nThe odd numbered movements use just the last four notes of this row.\n\nSee first two movements here.\n\nChinese Songs for Soprano and Tape (1988)\n\nThis song cycle was planned so that each song uses a small selection of a 12-note tone row. The tone row is repeated (below) so as to be able to show the way the notes for each song are selected. There are groups of 3, 4, 5 and 6 notes.\n\nThe numbers above and below the row refer to the songs with “Tao” texts – the “I Ching” texts are given with graphic notation and correspond to the missing numbers. \n\nSee score here.\n\nCanticle from the “Kyrie” of the Missa Profana for tenor solo and orchestra (2010)\n\nThis is the first solo and “profane” song from the Missa Profana. The note set is A, Bb, C, D#, E.\n\nBoth the soloist and the accompaniment are restricted to these notes. The woodwind and brass are not used in this piece.\n\nThe ideas of Delight and Innocence as expressed in Harlow’s poem are an example of a “profane” text with sentiments which (in our view) are missing from or insufficiently dealt with in the liturgy.\n\nThis setting with just five notes helps underline the ingenuousness and freshness of the text:\n\nScheint den die Sonne heut’ nicht? (2022) Walser-Vertonungen. New version for three singers (S, A, B) and Ensemble\n\nThe earlier version of this work is mentioned in connection with Abelian form. It is however also an example of 'music with just a few notes'. Here are the notes used in the 9 songs:\n\nSongs 1, 5, 9 are all self reflecting and as one can see above, no. 9 (“Trug”) has only 3 notes (A#, B, G#), which makes a further challenge on the placing of these notes, so that the text is effectively expressed.\n\nHere is the opening of the last song in the version for 3 singers and ensemble:\n\nOnly the singer is restricted to the three notes, the instruments use all 12.\n\nImportant to mention is the goal set at the beginning of this work:\n\n\n\nWhen one reads these Walser texts, one is first struck by the passion and the strength of his message.\n\nOn closer observation (of the German) one sees a strict structure.\n\nWith these settings I have tried to achieve both: Passion and Structure.\n\nAlthough this song \"Trug\" uses just three notes, I believe it is one of the most passionate songs I have written.\n\nWorks using just a few notes:\n\nSuite for Solo Trombone\n\n4 Carols on 4 Notes\n\nPied Beauty\n\nChinese Songs\n\nA Shout (3rd song)\n\nAlles unter einem Hut\n\nMissa Profana (Canticle)\n\nWas Liebe ist (no. 15)\n\nMicrozoic Piano Suite\n\nScheint denn die Sonne heut' nicht?",{"_type":375,"current":527},[39685,39954,40165,40236,40412,40535,40679,40902,40954,41186,41289,41513,41633,41880,41981,42188,42307,44237,44354,44788,44949,45080,45276,45486,45642,45742,46070,46253],{"_id":5467,"chapters":39686,"content":39687,"images":39949,"rawText":39952,"slug":39953,"title":5436},[],[39688,39698,39734,39741,39759,39777,39823,39850,39914],{"_key":39689,"_type":500,"alt":39690,"caption":39690,"image":39691,"markDefs":4},"426a02a0ad6d","André in his capacity as conductor of the Zürcher Konzertchor (ZKC)",{"caption":4,"id":39692,"meta":39693,"parentID":4,"parentType":326,"url":39697},"e150bbdd2e97f83d31f7eaafae92673b8b8560a3",{"_type":506,"aspectRatio":39694,"height":39695,"width":39696},1.5024734982332155,1415,2126,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fe150bbdd2e97f83d31f7eaafae92673b8b8560a3-2126x1415.jpg",{"_key":39699,"_type":9,"children":39700,"image":4,"markDefs":39728,"style":18},"0d4253a05dcd",[39701,39706,39710,39715,39719,39724],{"_key":39702,"_type":13,"marks":39703,"text":39705},"cfab2d5f05f00",[39704],"a9ce94e5bda4","André",{"_key":39707,"_type":13,"marks":39708,"text":39709},"cfab2d5f05f01",[]," was a pupil at the ",{"_key":39711,"_type":13,"marks":39712,"text":39714},"cfab2d5f05f02",[39713],"b563c5bcbecf","Kantonsschule in Bülach",{"_key":39716,"_type":13,"marks":39717,"text":39718},"cfab2d5f05f03",[]," when we first met in 1980. He joined my composition class and took part in the two concerts we had. The first concert contained a work using ",{"_key":39720,"_type":13,"marks":39721,"text":39723},"cfab2d5f05f04",[39722],"1ef4d18cca63","12-tone technique",{"_key":39725,"_type":13,"marks":39726,"text":39727},"cfab2d5f05f05",[]," with contributions from all the class. This, unbeknown to me, caused great consternation among the other music teachers, who apparently didn’t regard it as music at all.",[39729,39731,39732],{"_key":39704,"_type":316,"href":39730},"http:\u002F\u002Fwww.zkc.ch\u002Fuber-uns\u002Fkunstlerische-leitung\u002F",{"_key":39713,"_type":316,"href":5322},{"_key":39722,"_type":316,"href":39733},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FTwelve-tone_technique",{"_key":39735,"_type":9,"children":39736,"image":4,"markDefs":39740,"style":18},"019f9303393e",[39737],{"_key":39738,"_type":13,"marks":39739,"text":25},"eac37f68c9dc0",[],[],{"_key":39742,"_type":9,"children":39743,"image":4,"markDefs":39756,"style":18},"65bc24a1d88e",[39744,39748,39752],{"_key":39745,"_type":13,"marks":39746,"text":39747},"b118aa0edf590",[],"The second concert, at the end of 1981 and just before our return to NZ, was a more ambitious work ",{"_key":39749,"_type":13,"marks":39750,"text":5562},"b118aa0edf591",[73,39751],"624b4ac68156",{"_key":39753,"_type":13,"marks":39754,"text":39755},"b118aa0edf592",[],". It was a Christmas cantata, scored for children’s choir, baritone and wind orchestra. The work was much too difficult for most of the pupils and so it finished up being composed by just André and myself. The school was enormously helpful: they not only put their wind players and youth choir at our disposal they also found the baritone soloist and arranged for an audience from the surrounding primary schools. André conducted his sections and I mine and the whole project was remarkably successful.",[39757],{"_key":39751,"_type":321,"reference":39758,"slug":5561,"type":510},{"_ref":5403,"_type":324},{"_key":39760,"_type":9,"children":39761,"image":4,"markDefs":39774,"style":18},"1caa6d5e34aa",[39762,39766,39770],{"_key":39763,"_type":13,"marks":39764,"text":39765},"c084af41595b0",[],"Back in NZ I heard occasionally from him by mail, that he had been granted special tuition in composition by Hans Ulrich Lehmann, the then director of the Zurich conservatory at which institution he later studied (with ",{"_key":39767,"_type":13,"marks":39768,"text":5833},"87a6e9e98772",[39769],"05e68ff09dc0",{"_key":39771,"_type":13,"marks":39772,"text":39773},"e08c89a0c60a",[]," as his music theory teacher). When we returned to Switzerland he was near the end of his studies which he followed up with further studies in the USA.",[39775],{"_key":39769,"_type":321,"reference":39776,"slug":5842,"type":326},{"_ref":5841,"_type":324},{"_key":39778,"_type":9,"children":39779,"image":4,"markDefs":39816,"style":18},"a3a524cfb1d9",[39780,39784,39788,39792,39796,39800,39804,39808,39812],{"_key":39781,"_type":13,"marks":39782,"text":39783},"94341f07946c0",[],"In 1990 he was back in Switzerland and among other activities was conductor of two wind bands, one in Thalwil and the other in Effretikon. He commissioned a work from me for the latter group: ",{"_key":39785,"_type":13,"marks":39786,"text":10103},"94341f07946c1",[73,39787],"94e0f8632d6b",{"_key":39789,"_type":13,"marks":39790,"text":39791},"94341f07946c2",[]," which he brought to a very fine performance. Later (1993) we combined forces for a concert in the Zürcher Stadthaus at which he composed a work using Brigitte's texts and Fiona as soloist: ",{"_key":39793,"_type":13,"marks":39794,"text":39795},"94341f07946c3",[73],"Hortensische Gesänge",{"_key":39797,"_type":13,"marks":39798,"text":39799},"94341f07946c4",[],". On the same concert were the two versions of my ",{"_key":39801,"_type":13,"marks":39802,"text":12768},"94341f07946c5",[73,39803],"41ecfbd04504",{"_key":39805,"_type":13,"marks":39806,"text":39807},"94341f07946c6",[]," (for choir and tape – conducted by Heini Roth) and for trombone and tape with ",{"_key":39809,"_type":13,"marks":39810,"text":12020},"7717b26cb4ac",[39811],"d728440c5451",{"_key":39813,"_type":13,"marks":39814,"text":39815},"00420fd1ec5f",[]," on trombone.",[39817,39819,39821],{"_key":39787,"_type":321,"reference":39818,"slug":10183,"type":510},{"_ref":10072,"_type":324},{"_key":39803,"_type":321,"reference":39820,"slug":12795,"type":510},{"_ref":12529,"_type":324},{"_key":39811,"_type":321,"reference":39822,"slug":7379,"type":326},{"_ref":7378,"_type":324},{"_key":39824,"_type":9,"children":39825,"image":4,"markDefs":39845,"style":18},"16d4015bd65f",[39826,39830,39834,39838,39842],{"_key":39827,"_type":13,"marks":39828,"text":39829},"c6effe6d83170",[],"One of the most exciting concerts he did of a work of mine was a performance of scenes from my chamber opera ",{"_key":39831,"_type":13,"marks":39832,"text":11854},"c6effe6d83171",[73,39833],"dbfa9f35c4d9",{"_key":39835,"_type":13,"marks":39836,"text":39837},"c6effe6d83172",[]," (Libretto ",{"_key":39839,"_type":13,"marks":39840,"text":9418},"5fbc66717ee5",[39841],"c02bb6b5a892",{"_key":39843,"_type":13,"marks":39844,"text":9601},"d2230f6316ec",[],[39846,39848],{"_key":39833,"_type":321,"reference":39847,"slug":12521,"type":510},{"_ref":11845,"_type":324},{"_key":39841,"_type":321,"reference":39849,"slug":11907,"type":326},{"_ref":11906,"_type":324},{"_key":39851,"_type":9,"children":39852,"image":4,"markDefs":39903,"style":18},"431a214ab838",[39853,39857,39861,39864,39868,39872,39876,39880,39885,39888,39892,39896,39900],{"_key":39854,"_type":13,"marks":39855,"text":39856},"f4156c8a5d0a0",[],"For my retirement from the Zurich Conservatory, André organised a program which included a new work of his in my honour, a setting of Michael Harlow's ",{"_key":39858,"_type":13,"marks":39859,"text":3662},"f4156c8a5d0a1",[73,39860],"3ddab01202bd",{"_key":39862,"_type":13,"marks":39863,"text":13496},"f4156c8a5d0a2",[],{"_key":39865,"_type":13,"marks":39866,"text":39867},"f4156c8a5d0a3",[73],"A Perfect Circle",{"_key":39869,"_type":13,"marks":39870,"text":39871},"f4156c8a5d0a4",[]," and was was beautifully sung by André himself (baritone) and Susanne Petersen (soprano), accompanied by the pianist Marino Bernasconi and made excellent use of the witty texts. On the same program was ",{"_key":39873,"_type":13,"marks":39874,"text":12768},"f4156c8a5d0a5",[73,39875],"386cd41a2a25",{"_key":39877,"_type":13,"marks":39878,"text":39879},"f4156c8a5d0a6",[]," (Philip) and ",{"_key":39881,"_type":13,"marks":39882,"text":39884},"f4156c8a5d0a7",[73,39883],"95103263dd3b","Flötenspieler and Fledermäuse",{"_key":39886,"_type":13,"marks":39887,"text":6652},"f4156c8a5d0a8",[],{"_key":39889,"_type":13,"marks":39890,"text":7911},"b5b3ef413642",[39891],"c06d0ebb4fcc",{"_key":39893,"_type":13,"marks":39894,"text":39895},"f48ec445d4e1",[],". Later André came to me with a new project: a course on musical form for students which we worked on together for several months. About this time too, he drew my attention to a new project organised by the librarian of the conservatory for composers to make settings of texts by Robert Walser. This we did indepenently, mine being: ",{"_key":39897,"_type":13,"marks":39898,"text":34614},"f4156c8a5d0a11",[73,39899],"ed5057ffcd71",{"_key":39901,"_type":13,"marks":39902,"text":2020},"f4156c8a5d0a12",[],[39904,39906,39908,39910,39912],{"_key":39860,"_type":321,"reference":39905,"slug":4007,"type":510},{"_ref":3617,"_type":324},{"_key":39875,"_type":321,"reference":39907,"slug":12795,"type":510},{"_ref":12529,"_type":324},{"_key":39883,"_type":321,"reference":39909,"slug":7956,"type":510},{"_ref":7815,"_type":324},{"_key":39891,"_type":321,"reference":39911,"slug":7919,"type":326},{"_ref":7918,"_type":324},{"_key":39899,"_type":321,"reference":39913,"slug":12170,"type":510},{"_ref":12169,"_type":324},{"_key":39915,"_type":9,"children":39916,"image":4,"markDefs":39944,"style":18},"8b71c7319030",[39917,39921,39925,39929,39934,39937,39941],{"_key":39918,"_type":13,"marks":39919,"text":39920},"a3a83f55bc630",[],"As I write we are planning a work for orchestra ",{"_key":39922,"_type":13,"marks":39923,"text":15607},"a3a83f55bc631",[73,39924],"65cf04b9df14",{"_key":39926,"_type":13,"marks":39927,"text":39928},"a3a83f55bc632",[]," to be performed next year on the same program as Schubert's ",{"_key":39930,"_type":13,"marks":39931,"text":39933},"a3a83f55bc633",[39932,73],"49894dc36ff6","Mass in E",{"_key":39935,"_type":13,"marks":39936,"text":6652},"a3a83f55bc634",[],{"_key":39938,"_type":13,"marks":39939,"text":39940},"a3a83f55bc635",[39932,73],"major",{"_key":39942,"_type":13,"marks":39943,"text":2020},"a3a83f55bc636",[],[39945,39947],{"_key":39932,"_type":316,"href":39946},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FMass_No._6_(Schubert)",{"_key":39924,"_type":321,"reference":39948,"slug":15620,"type":510},{"_ref":15619,"_type":324},[39950],{"caption":39690,"id":39692,"meta":39951,"parentID":5467,"parentType":326,"url":39697},{"_type":506,"aspectRatio":39694,"height":39695,"width":39696},"André was a pupil at the Kantonsschule in Bülach when we first met in 1980. He joined my composition class and took part in the two concerts we had. The first concert contained a work using 12-tone technique with contributions from all the class. This, unbeknown to me, caused great consternation among the other music teachers, who apparently didn’t regard it as music at all.\n\n\n\nThe second concert, at the end of 1981 and just before our return to NZ, was a more ambitious work Christophorus. It was a Christmas cantata, scored for children’s choir, baritone and wind orchestra. The work was much too difficult for most of the pupils and so it finished up being composed by just André and myself. The school was enormously helpful: they not only put their wind players and youth choir at our disposal they also found the baritone soloist and arranged for an audience from the surrounding primary schools. André conducted his sections and I mine and the whole project was remarkably successful.\n\nBack in NZ I heard occasionally from him by mail, that he had been granted special tuition in composition by Hans Ulrich Lehmann, the then director of the Zurich conservatory at which institution he later studied (with Gerald Bennett as his music theory teacher). When we returned to Switzerland he was near the end of his studies which he followed up with further studies in the USA.\n\nIn 1990 he was back in Switzerland and among other activities was conductor of two wind bands, one in Thalwil and the other in Effretikon. He commissioned a work from me for the latter group: Gargantua which he brought to a very fine performance. Later (1993) we combined forces for a concert in the Zürcher Stadthaus at which he composed a work using Brigitte's texts and Fiona as soloist: Hortensische Gesänge. On the same concert were the two versions of my WHALE (for choir and tape – conducted by Heini Roth) and for trombone and tape with Philip on trombone.\n\nOne of the most exciting concerts he did of a work of mine was a performance of scenes from my chamber opera Hauptsache, man geht zusammen hin (Libretto Jürg Schubiger).\n\nFor my retirement from the Zurich Conservatory, André organised a program which included a new work of his in my honour, a setting of Michael Harlow's Texts for Composition. It was called A Perfect Circle and was was beautifully sung by André himself (baritone) and Susanne Petersen (soprano), accompanied by the pianist Marino Bernasconi and made excellent use of the witty texts. On the same program was WHALE (Philip) and Flötenspieler and Fledermäuse Dominique Hunziker. Later André came to me with a new project: a course on musical form for students which we worked on together for several months. About this time too, he drew my attention to a new project organised by the librarian of the conservatory for composers to make settings of texts by Robert Walser. This we did indepenently, mine being: Scheint denn die Sonne heut’ nicht?.\n\nAs I write we are planning a work for orchestra Schubert 1828 to be performed next year on the same program as Schubert's Mass in E major.",{"_type":375,"current":5468},{"_id":18911,"chapters":39955,"content":39956,"images":40160,"rawText":40163,"slug":40164,"title":18901},[],[39957,40031,40039,40048,40096,40123,40131],{"_key":39958,"_type":9,"children":39959,"image":4,"markDefs":40018,"style":18},"73c8e86f350a",[39960,39964,39969,39973,39978,39982,39987,39991,39996,40000,40005,40009,40014],{"_key":39961,"_type":13,"marks":39962,"text":39963},"2d6071533f56",[],"While still a student at the ",{"_key":39965,"_type":13,"marks":39966,"text":39968},"3aeb75e42b57",[39967],"1495be8f9c8d","Teachers College",{"_key":39970,"_type":13,"marks":39971,"text":39972},"1b6a6a13090c",[]," I met Bunty Johnson, music teacher at ",{"_key":39974,"_type":13,"marks":39975,"text":39977},"2238e1946748",[39976],"9d40724add97","Lincoln High School",{"_key":39979,"_type":13,"marks":39980,"text":39981},"76da2e5387c8",[]," where I was sent “on section”. She felt rather remote from musical civilisation and pounced on anyone who might share her interest in music. She had already pounced on Barry Williams and so through her I met him. Later I found that he was a good friend of the ",{"_key":39983,"_type":13,"marks":39984,"text":39986},"b5bfea2c1e30",[39985],"300e6edc215a","Woollaston",{"_key":39988,"_type":13,"marks":39989,"text":39990},"1e3402951ca9",[]," family and so our connection to Philip and Chan Woollaston and to his parents, Toss and Edith was reinforced. Barry had been appointed lecturer in charge of Extension Studies at the ",{"_key":39992,"_type":13,"marks":39993,"text":39995},"997a8c344ff2",[39994],"e4fa2c45a1da","University of Canterbury",{"_key":39997,"_type":13,"marks":39998,"text":39999},"e6782f40138d",[]," which as far as I could see meant: Adult Education. Apart from organisation of courses in all possible fields he also found time to offer some music lectures which he himself gave. One of these was on ",{"_key":40001,"_type":13,"marks":40002,"text":40004},"0bf6a8d9026a",[40003],"d28b9d7ad447","Haydn",{"_key":40006,"_type":13,"marks":40007,"text":40008},"b888a842b1f0",[],". Up till this point I had not been a special Haydn fan but because Barry was giving it I went along. There was a class of 5 people: Bunty and her daughter signed up and I took with me two people from Linwood: Marie Lockey and Graeme Humphrey, a pupil who was in my class and later went on to study piano in London at the Royal Academy and has stayed there as a teacher ever since. For the next month or so every Saturday morning was devoted to Haydn and it was so good that I was not only turned into a Haydn fan but I even felt I was something of a Haydn specialist. I certainly wanted to visit the ",{"_key":40010,"_type":13,"marks":40011,"text":40013},"995a40fcbbbf",[40012],"2929d033a8ff","Esterházy Palace",{"_key":40015,"_type":13,"marks":40016,"text":40017},"9db11d93e947",[]," in Eisenstadt, something which I sadly have not yet achieved.",[40019,40021,40023,40025,40027,40029],{"_key":39967,"_type":316,"href":40020},"https:\u002F\u002Fnatlib.govt.nz\u002Frecords\u002F22415172",{"_key":39976,"_type":316,"href":40022},"http:\u002F\u002Fwww.lincoln.school.nz\u002F",{"_key":39994,"_type":316,"href":40024},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FUniversity_of_Canterbury",{"_key":40003,"_type":316,"href":40026},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FJoseph_Haydn",{"_key":40012,"_type":316,"href":40028},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FSchloss_Esterh%C3%A1zy",{"_key":39985,"_type":321,"reference":40030,"slug":11485,"type":326},{"_ref":11484,"_type":324},{"_key":40032,"_type":9,"children":40033,"image":4,"markDefs":40038,"style":18},"e9e835b3f9f3",[40034],{"_key":40035,"_type":13,"marks":40036,"text":40037},"e4d252c299830",[],"As I got to know Barry better it was clear that he was not just interested in the classical period but was keenly interested in New Music and has been ever since a faithful supporter of my work.",[],{"_key":40040,"_type":500,"alt":40041,"caption":40041,"image":40042,"markDefs":4},"24a70ff9a7d7","Maureen and Barry Williams at their home in Paekakariki (Dec. 2005)",{"caption":4,"id":40043,"meta":40044,"parentID":4,"parentType":326,"url":40047},"f97bbef55a0005c638d6351ade0f6137e2377612",{"_type":506,"aspectRatio":40045,"height":40046,"width":4775},0.7501875468867217,1333,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Ff97bbef55a0005c638d6351ade0f6137e2377612-1000x1333.jpg",{"_key":40049,"_type":9,"children":40050,"image":4,"markDefs":40088,"style":18},"4c7bab7584f9",[40051,40055,40059,40063,40067,40071,40076,40080,40084],{"_key":40052,"_type":13,"marks":40053,"text":40054},"514853976d5d0",[],"In 2005 after the ",{"_key":40056,"_type":13,"marks":40057,"text":18238},"514853976d5d1",[40058],"74dc03759f89",{"_key":40060,"_type":13,"marks":40061,"text":40062},"514853976d5d2",[]," reading of ",{"_key":40064,"_type":13,"marks":40065,"text":17792},"514853976d5d3",[73,40066],"c8969fd77970",{"_key":40068,"_type":13,"marks":40069,"text":40070},"514853976d5d4",[]," we stayed with Barry and Maureen Williams at ",{"_key":40072,"_type":13,"marks":40073,"text":40075},"514853976d5d5",[40074],"79fe989337fe","Paekakariki",{"_key":40077,"_type":13,"marks":40078,"text":40079},"514853976d5d6",[],". The high point of this short stay was a visit to ",{"_key":40081,"_type":13,"marks":40082,"text":18892},"514853976d5d7",[40083],"16c08df242ac",{"_key":40085,"_type":13,"marks":40086,"text":40087},"514853976d5d8",[]," with its wonderful birdlife. Although Barry organised the trip he could not take part because of his lung problems. Philip and Chan Woollaston however did come and also Maureen, Barry's wife. The island owes something of its status as a bird sanctuary to Philip’s work while Minister of the Environment in the Labour Government during the early 90s.",[40089,40091,40093,40094],{"_key":40058,"_type":316,"href":40090},"https:\u002F\u002Fwww.nzso.co.nz\u002F",{"_key":40074,"_type":316,"href":40092},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FPaekakariki",{"_key":40083,"_type":316,"href":18908},{"_key":40066,"_type":321,"reference":40095,"slug":17800,"type":510},{"_ref":17799,"_type":324},{"_key":40097,"_type":9,"children":40098,"image":4,"markDefs":40120,"style":18},"3f47a1194faf",[40099,40103,40107,40111,40116],{"_key":40100,"_type":13,"marks":40101,"text":40102},"7a303ac8f4270",[],"Later in conversation with Barry I heard about the ",{"_key":40104,"_type":13,"marks":40105,"text":40106},"7a303ac8f4271",[73],"Festival of Piano Music",{"_key":40108,"_type":13,"marks":40109,"text":40110},"7a303ac8f4272",[]," run every two years in Waikanae (neighbouring village to Paekakariki) and how each time the organisers had commissioned a piano piece from a NZ composer (starting with ",{"_key":40112,"_type":13,"marks":40113,"text":40115},"7a303ac8f4273",[40114],"f7f4a18a6663","Jenny McLeod",{"_key":40117,"_type":13,"marks":40118,"text":40119},"7a303ac8f4274",[],". I expressed interest in writing a piece for them – I already had ideas for a Kapiti Piece – and he promised to speak to the man in charge, which he did, but nothing happened.",[40121],{"_key":40114,"_type":316,"href":40122},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FJenny_McLeod",{"_key":40124,"_type":9,"children":40125,"image":4,"markDefs":40130,"style":18},"766289e33b94",[40126],{"_key":40127,"_type":13,"marks":40128,"text":40129},"421888814f440",[],"Shortly afterwards I heard that the Festival was not to take place anymore.",[],{"_key":40132,"_type":9,"children":40133,"image":4,"markDefs":40155,"style":18},"559120d201d0",[40134,40138,40143,40147,40151],{"_key":40135,"_type":13,"marks":40136,"text":40137},"54a6f1e533140",[],"Barry died in January 2014. At his funeral they played a work by ",{"_key":40139,"_type":13,"marks":40140,"text":40142},"54a6f1e533141",[40141],"47b808d59ecb","Ross Harris",{"_key":40144,"_type":13,"marks":40145,"text":40146},"54a6f1e533142",[]," and my ",{"_key":40148,"_type":13,"marks":40149,"text":19047},"54a6f1e533143",[73,40150],"e1b53983bd51",{"_key":40152,"_type":13,"marks":40153,"text":40154},"54a6f1e533144",[]," which was dedicated to him.",[40156,40158],{"_key":40141,"_type":316,"href":40157},"https:\u002F\u002Frossharriscomposer.com\u002F",{"_key":40150,"_type":321,"reference":40159,"slug":19078,"type":510},{"_ref":18878,"_type":324},[40161],{"caption":40041,"id":40043,"meta":40162,"parentID":18911,"parentType":326,"url":40047},{"_type":506,"aspectRatio":40045,"height":40046,"width":4775},"While still a student at the Teachers College I met Bunty Johnson, music teacher at Lincoln High School where I was sent “on section”. She felt rather remote from musical civilisation and pounced on anyone who might share her interest in music. She had already pounced on Barry Williams and so through her I met him. Later I found that he was a good friend of the Woollaston family and so our connection to Philip and Chan Woollaston and to his parents, Toss and Edith was reinforced. Barry had been appointed lecturer in charge of Extension Studies at the University of Canterbury which as far as I could see meant: Adult Education. Apart from organisation of courses in all possible fields he also found time to offer some music lectures which he himself gave. One of these was on Haydn. Up till this point I had not been a special Haydn fan but because Barry was giving it I went along. There was a class of 5 people: Bunty and her daughter signed up and I took with me two people from Linwood: Marie Lockey and Graeme Humphrey, a pupil who was in my class and later went on to study piano in London at the Royal Academy and has stayed there as a teacher ever since. For the next month or so every Saturday morning was devoted to Haydn and it was so good that I was not only turned into a Haydn fan but I even felt I was something of a Haydn specialist. I certainly wanted to visit the Esterházy Palace in Eisenstadt, something which I sadly have not yet achieved.\n\nAs I got to know Barry better it was clear that he was not just interested in the classical period but was keenly interested in New Music and has been ever since a faithful supporter of my work.\n\nIn 2005 after the NZSO reading of Rothko Variations we stayed with Barry and Maureen Williams at Paekakariki. The high point of this short stay was a visit to Kapiti Island with its wonderful birdlife. Although Barry organised the trip he could not take part because of his lung problems. Philip and Chan Woollaston however did come and also Maureen, Barry's wife. The island owes something of its status as a bird sanctuary to Philip’s work while Minister of the Environment in the Labour Government during the early 90s.\n\nLater in conversation with Barry I heard about the Festival of Piano Music run every two years in Waikanae (neighbouring village to Paekakariki) and how each time the organisers had commissioned a piano piece from a NZ composer (starting with Jenny McLeod. I expressed interest in writing a piece for them – I already had ideas for a Kapiti Piece – and he promised to speak to the man in charge, which he did, but nothing happened.\n\nShortly afterwards I heard that the Festival was not to take place anymore.\n\nBarry died in January 2014. At his funeral they played a work by Ross Harris and my Kapiti which was dedicated to him.",{"_type":375,"current":18912},{"_id":4247,"chapters":40166,"content":40167,"images":40231,"rawText":40234,"slug":40235,"title":10631},[],[40168,40179,40187,40195,40203,40217],{"_key":40169,"_type":500,"alt":40170,"caption":40171,"image":40172,"markDefs":4},"0c843295f69d","Brigitte Powell Bänninger","Brigitte Powell Bänninger – a devoted mother and grandmother, a poet with a passionate interest in all the arts and an ardent gardener",{"caption":4,"id":40173,"meta":40174,"parentID":4,"parentType":326,"url":40178},"81d0b42f34fa819230c4acfae9458c97b1c5a719",{"_type":506,"aspectRatio":40175,"height":40176,"width":40177},1.4043803418803418,1872,2629,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F81d0b42f34fa819230c4acfae9458c97b1c5a719-2629x1872.jpg",{"_key":40180,"_type":9,"children":40181,"image":4,"markDefs":40186,"style":18},"9809dcc1b0c9",[40182],{"_key":40183,"_type":13,"marks":40184,"text":40185},"368a7da72e6f",[],"Born Brigitte Bänninger, the third of five children of Konrad and Helma Bänninger, 6th May, 1939, in Bülach Switzerland.",[],{"_key":40188,"_type":9,"children":40189,"image":4,"markDefs":40194,"style":18},"37d9a8f1e698",[40190],{"_key":40191,"_type":13,"marks":40192,"text":40193},"1fb59ed4800e0",[],"Brigitte has contributed to all works since our marriage in 1966 with constructive (but ruthlessly honest!) criticism.",[],{"_key":40196,"_type":9,"children":40197,"image":4,"markDefs":40202,"style":18},"62bb7b2bb36c",[40198],{"_key":40199,"_type":13,"marks":40200,"text":40201},"28d8fa1bcdae0",[],"Two works in particular use her very considerable poetic skills:",[],{"_key":40204,"_type":9,"children":40205,"image":4,"level":382,"listItem":2078,"markDefs":40214,"style":18},"53c144922e09",[40206,40210],{"_key":40207,"_type":13,"marks":40208,"text":11317},"9b3a69b6248d0",[40209],"e56ef42dcacd",{"_key":40211,"_type":13,"marks":40212,"text":40213},"45d47ab98da9",[]," (1992, soprano and piano) Song cycle on texts (German) by Brigitte Powell",[40215],{"_key":40209,"_type":321,"reference":40216,"slug":11841,"type":510},{"_ref":11187,"_type":324},{"_key":40218,"_type":9,"children":40219,"image":4,"level":382,"listItem":2078,"markDefs":40228,"style":18},"af44a7d9e84c",[40220,40224],{"_key":40221,"_type":13,"marks":40222,"text":15640},"94315886b7130",[40223],"31d641cb61d2",{"_key":40225,"_type":13,"marks":40226,"text":40227},"f95f0d1b7cb5",[]," (1999, baritone and tape) Song on texts (German) by Brigitte Powell",[40229],{"_key":40223,"_type":321,"reference":40230,"slug":16195,"type":510},{"_ref":15630,"_type":324},[40232],{"caption":40171,"id":40173,"meta":40233,"parentID":4247,"parentType":326,"url":40178},{"_type":506,"aspectRatio":40175,"height":40176,"width":40177},"Born Brigitte Bänninger, the third of five children of Konrad and Helma Bänninger, 6th May, 1939, in Bülach Switzerland.\n\nBrigitte has contributed to all works since our marriage in 1966 with constructive (but ruthlessly honest!) criticism.\n\nTwo works in particular use her very considerable poetic skills:\n\nAmselbaum (1992, soprano and piano) Song cycle on texts (German) by Brigitte Powell\n\nDie Poppa (1999, baritone and tape) Song on texts (German) by Brigitte Powell",{"_type":375,"current":4248},{"_id":6500,"chapters":40237,"content":40238,"images":40407,"rawText":40410,"slug":40411,"title":6481},[],[40239,40244,40252,40260,40270,40280,40290,40300,40310,40318,40333,40348,40363,40371,40378,40386,40394,40401],{"_key":40240,"_type":500,"alt":40241,"caption":40241,"image":40242,"markDefs":4},"05dac5a66aae","David Thorner performing the baritone role in Father's Telescope at Rigiblick Theatre 1986",{"caption":4,"id":8611,"meta":40243,"parentID":4,"parentType":326,"url":8616},{"_type":506,"aspectRatio":8613,"height":8614,"width":8615},{"_key":40245,"_type":9,"children":40246,"image":4,"markDefs":40251,"style":18},"b34a7134e482",[40247],{"_key":40248,"_type":13,"marks":40249,"text":40250},"c1451f036672",[],"David is a highly accomplished baritone with an excellent feeling for the drama in the work he is performing. We met early in our “Swiss life”, he took part in my first concert (Rigiblick, Zürich) while he was still training as a singer. He was born in Rome of German parents and apart from these two “mother tongues” is fluent in English.",[],{"_key":40253,"_type":9,"children":40254,"image":4,"markDefs":40259,"style":18},"3c4adbee88b0",[40255],{"_key":40256,"_type":13,"marks":40257,"text":40258},"12ae90be7a7f0",[],"Works of mine which he has performed are:",[],{"_key":40261,"_type":9,"children":40262,"image":4,"level":382,"listItem":2078,"markDefs":40267,"style":18},"bcfc29ed3d57",[40263],{"_key":40264,"_type":13,"marks":40265,"text":6508},"752e8b3f36450",[40266],"666cf1c2c9ad",[40268],{"_key":40266,"_type":321,"reference":40269,"slug":6556,"type":510},{"_ref":6337,"_type":324},{"_key":40271,"_type":9,"children":40272,"image":4,"level":382,"listItem":2078,"markDefs":40277,"style":18},"037dbd2f287e",[40273],{"_key":40274,"_type":13,"marks":40275,"text":8712},"b3c0685179d60",[40276],"3bca878320ea",[40278],{"_key":40276,"_type":321,"reference":40279,"slug":9175,"type":510},{"_ref":8604,"_type":324},{"_key":40281,"_type":9,"children":40282,"image":4,"level":382,"listItem":2078,"markDefs":40287,"style":18},"2da1976011cf",[40283],{"_key":40284,"_type":13,"marks":40285,"text":11854},"1092d6d8dd960",[40286],"00e4b1dee132",[40288],{"_key":40286,"_type":321,"reference":40289,"slug":12521,"type":510},{"_ref":11845,"_type":324},{"_key":40291,"_type":9,"children":40292,"image":4,"level":382,"listItem":2078,"markDefs":40297,"style":18},"40516e505a53",[40293],{"_key":40294,"_type":13,"marks":40295,"text":15640},"c76b858287190",[40296],"a50f99981f0c",[40298],{"_key":40296,"_type":321,"reference":40299,"slug":16195,"type":510},{"_ref":15630,"_type":324},{"_key":40301,"_type":9,"children":40302,"image":4,"level":382,"listItem":2078,"markDefs":40307,"style":18},"c762003c3304",[40303],{"_key":40304,"_type":13,"marks":40305,"text":20216},"a2e755d407340",[40306],"1bc9925e7248",[40308],{"_key":40306,"_type":321,"reference":40309,"slug":20407,"type":510},{"_ref":20207,"_type":324},{"_key":40311,"_type":9,"children":40312,"image":4,"markDefs":40317,"style":18},"f0b327d8ceac",[40313],{"_key":40314,"_type":13,"marks":40315,"text":40316},"0cef6aa836810",[],"I have always been impressed by his extreme professionality. When undertaking a new work he does all in his power to understand the backgound of the work, what the composer intended and how he can best reach the expectation of the composer. Here are some examples of working with him:",[],{"_key":40319,"_type":9,"children":40320,"image":4,"markDefs":40332,"style":18},"24bd4a15f0ee",[40321,40325,40328],{"_key":40322,"_type":13,"marks":40323,"text":40324},"1e4b09e1880d0",[],"In the preparation for ",{"_key":40326,"_type":13,"marks":40327,"text":6508},"1e4b09e1880d1",[73],{"_key":40329,"_type":13,"marks":40330,"text":40331},"1e4b09e1880d2",[]," (soprano, baritone and percussion) the singers were required to perform a difficult passage homophone. They tried it with eye contact but then looking at their score was difficult. David suggested standing back to back so that on singer could feel the breathing of the other. This worked perfectly!",[],{"_key":40334,"_type":9,"children":40335,"image":4,"markDefs":40347,"style":18},"7e9a1063c1c0",[40336,40340,40343],{"_key":40337,"_type":13,"marks":40338,"text":40339},"d8af3b01ddf30",[],"During the early stages of ",{"_key":40341,"_type":13,"marks":40342,"text":15640},"d8af3b01ddf31",[73],{"_key":40344,"_type":13,"marks":40345,"text":40346},"d8af3b01ddf32",[]," (baritone and tape) we met several times for improvisation on Brigitte's text. After we had discussed a passage thoroughly David improvised and I recorded it. In the end I wrote down the final version using the best of these improvisations.",[],{"_key":40349,"_type":9,"children":40350,"image":4,"markDefs":40362,"style":18},"beb7dabc3d36",[40351,40355,40358],{"_key":40352,"_type":13,"marks":40353,"text":40354},"af0f1c5d1a670",[],"For the ",{"_key":40356,"_type":13,"marks":40357,"text":20216},"af0f1c5d1a671",[73],{"_key":40359,"_type":13,"marks":40360,"text":40361},"af0f1c5d1a672",[]," (baritone and ensemble) all was written down before we met. Nevertheless David was able to make valuable suggestions about the spoken (rap?) sections including the curious frog-guiro he added to this. Another passage was improved greatly by his clapping which not only produced a wonderful surprise effect, it made it easier for him to perform.",[],{"_key":40364,"_type":9,"children":40365,"image":4,"markDefs":40370,"style":634},"897d2680c463",[40366],{"_key":40367,"_type":13,"marks":40368,"text":40369},"2ad9aa42a9de",[],"After all, said father who had been reading forever discovering one thing and another: ‘Quand on est dans la merde jusqu’au cou, il ne reste plus qu’à chanter’.",[],{"_key":40372,"_type":9,"children":40373,"image":4,"markDefs":40377,"style":18},"aa1b7a044ea7",[40374],{"_key":40375,"_type":13,"marks":40376,"text":25},"7c62be02e7fd",[],[],{"_key":40379,"_type":9,"children":40380,"image":4,"markDefs":40385,"style":18},"6f559737ad6e",[40381],{"_key":40382,"_type":13,"marks":40383,"text":40384},"b3bd6f214b0b",[],"The English text above was manipulated by a chance prossess which chopped it up and repeated the fragments. The French text is a quote from Samuel Becket.\n",[],{"_key":40387,"_type":9,"children":40388,"image":4,"markDefs":40393,"style":634},"2d94bab90f1f",[40389],{"_key":40390,"_type":13,"marks":40391,"text":40392},"a5d0ced9e420",[],"Af–ter all Af–ter all said all said fat fa–ther Af–ter all Af–ter all Af–ter said all said fa–ther who had had been re–rea–ding for–e–ver dis–cov for e–ver disc dis–co co–ver–ing for–e–ver for–e–ver e–ver dis–co–ver–ing e–ver–ing co–ver–ing e–ver e–ver co–ver–ing one thing and an–o–ther and an–o–ther",[],{"_key":40395,"_type":9,"children":40396,"image":4,"markDefs":40400,"style":18},"d3a07624eeda",[40397],{"_key":40398,"_type":13,"marks":40399,"text":25},"30ba7d592e5e",[],[],{"_key":40402,"_type":423,"audio":40403,"caption":40406,"image":4,"markDefs":4,"musicians":6481},"8f41c5bd1b34",{"_type":416,"asset":40404},{"_ref":40405,"_type":324},"file-85e3006f9a73a6f34c24e0c6db41578756ac805c-mp3","Microzoic Piano Suite, section 8, §6, David's 'rap'",[40408],{"caption":40241,"id":8611,"meta":40409,"parentID":6500,"parentType":326,"url":8616},{"_type":506,"aspectRatio":8613,"height":8614,"width":8615},"David is a highly accomplished baritone with an excellent feeling for the drama in the work he is performing. We met early in our “Swiss life”, he took part in my first concert (Rigiblick, Zürich) while he was still training as a singer. He was born in Rome of German parents and apart from these two “mother tongues” is fluent in English.\n\nWorks of mine which he has performed are:\n\nPoem then, for love\n\nFather's Telescope\n\nHauptsache, man geht zusammen hin\n\nDie Poppa\n\nMicrozoic Piano Suite\n\nI have always been impressed by his extreme professionality. When undertaking a new work he does all in his power to understand the backgound of the work, what the composer intended and how he can best reach the expectation of the composer. Here are some examples of working with him:\n\nIn the preparation for Poem then, for love (soprano, baritone and percussion) the singers were required to perform a difficult passage homophone. They tried it with eye contact but then looking at their score was difficult. David suggested standing back to back so that on singer could feel the breathing of the other. This worked perfectly!\n\nDuring the early stages of Die Poppa (baritone and tape) we met several times for improvisation on Brigitte's text. After we had discussed a passage thoroughly David improvised and I recorded it. In the end I wrote down the final version using the best of these improvisations.\n\nFor the Microzoic Piano Suite (baritone and ensemble) all was written down before we met. Nevertheless David was able to make valuable suggestions about the spoken (rap?) sections including the curious frog-guiro he added to this. Another passage was improved greatly by his clapping which not only produced a wonderful surprise effect, it made it easier for him to perform.\n\nAfter all, said father who had been reading forever discovering one thing and another: ‘Quand on est dans la merde jusqu’au cou, il ne reste plus qu’à chanter’.\n\n\n\nThe English text above was manipulated by a chance prossess which chopped it up and repeated the fragments. The French text is a quote from Samuel Becket.\n\n\nAf–ter all Af–ter all said all said fat fa–ther Af–ter all Af–ter all Af–ter said all said fa–ther who had had been re–rea–ding for–e–ver dis–cov for e–ver disc dis–co co–ver–ing for–e–ver for–e–ver e–ver dis–co–ver–ing e–ver–ing co–ver–ing e–ver e–ver co–ver–ing one thing and an–o–ther and an–o–ther\n\n",{"_type":375,"current":6501},{"_id":5930,"chapters":40413,"content":40414,"images":40528,"rawText":40533,"slug":40534,"title":5922},[],[40415,40422,40447,40465,40473,40482],{"_key":40416,"_type":500,"alt":5922,"caption":5922,"image":40417,"markDefs":4,"size":3496},"370ba40e3ca5",{"caption":4,"id":40418,"meta":40419,"parentID":4,"parentType":326,"url":40421},"29abfd582496f518ff1bd64678e67036c14924a3",{"_type":506,"aspectRatio":40420,"height":3194,"width":36058},0.7313131313131314,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F29abfd582496f518ff1bd64678e67036c14924a3-362x495.jpg",{"_key":40423,"_type":9,"children":40424,"image":4,"markDefs":40444,"style":18},"331862b21891",[40425,40429,40433,40436,40440],{"_key":40426,"_type":13,"marks":40427,"text":40428},"fea6390e8664",[],"Dominik and I met at the Winterthur Conservatory in 1984—he a piano student in his first year and I a teacher also in my first year in Switzerland. I had been working on the ",{"_key":40430,"_type":13,"marks":40431,"text":40432},"6132f38a1097",[73],"PlusOne",{"_key":40434,"_type":13,"marks":40435,"text":15416},"68d5085fd544",[],{"_key":40437,"_type":13,"marks":40438,"text":6002},"c7547f154dfe",[40439],"6cc6f73428a6",{"_key":40441,"_type":13,"marks":40442,"text":40443},"b9f258260180",[],". I told Dominik that I was worried that this movement might be unplayable and asked if he would look at it and tell me what he thought. I heard nothing from him. Months went by and then one day he came to me and asked if I would like to hear my piano piece. I was quite overcome. He had leart it by heart and could show that it was not only playable, it was the fulminating finale which I had dreamt of.",[40445],{"_key":40439,"_type":321,"reference":40446,"slug":6001,"type":510},{"_ref":5879,"_type":324},{"_key":40448,"_type":9,"children":40449,"image":4,"markDefs":40462,"style":18},"90a60c70ff20",[40450,40454,40458],{"_key":40451,"_type":13,"marks":40452,"text":40453},"2f6ee458a7480",[],"Later that year he came to me and asked if I had anything for cello and piano. I did not, but I set to work on ",{"_key":40455,"_type":13,"marks":40456,"text":7550},"d0f7d3e080a5",[40457],"7ee8306377f5",{"_key":40459,"_type":13,"marks":40460,"text":40461},"a090da1b96c1",[],". He and Andreas Ochsner (cello) not only performed this work brilliantly, they also recorded it for radio.",[40463],{"_key":40457,"_type":321,"reference":40464,"slug":7560,"type":510},{"_ref":7500,"_type":324},{"_key":40466,"_type":9,"children":40467,"image":4,"markDefs":40472,"style":18},"c89a46e39d35",[40468],{"_key":40469,"_type":13,"marks":40470,"text":40471},"f439c51a71f40",[],"Since then Dominik has played nearly every work of mine for piano. He accompanied us to Russia where he had to play on a rather rickerty grand piano which had difficulty staying in tune:",[],{"_key":40474,"_type":500,"alt":40475,"caption":40475,"image":40476,"markDefs":4},"8950e12816db","Dominik in Pushkin (near St. Petersburg) playing the accompaniment to ‘Korimako’, one of the sections of After Babel, with his left hand because he also had to play a ratchet with his right hand.",{"caption":4,"id":40477,"meta":40478,"parentID":4,"parentType":326,"url":40481},"42cf04be51fe5dcc351bc525bd0731b60603fe2f",{"_type":506,"aspectRatio":40479,"height":4927,"width":40480},0.686060606060606,566,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F42cf04be51fe5dcc351bc525bd0731b60603fe2f-566x825.jpg",{"_key":40483,"_type":9,"children":40484,"image":4,"markDefs":40522,"style":18},"7cb14e6cae81",[40485,40489,40493,40497,40501,40505,40510,40514,40519],{"_key":40486,"_type":13,"marks":40487,"text":40488},"7661f106aacd",[],"Dominik is also an excellent conductor. While he was conductor the ",{"_key":40490,"_type":13,"marks":40491,"text":40492},"458906a4794a",[73],"Frauenfeld Men's Choir",{"_key":40494,"_type":13,"marks":40495,"text":40496},"5322be8f86a7",[]," he commissioned from me ",{"_key":40498,"_type":13,"marks":40499,"text":13049},"18f0f3021e4b",[40500],"235853c6c19d",{"_key":40502,"_type":13,"marks":40503,"text":40504},"9ef91fd7f5d3",[]," and for my 75th birthday he conducted the ",{"_key":40506,"_type":13,"marks":40507,"text":40509},"260743c003ed",[40508],"ac781c6f5520","ensemble für neue musik zürich",{"_key":40511,"_type":13,"marks":40512,"text":40513},"56c7f2fd14de",[]," as well as accompanying Fiona for the song cycle ",{"_key":40515,"_type":13,"marks":40516,"text":40518},"f41418abb89d",[40517],"cebf1efd3f17","Was liebe ist",{"_key":40520,"_type":13,"marks":40521,"text":2020},"4adca8f15216",[],[40523,40524,40526],{"_key":40508,"_type":316,"href":17304},{"_key":40500,"_type":321,"reference":40525,"slug":13432,"type":510},{"_ref":13028,"_type":324},{"_key":40517,"_type":321,"reference":40527,"slug":20202,"type":510},{"_ref":20057,"_type":324},[40529,40531],{"caption":5922,"id":40418,"meta":40530,"parentID":5930,"parentType":326,"url":40421},{"_type":506,"aspectRatio":40420,"height":3194,"width":36058},{"caption":40475,"id":40477,"meta":40532,"parentID":5930,"parentType":326,"url":40481},{"_type":506,"aspectRatio":40479,"height":4927,"width":40480},"Dominik and I met at the Winterthur Conservatory in 1984—he a piano student in his first year and I a teacher also in my first year in Switzerland. I had been working on the PlusOne movement of the Three Chance Pieces Plus One. I told Dominik that I was worried that this movement might be unplayable and asked if he would look at it and tell me what he thought. I heard nothing from him. Months went by and then one day he came to me and asked if I would like to hear my piano piece. I was quite overcome. He had leart it by heart and could show that it was not only playable, it was the fulminating finale which I had dreamt of.\n\nLater that year he came to me and asked if I had anything for cello and piano. I did not, but I set to work on Snakes and Ladders. He and Andreas Ochsner (cello) not only performed this work brilliantly, they also recorded it for radio.\n\nSince then Dominik has played nearly every work of mine for piano. He accompanied us to Russia where he had to play on a rather rickerty grand piano which had difficulty staying in tune:\n\nDominik is also an excellent conductor. While he was conductor the Frauenfeld Men's Choir he commissioned from me Dies irae and for my 75th birthday he conducted the ensemble für neue musik zürich as well as accompanying Fiona for the song cycle Was liebe ist.",{"_type":375,"current":5931},{"_id":7918,"chapters":40536,"content":40537,"images":40674,"rawText":40677,"slug":40678,"title":7911},[],[40538,40547,40555,40565,40575,40585,40623,40649],{"_key":40539,"_type":500,"alt":40540,"caption":40540,"image":40541,"markDefs":4},"e2469c45e3e4","‘Joueurs de Flute’, Dominique on the left and Anne, his wife, 5th from left",{"caption":4,"id":40542,"meta":40543,"parentID":4,"parentType":326,"url":40546},"76de7a486cb6802778f2971326bd0329bbcedc35",{"_type":506,"aspectRatio":40544,"height":40545,"width":15264},1.8577648766328012,689,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F76de7a486cb6802778f2971326bd0329bbcedc35-1280x689.jpg",{"_key":40548,"_type":9,"children":40549,"image":4,"markDefs":40554,"style":18},"77bff08f75d6",[40550],{"_key":40551,"_type":13,"marks":40552,"text":40553},"c0f96e2582fb0",[],"Works played or commissioned by Dominique and Anne Hunziker:",[],{"_key":40556,"_type":9,"children":40557,"image":4,"level":382,"listItem":2078,"markDefs":40562,"style":18},"916c8b8a325a",[40558],{"_key":40559,"_type":13,"marks":40560,"text":7837},"a0fd6fee93880",[40561],"af9d14dfe46c",[40563],{"_key":40561,"_type":321,"reference":40564,"slug":7956,"type":510},{"_ref":7815,"_type":324},{"_key":40566,"_type":9,"children":40567,"image":4,"level":382,"listItem":2078,"markDefs":40572,"style":18},"75c242a318cb",[40568],{"_key":40569,"_type":13,"marks":40570,"text":34882},"4f97be80792e0",[73,40571],"b3389bdb23fd",[40573],{"_key":40571,"_type":321,"reference":40574,"slug":15285,"type":510},{"_ref":15151,"_type":324},{"_key":40576,"_type":9,"children":40577,"image":4,"level":382,"listItem":2078,"markDefs":40582,"style":18},"de7ff8d9f285",[40578],{"_key":40579,"_type":13,"marks":40580,"text":14865},"6dbc22fe7dea0",[73,40581],"5a9efad9a381",[40583],{"_key":40581,"_type":321,"reference":40584,"slug":15016,"type":510},{"_ref":14856,"_type":324},{"_key":40586,"_type":9,"children":40587,"image":4,"markDefs":40616,"style":18},"6b90fc6bbc7e",[40588,40592,40596,40600,40604,40608,40612],{"_key":40589,"_type":13,"marks":40590,"text":40591},"1d962f6154ab0",[],"Dominique and I met when he played in the concert organised by ",{"_key":40593,"_type":13,"marks":40594,"text":5922},"ca88fe2ad08f",[40595],"b8b5bdb744cd",{"_key":40597,"_type":13,"marks":40598,"text":40599},"f2c4298c8602",[]," which premiered my ",{"_key":40601,"_type":13,"marks":40602,"text":13049},"223b2b86e249",[40603],"8222aecb2129",{"_key":40605,"_type":13,"marks":40606,"text":40607},"4132ab0a1150",[]," and in which Dominique also played ",{"_key":40609,"_type":13,"marks":40610,"text":7837},"1d962f6154ab5",[40611],"173735c8b5c3",{"_key":40613,"_type":13,"marks":40614,"text":40615},"1d962f6154ab6",[],". Thereafter he played that work several other times including at the concert for my retirement from the Zurich Conservatory in 2002.",[40617,40619,40621],{"_key":40595,"_type":321,"reference":40618,"slug":5931,"type":326},{"_ref":5930,"_type":324},{"_key":40603,"_type":321,"reference":40620,"slug":13432,"type":510},{"_ref":13028,"_type":324},{"_key":40611,"_type":321,"reference":40622,"slug":13432,"type":510},{"_ref":13028,"_type":324},{"_key":40624,"_type":9,"children":40625,"image":4,"markDefs":40646,"style":18},"6df7aacc9345",[40626,40630,40634,40638,40642],{"_key":40627,"_type":13,"marks":40628,"text":40629},"b17e97ddd3af0",[],"The special work commissioned by Dominique for his flute octet-group ",{"_key":40631,"_type":13,"marks":40632,"text":40633},"b17e97ddd3af1",[73],"joueurs de flûte",{"_key":40635,"_type":13,"marks":40636,"text":40637},"b17e97ddd3af2",[]," is described under ",{"_key":40639,"_type":13,"marks":40640,"text":34882},"dc2fc36e664a",[40641],"b629780c62da",{"_key":40643,"_type":13,"marks":40644,"text":40645},"097bcee988ee",[],". This work was played in several European countries and also in Japan.",[40647],{"_key":40641,"_type":321,"reference":40648,"slug":15285,"type":510},{"_ref":15151,"_type":324},{"_key":40650,"_type":9,"children":40651,"image":4,"markDefs":40671,"style":18},"86334e26bee1",[40652,40656,40659,40663,40667],{"_key":40653,"_type":13,"marks":40654,"text":40655},"4d36860558100",[],"Later Dominique's wife, Anne, also a flute player and a member of ",{"_key":40657,"_type":13,"marks":40658,"text":40633},"4d36860558101",[73],{"_key":40660,"_type":13,"marks":40661,"text":40662},"4d36860558102",[],", in her capacity as a member of the Aarau music teachers union commissioned a work for young people: ",{"_key":40664,"_type":13,"marks":40665,"text":14865},"e2109f154dd9",[40666],"45eca0122cb5",{"_key":40668,"_type":13,"marks":40669,"text":40670},"b0d65ad8c2e6",[]," for spoken chorus and piano duet.",[40672],{"_key":40666,"_type":321,"reference":40673,"slug":15016,"type":510},{"_ref":14856,"_type":324},[40675],{"caption":40540,"id":40542,"meta":40676,"parentID":7918,"parentType":326,"url":40546},{"_type":506,"aspectRatio":40544,"height":40545,"width":15264},"Works played or commissioned by Dominique and Anne Hunziker:\n\nFlötenspieler und Fledermäuse\n\nKoauau\n\nDer Wal\n\nDominique and I met when he played in the concert organised by Dominik Blum which premiered my Dies irae and in which Dominique also played Flötenspieler und Fledermäuse. Thereafter he played that work several other times including at the concert for my retirement from the Zurich Conservatory in 2002.\n\nThe special work commissioned by Dominique for his flute octet-group joueurs de flûte is described under Koauau. This work was played in several European countries and also in Japan.\n\nLater Dominique's wife, Anne, also a flute player and a member of joueurs de flûte, in her capacity as a member of the Aarau music teachers union commissioned a work for young people: Der Wal for spoken chorus and piano duet.",{"_type":375,"current":7919},{"_id":1833,"chapters":40680,"content":40681,"images":40895,"rawText":40900,"slug":40901,"title":1814},[],[40682,40690,40745,40772,40780,40789],{"_key":40683,"_type":500,"image":40684,"markDefs":4},"b90fcd589600",{"caption":4,"id":40685,"meta":40686,"parentID":4,"parentType":326,"url":40689},"cc09d564b3e6ee390c114caaf247d05fe0c2ef10",{"_type":506,"aspectRatio":40687,"height":40688,"width":23363},1.75625,320,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fcc09d564b3e6ee390c114caaf247d05fe0c2ef10-562x320.jpg",{"_key":40691,"_type":9,"children":40692,"image":4,"markDefs":40738,"style":18},"41577b5d72d7",[40693,40697,40702,40706,40710,40714,40719,40723,40727,40730,40735],{"_key":40694,"_type":13,"marks":40695,"text":40696},"ec9df1c730e80",[],"Don and I met as we started our teaching careers in 1962 at Linwood High School, Christchurch. He was and is a multitalent in English, Drama and Painting. No sooner had we met than he had me acting - as Othello! Later as he began producing plays in the city he asked me for music. Later still we were colleagues again at the ",{"_key":40698,"_type":13,"marks":40699,"text":40701},"bc2741a4998b",[40700],"4376430d6b25","Teachers Training College",{"_key":40703,"_type":13,"marks":40704,"text":40705},"45166671a106",[]," where we were able to mobilise students to take part in various projects: ",{"_key":40707,"_type":13,"marks":40708,"text":40709},"ec9df1c730e81",[73],"The Bacchae, 1789,",{"_key":40711,"_type":13,"marks":40712,"text":40713},"ec9df1c730e82",[]," etc. Probably the most interesting of all the stage works that I was involved in were productions of Brecht plays—which call for frequent “",{"_key":40715,"_type":13,"marks":40716,"text":40718},"c83f275d21ac",[40717],"599e1d8c66fe","Verfremdungseffekte",{"_key":40720,"_type":13,"marks":40721,"text":40722},"8c4076e0252c",[],"” through the songs that the players have to sing. 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Below her some of the log drums I made while at the Christchurch Teachers College and at the bottom left corner is ",{"_key":40834,"_type":13,"marks":40835,"text":2637},"31f0cdf08dd711",[40836],"f49740a7b5c5",{"_key":40838,"_type":13,"marks":40839,"text":40840},"31f0cdf08dd712",[]," and his sun god (also a Linwood High School production) and at the end of the sun’s rays are stones like those on the stone curtain of my ",{"_key":40842,"_type":13,"marks":40843,"text":3535},"31f0cdf08dd713",[40844],"17f0cd8e3e80",{"_key":40846,"_type":13,"marks":40847,"text":40848},"31f0cdf08dd714",[],". Works on the right of the picture starting from the top are: ",{"_key":40850,"_type":13,"marks":40851,"text":12768},"31f0cdf08dd715",[40852],"f43d8652c6c8",{"_key":40854,"_type":13,"marks":40855,"text":2617},"31f0cdf08dd716",[],{"_key":40857,"_type":13,"marks":40858,"text":2803},"31f0cdf08dd717",[73],{"_key":40860,"_type":13,"marks":40861,"text":40862},"31f0cdf08dd718",[]," (with a large man-eating fish constructed by Don for the performance) and under my left hand ",{"_key":40864,"_type":13,"marks":40865,"text":5168},"31f0cdf08dd719",[40866],"a2b264013591",{"_key":40868,"_type":13,"marks":40869,"text":2617},"31f0cdf08dd720",[],{"_key":40871,"_type":13,"marks":40872,"text":40873},"31f0cdf08dd721",[73],"The Bacchae",{"_key":40875,"_type":13,"marks":40876,"text":2625},"31f0cdf08dd722",[],{"_key":40878,"_type":13,"marks":40879,"text":40734},"31f0cdf08dd723",[73],{"_key":40881,"_type":13,"marks":40882,"text":40883},"31f0cdf08dd724",[]," (sitting on her wagon).",[40885,40887,40889,40891,40893],{"_key":40813,"_type":321,"reference":40886,"slug":2227,"type":510},{"_ref":1977,"_type":324},{"_key":40836,"_type":321,"reference":40888,"slug":2826,"type":510},{"_ref":2575,"_type":324},{"_key":40844,"_type":321,"reference":40890,"slug":3612,"type":510},{"_ref":3357,"_type":324},{"_key":40852,"_type":321,"reference":40892,"slug":12795,"type":510},{"_ref":12529,"_type":324},{"_key":40866,"_type":321,"reference":40894,"slug":5199,"type":510},{"_ref":4909,"_type":324},[40896,40898],{"caption":4,"id":40685,"meta":40897,"parentID":1833,"parentType":326,"url":40689},{"_type":506,"aspectRatio":40687,"height":40688,"width":23363},{"caption":4,"id":40783,"meta":40899,"parentID":1833,"parentType":326,"url":40788},{"_type":506,"aspectRatio":40785,"height":40786,"width":40787},"Don and I met as we started our teaching careers in 1962 at Linwood High School, Christchurch. He was and is a multitalent in English, Drama and Painting. No sooner had we met than he had me acting - as Othello! Later as he began producing plays in the city he asked me for music. Later still we were colleagues again at the Teachers Training College where we were able to mobilise students to take part in various projects: The Bacchae, 1789, etc. Probably the most interesting of all the stage works that I was involved in were productions of Brecht plays—which call for frequent “Verfremdungseffekte” through the songs that the players have to sing. Don produced The Good Woman of Setzuan and Mother Courage.\n\nDon also produced several of my stage works including the comic opera The Fisherman and his Wife and the Christmas oratorio Christophorus.\n\nIn 2002 when I turned 65 I was officially farewelled from the Zurich Conservatory and was honoured by a concert of works of mine and by contributions of different sorts including a special painting by Don McAra showing some of my works especially from my time in New Zealand:\n\nI am portrayed as Christophorus (with the Christ child on my shoulder), sitting on my arm are the three gods from The Good Woman of Setzuan, under them is a Norman boat from Harold and William (Linwood High School production) and under this Shen Te also from The Good Woman of Setzuan. Below her some of the log drums I made while at the Christchurch Teachers College and at the bottom left corner is Akhnaton and his sun god (also a Linwood High School production) and at the end of the sun’s rays are stones like those on the stone curtain of my Stone Poem. Works on the right of the picture starting from the top are: WHALE, The Fisherman and his Wife (with a large man-eating fish constructed by Don for the performance) and under my left hand Hubert the Clockmaker, The Bacchae and Mother Courage (sitting on her wagon).",{"_type":375,"current":1834},{"_id":3484,"chapters":40903,"content":40904,"images":40949,"rawText":40952,"slug":40953,"title":3468},[],[40905,40914],{"_key":40906,"_type":500,"alt":40907,"caption":40907,"image":40908,"markDefs":4},"b5b55fbf5042","Douglas in his electronic music studio (the first is New Zealand), set up after I left Wellington.",{"caption":4,"id":40909,"meta":40910,"parentID":4,"parentType":326,"url":40913},"e755c8450b445465d53097bf68edb01be64adc0d",{"_type":506,"aspectRatio":40911,"height":4714,"width":40912},1.445,578,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fe755c8450b445465d53097bf68edb01be64adc0d-578x400.jpg",{"_key":40915,"_type":9,"children":40916,"image":4,"markDefs":40942,"style":18},"30f251c3e94e",[40917,40922,40926,40930,40934,40938],{"_key":40918,"_type":13,"marks":40919,"text":40921},"799e4664f3830",[40920],"f1137d02c9a2","Douglas",{"_key":40923,"_type":13,"marks":40924,"text":40925},"799e4664f3831",[]," was my harmony teacher briefly at the beginning of my music studies. I had already completed my maths degree and so came to the music department with considerably more listening background than the rest of the students and had already had some pieces performed in the music department while a maths student. Douglas had an aura of great sensitivity for me and also a friendliness that made me feel his door was always open if I wanted to show him what I had written. He would play my pieces through on the piano and question this and that—I was always impressed at how this great composer took my immature attempts so seriously. Later, after I had had my ",{"_key":40927,"_type":13,"marks":40928,"text":377},"8b7cebf592d8",[40929],"ba884fa596e2",{"_key":40931,"_type":13,"marks":40932,"text":40933},"89a8e43efff9",[]," performed at the ",{"_key":40935,"_type":13,"marks":40936,"text":33467},"0f2d5495330c",[40937],"98903fb7ecac",{"_key":40939,"_type":13,"marks":40940,"text":40941},"14bff70dc423",[],", he looked at the score and arranged for it to be recorded by the then National Orchestra under John Hopkins.",[40943,40945,40947],{"_key":40920,"_type":316,"href":40944},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FDouglas_Lilburn",{"_key":40929,"_type":321,"reference":40946,"slug":376,"type":510},{"_ref":277,"_type":324},{"_key":40937,"_type":316,"href":40948},"https:\u002F\u002Fnatlib.govt.nz\u002Frecords\u002F22355978",[40950],{"caption":40907,"id":40909,"meta":40951,"parentID":3484,"parentType":326,"url":40913},{"_type":506,"aspectRatio":40911,"height":4714,"width":40912},"Douglas was my harmony teacher briefly at the beginning of my music studies. I had already completed my maths degree and so came to the music department with considerably more listening background than the rest of the students and had already had some pieces performed in the music department while a maths student. Douglas had an aura of great sensitivity for me and also a friendliness that made me feel his door was always open if I wanted to show him what I had written. He would play my pieces through on the piano and question this and that—I was always impressed at how this great composer took my immature attempts so seriously. Later, after I had had my Reading Gaol performed at the Cambridge Music School, he looked at the score and arranged for it to be recorded by the then National Orchestra under John Hopkins.",{"_type":375,"current":3485},{"_id":4251,"chapters":40955,"content":40956,"images":41181,"rawText":41184,"slug":41185,"title":18307},[],[40957,40967,40975,40982,41034,41042,41055,41069,41083,41097,41111,41125,41139,41153,41167],{"_key":40958,"_type":500,"alt":40959,"caption":40959,"image":40960,"markDefs":4},"d4575f057dc7","Fiona after the performance of Alles unter einem Hut in Schaffhausen",{"caption":4,"id":40961,"meta":40962,"parentID":4,"parentType":326,"url":40966},"a45b3c26e220c9e59b85edbc4d3648e0b15df7f4",{"_type":506,"aspectRatio":40963,"height":40964,"width":40965},0.7326315789473684,950,696,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fa45b3c26e220c9e59b85edbc4d3648e0b15df7f4-696x950.jpg",{"_key":40968,"_type":9,"children":40969,"image":4,"markDefs":40974,"style":18},"5bac7584f80e",[40970],{"_key":40971,"_type":13,"marks":40972,"text":40973},"5bf6f39505c50",[],"Fiona Powell, born 1970 in Christchurch, New Zealand, second child of Brigitte and Kit Powell",[],{"_key":40976,"_type":9,"children":40977,"image":4,"markDefs":40981,"style":18},"1876857bece1",[40978],{"_key":40979,"_type":13,"marks":40980,"text":25},"da103f5089e70",[],[],{"_key":40983,"_type":9,"children":40984,"image":4,"markDefs":41025,"style":18},"3f0b28c41334",[40985,40989,40994,40998,41003,41007,41012,41016,41021],{"_key":40986,"_type":13,"marks":40987,"text":40988},"f309dfba78170",[],"Studied singing at ",{"_key":40990,"_type":13,"marks":40991,"text":40993},"f309dfba78171",[40992],"988dde287cc7","Zurich Conservatorium",{"_key":40995,"_type":13,"marks":40996,"text":40997},"f309dfba78172",[]," (Teaching Diploma, Teacher: ",{"_key":40999,"_type":13,"marks":41000,"text":41002},"f309dfba78173",[41001],"2110cfc39505","Jane Mengedoht",{"_key":41004,"_type":13,"marks":41005,"text":41006},"f309dfba78174",[],") and at the ",{"_key":41008,"_type":13,"marks":41009,"text":41011},"f309dfba78175",[41010],"e6c819eb9a88","University of Tel Aviv",{"_key":41013,"_type":13,"marks":41014,"text":41015},"f309dfba78176",[]," (MA, Teacher: [Tamar Rachum](Tamar Rachum)). Performed for several years as free lance soprano soloist. Taught singing at Winterthur Conservatory. Since 2006 married to architect ",{"_key":41017,"_type":13,"marks":41018,"text":41020},"6fa40180ffd2",[41019],"fa11e9fa7f51","Roger Boltshauser",{"_key":41022,"_type":13,"marks":41023,"text":41024},"2c5333cdeb9d",[],", two children: Moris and Timon.",[41026,41028,41030,41032],{"_key":40992,"_type":316,"href":41027},"https:\u002F\u002Fwww.zhdk.ch\u002F",{"_key":41001,"_type":316,"href":41029},"http:\u002F\u002Fthorner-mengedoht.com\u002F",{"_key":41010,"_type":316,"href":41031},"https:\u002F\u002Fenglish.tau.ac.il\u002F",{"_key":41019,"_type":321,"reference":41033,"slug":19122,"type":326},{"_ref":19121,"_type":324},{"_key":41035,"_type":9,"children":41036,"image":4,"markDefs":41041,"style":18},"99436853aef8",[41037],{"_key":41038,"_type":13,"marks":41039,"text":41040},"632c487e40ab0",[],"Many of Kit Powell's works for soprano were written for 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Harlow",[41067],{"_key":41061,"_type":321,"reference":41068,"slug":14242,"type":510},{"_ref":13438,"_type":324},{"_key":41070,"_type":9,"children":41071,"image":4,"level":382,"listItem":2078,"markDefs":41080,"style":18},"240d7b127dac",[41072,41076],{"_key":41073,"_type":13,"marks":41074,"text":14568},"2539edb38be10",[41075],"9756eba142e7",{"_key":41077,"_type":13,"marks":41078,"text":41079},"4bf6ce481af0",[]," (1996, soprano, piano and tape) Texts (German): Clara Schumann",[41081],{"_key":41075,"_type":321,"reference":41082,"slug":14567,"type":510},{"_ref":14369,"_type":324},{"_key":41084,"_type":9,"children":41085,"image":4,"level":382,"listItem":2078,"markDefs":41094,"style":18},"b6f6e4b597ca",[41086,41090],{"_key":41087,"_type":13,"marks":41088,"text":14780},"a2b0f5b4428e0",[41089],"edff14a7678f",{"_key":41091,"_type":13,"marks":41092,"text":41093},"650754eb9b7c",[]," (1997, four songs for soprano, horn or trombone and piano) texts by Jürg Schubiger",[41095],{"_key":41089,"_type":321,"reference":41096,"slug":14851,"type":510},{"_ref":14711,"_type":324},{"_key":41098,"_type":9,"children":41099,"image":4,"level":382,"listItem":2078,"markDefs":41108,"style":18},"aee54818517e",[41100,41104],{"_key":41101,"_type":13,"marks":41102,"text":16209},"557b895860e70",[41103],"2d1cb9e3e678",{"_key":41105,"_type":13,"marks":41106,"text":41107},"d4ed0000d024",[]," (1999, soprano and piano) 4 Hamlet texts",[41109],{"_key":41103,"_type":321,"reference":41110,"slug":16624,"type":510},{"_ref":16200,"_type":324},{"_key":41112,"_type":9,"children":41113,"image":4,"level":382,"listItem":2078,"markDefs":41122,"style":18},"784f37676a36",[41114,41118],{"_key":41115,"_type":13,"marks":41116,"text":17470},"520c5cbaf3220",[41117],"f4086b42ad27",{"_key":41119,"_type":13,"marks":41120,"text":41121},"2553a2e8893b",[]," (2001, soprano and piano) 9 texts (German) by Robert Walser.",[41123],{"_key":41117,"_type":321,"reference":41124,"slug":12170,"type":510},{"_ref":12169,"_type":324},{"_key":41126,"_type":9,"children":41127,"image":4,"level":382,"listItem":2078,"markDefs":41136,"style":18},"de7dadf983fc",[41128,41132],{"_key":41129,"_type":13,"marks":41130,"text":17904},"bcd02b4752a40",[41131],"16e026cc6525",{"_key":41133,"_type":13,"marks":41134,"text":41135},"65b823978d2f",[]," (2003, soprano & trombone) texts by Jürg Schubiger",[41137],{"_key":41131,"_type":321,"reference":41138,"slug":18067,"type":510},{"_ref":17876,"_type":324},{"_key":41140,"_type":9,"children":41141,"image":4,"level":382,"listItem":2078,"markDefs":41150,"style":18},"e58faece66ee",[41142,41146],{"_key":41143,"_type":13,"marks":41144,"text":18282},"7a73f2fb883a0",[41145],"2ccb24a38c8c",{"_key":41147,"_type":13,"marks":41148,"text":41149},"b9560ee8a440",[]," (2003, soprano & piano) texts by Michael Harlow",[41151],{"_key":41145,"_type":321,"reference":41152,"slug":18378,"type":510},{"_ref":18273,"_type":324},{"_key":41154,"_type":9,"children":41155,"image":4,"level":382,"listItem":2078,"markDefs":41164,"style":18},"2d7833fd5b75",[41156,41160],{"_key":41157,"_type":13,"marks":41158,"text":18873},"4a895921bc3d0",[41159],"7810bcbefcf6",{"_key":41161,"_type":13,"marks":41162,"text":41163},"878457d030ae",[]," (2005, soprano, contralto and piano) 5 texts (German & English) by Kurt Schwitters",[41165],{"_key":41159,"_type":321,"reference":41166,"slug":18872,"type":510},{"_ref":18641,"_type":324},{"_key":41168,"_type":9,"children":41169,"image":4,"level":382,"listItem":2078,"markDefs":41178,"style":18},"a8e560326892",[41170,41174],{"_key":41171,"_type":13,"marks":41172,"text":19814},"dab5bec498290",[41173],"6744c5de0429",{"_key":41175,"_type":13,"marks":41176,"text":41177},"298dd6a0839c",[]," (2008, soprano & string orchestra) texts by Jürg Schubiger",[41179],{"_key":41173,"_type":321,"reference":41180,"slug":19813,"type":510},{"_ref":19666,"_type":324},[41182],{"caption":40959,"id":40961,"meta":41183,"parentID":4251,"parentType":326,"url":40966},{"_type":506,"aspectRatio":40963,"height":40964,"width":40965},"Fiona Powell, born 1970 in Christchurch, New Zealand, second child of Brigitte and Kit Powell\n\n\n\nStudied singing at Zurich Conservatorium (Teaching Diploma, Teacher: Jane Mengedoht) and at the University of Tel Aviv (MA, Teacher: [Tamar Rachum](Tamar Rachum)). Performed for several years as free lance soprano soloist. Taught singing at Winterthur Conservatory. Since 2006 married to architect Roger Boltshauser, two children: Moris and Timon.\n\nMany of Kit Powell's works for soprano were written for Fiona:\n\nAmselbaum (1992, soprano and piano) Song cycle on texts (German) by Brigitte Powell\n\nAfter Babel (1995, soprano, piano & brass ensemble: 2 tpts, 2 tbns) texts by Michael Harlow\n\nClara Schumann (1996, soprano, piano and tape) Texts (German): Clara Schumann\n\nVerschiedene Tiere (1997, four songs for soprano, horn or trombone and piano) texts by Jürg Schubiger\n\nOphelia Songs (1999, soprano and piano) 4 Hamlet texts\n\nScheint denn die Sonne heut nicht? (2001, soprano and piano) 9 texts (German) by Robert Walser.\n\nDas Ausland (2003, soprano & trombone) texts by Jürg Schubiger\n\nToday is the Piano’s Birthday (2003, soprano & piano) texts by Michael Harlow\n\n5 Schwitters Songs (2005, soprano, contralto and piano) 5 texts (German & English) by Kurt Schwitters\n\nAlles unter einem Hut (2008, soprano & string orchestra) texts by Jürg Schubiger",{"_type":375,"current":4252},{"_id":4622,"chapters":41187,"content":41188,"images":41279,"rawText":41286,"slug":41287,"title":41288},[],[41189,41197,41214,41223,41232,41240,41256,41264,41272],{"_key":41190,"_type":500,"alt":4616,"caption":4616,"image":41191,"markDefs":4,"size":3496},"349196d23de1",{"caption":4,"id":41192,"meta":41193,"parentID":4,"parentType":326,"url":41196},"7909285a27d5513c2dcf930478f2602123288ee2",{"_type":506,"aspectRatio":35982,"height":41194,"width":41195},660,510,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F7909285a27d5513c2dcf930478f2602123288ee2-510x660.jpg",{"_key":41198,"_type":9,"children":41199,"image":4,"markDefs":41211,"style":18},"5c79b2e163ea",[41200,41204,41208],{"_key":41201,"_type":13,"marks":41202,"text":41203},"b49f1d9543e40",[],"Gennie is an artist friend and she and her family had an important influence on the cultural life of our family. The Powells met the Donalds (Gennie’s married name) through Fiona and Stephanie who were school friends. Gennie, the potter and painter, wanted to teach her own children about her art and decided it was best done by forming a small class of 5 or 6 children which would meet in her pottery each Saturday morning. Philip and Fiona were invited to take part and so in return I offered a class where hers and our children would play music together and also create their own pieces. This took place every Wednesday afternoon when a viola student of mine (Margaret Hunt) from the Teachers College also came and gave lessons to the three string players in the group. This idyllic situation lasted only a year before we left for my sabbatical leave in 1980. But in this short time wonderful sculptures, tile pictures and music pieces were created, culminating in an exhibition in the CSA gallery and a concert at the Teachers Training College. Gennie also designed the wonderful cover page for ",{"_key":41205,"_type":13,"marks":41206,"text":4378},"12f042a5941a",[41207],"cb4eb419f0f7",{"_key":41209,"_type":13,"marks":41210,"text":2020},"581db1d52de1",[],[41212],{"_key":41207,"_type":321,"reference":41213,"slug":2343,"type":510},{"_ref":2342,"_type":324},{"_key":41215,"_type":500,"alt":41216,"caption":41216,"image":41217,"markDefs":4},"8e0efb9025f4","Powell and Donald children (Philip, Stephanie, Kit!, Liza, Fiona) performing—behind them are some of their clay-sculptures",{"caption":4,"id":41218,"meta":41219,"parentID":4,"parentType":326,"url":41222},"0470722344d3e86b899926b3d9e68e9e8a5e088c",{"_type":506,"aspectRatio":41220,"height":41221,"width":17701},1.3544018058690745,443,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F0470722344d3e86b899926b3d9e68e9e8a5e088c-600x443.jpg",{"_key":41224,"_type":500,"alt":41225,"caption":41225,"image":41226,"markDefs":4},"ce26fc853a78","Gennie's beautiful cover design for the score of ‘The Ever-Circling Light’",{"caption":4,"id":41227,"meta":41228,"parentID":4,"parentType":326,"url":41231},"2cdc9e49adf3ec295c1d4a9b037cf0010151b775",{"_type":506,"aspectRatio":41229,"height":41230,"width":509},0.7083333333333334,2400,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F2cdc9e49adf3ec295c1d4a9b037cf0010151b775-1700x2400.jpg",{"_key":41233,"_type":9,"children":41234,"image":4,"markDefs":41239,"style":18},"09b7f303c276",[41235],{"_key":41236,"_type":13,"marks":41237,"text":41238},"eac1a60316a00",[],"5. July 2020",[],{"_key":41241,"_type":9,"children":41242,"image":4,"markDefs":41255,"style":18},"a9cd9831617d",[41243,41247,41251],{"_key":41244,"_type":13,"marks":41245,"text":41246},"e2c01fe61d4e0",[],"Dear Kit, Today we have been swept back in time.\nWe are at the lake and Christopher and Robyn Evans came for lunch.\nWe had champagne and a Danish fish soup. Then in a mellow state we all sat round the fire. The dark bush and heavy leaden sky hanging over the lake.\nRobyn had brought a tape of your ",{"_key":41248,"_type":13,"marks":41249,"text":41250},"e2c01fe61d4e1",[73],"Ever Circling Light",{"_key":41252,"_type":13,"marks":41253,"text":41254},"e2c01fe61d4e2",[]," as we wanted to hear her sing.\nShe was in tears listening. Even though it was played on an old machine filled with clay dust from my pottery. It still sounded better than I remembered.\nMaybe because it is so of this moment.\nThat Maori get so much more prominence and respected these days.",[],{"_key":41257,"_type":9,"children":41258,"image":4,"markDefs":41263,"style":18},"92bfe874cfad",[41259],{"_key":41260,"_type":13,"marks":41261,"text":41262},"c220c33e41500",[],"We all thought if only it could be played in an arts festival now, it would be recieved with such enthusiasm.\nWe were all enraptured and appreciated it more than we did at the time.\nSurely that means it has stood the test of time, and is something beautiful that you have left the world.\nIt was special that we could hear Robyn's voice. That she also could know she had made something really good.",[],{"_key":41265,"_type":9,"children":41266,"image":4,"markDefs":41271,"style":18},"75362a4bc1b3",[41267],{"_key":41268,"_type":13,"marks":41269,"text":41270},"706c81234bce0",[],"So you live on and were here a gave us a concert in the perfect setting.\nThank you for a magnificent work.\nRick and Gennie xxxx",[],{"_key":41273,"_type":9,"children":41274,"image":4,"markDefs":41278,"style":18},"b6c531878da3",[41275],{"_key":41276,"_type":13,"marks":41277,"text":4878},"eac67b03360b",[],[],[41280,41282,41284],{"caption":4616,"id":41192,"meta":41281,"parentID":4622,"parentType":326,"url":41196},{"_type":506,"aspectRatio":35982,"height":41194,"width":41195},{"caption":41216,"id":41218,"meta":41283,"parentID":4622,"parentType":326,"url":41222},{"_type":506,"aspectRatio":41220,"height":41221,"width":17701},{"caption":41225,"id":41227,"meta":41285,"parentID":4622,"parentType":326,"url":41231},{"_type":506,"aspectRatio":41229,"height":41230,"width":509},"Gennie is an artist friend and she and her family had an important influence on the cultural life of our family. The Powells met the Donalds (Gennie’s married name) through Fiona and Stephanie who were school friends. Gennie, the potter and painter, wanted to teach her own children about her art and decided it was best done by forming a small class of 5 or 6 children which would meet in her pottery each Saturday morning. Philip and Fiona were invited to take part and so in return I offered a class where hers and our children would play music together and also create their own pieces. This took place every Wednesday afternoon when a viola student of mine (Margaret Hunt) from the Teachers College also came and gave lessons to the three string players in the group. This idyllic situation lasted only a year before we left for my sabbatical leave in 1980. But in this short time wonderful sculptures, tile pictures and music pieces were created, culminating in an exhibition in the CSA gallery and a concert at the Teachers Training College. Gennie also designed the wonderful cover page for The Ever-Circling Light.\n\n5. July 2020\n\nDear Kit, Today we have been swept back in time.\nWe are at the lake and Christopher and Robyn Evans came for lunch.\nWe had champagne and a Danish fish soup. Then in a mellow state we all sat round the fire. The dark bush and heavy leaden sky hanging over the lake.\nRobyn had brought a tape of your Ever Circling Light as we wanted to hear her sing.\nShe was in tears listening. Even though it was played on an old machine filled with clay dust from my pottery. It still sounded better than I remembered.\nMaybe because it is so of this moment.\nThat Maori get so much more prominence and respected these days.\n\nWe all thought if only it could be played in an arts festival now, it would be recieved with such enthusiasm.\nWe were all enraptured and appreciated it more than we did at the time.\nSurely that means it has stood the test of time, and is something beautiful that you have left the world.\nIt was special that we could hear Robyn's voice. That she also could know she had made something really good.\n\nSo you live on and were here a gave us a concert in the perfect setting.\nThank you for a magnificent work.\nRick and Gennie xxxx\n\n\n",{"_type":375,"current":4623},"Gennie De Lange",{"_id":5841,"chapters":41290,"content":41291,"images":41508,"rawText":41511,"slug":41512,"title":5833},[],[41292,41302,41315,41343,41398,41452,41470,41478],{"_key":41293,"_type":500,"alt":41294,"caption":41295,"image":41296,"markDefs":4},"ee73a5662b1c","Gerald and Kit","Gerald (right) and Kit",{"caption":4,"id":41297,"meta":41298,"parentID":4,"parentType":326,"url":41301},"1489f34665c347aafc65fb087efe181e57c7b068",{"_type":506,"aspectRatio":41299,"height":29122,"width":41300},1.7335264301230993,2394,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F1489f34665c347aafc65fb087efe181e57c7b068-2394x1381.jpg",{"_key":41303,"_type":9,"children":41304,"image":4,"markDefs":41308,"style":18},"0355c5da75e2",[41305],{"_key":41306,"_type":13,"marks":41307,"text":25},"b602606e9c0d",[],[41309,41312],{"_key":41310,"_type":316,"href":41311},"9cb7a50c49a1","https:\u002F\u002Fkitpowell.ch\u002Fworks\u002Fpieceof4\u002F",{"_key":41313,"_type":316,"href":41314},"f39d7c7e2894","https:\u002F\u002Fkitpowell.ch\u002Fworks\u002Fkraehenalles\u002F",{"_key":41316,"_type":9,"children":41317,"image":4,"markDefs":41336,"style":18},"0f30235ead6b",[41318,41322,41325,41329,41332],{"_key":41319,"_type":13,"marks":41320,"text":41321},"4cc529a1621c",[],"Gerald and I met in 1980 as I was following the students from one of Walter Baer’s music classes. He told me later that he was so impressed with this particular group that he decided to share a commission he had from the Electroacoustic Music Studio in Bourges, France with them and write a collective piece. And since I was already part of this class he asked if I would like to come along too - which of course I would, very much! We all went twice to Bourges during 1981, once to get the feel of the studio and to gather ideas and then again to realise them. The first piece I wrote was ",{"_key":41323,"_type":13,"marks":41324,"text":5759},"8c617c1e7e89",[41310,73],{"_key":41326,"_type":13,"marks":41327,"text":41328},"c002187af079",[],", which, although it interested Gerald, he found unsuitable for the concept which was to tear the various pieces of each of the group members apart and then stitch them together again in a single collage. So my second piece was ",{"_key":41330,"_type":13,"marks":41331,"text":5768},"cb270872c776",[41313,73],{"_key":41333,"_type":13,"marks":41334,"text":41335},"ddc99a20af7c",[],", a work for flute (later played by a clarinet) and tape based on a poem of the same name by our nephew Renaud Racine. The final piece was assembled and very successfully performed after our return to NZ.",[41337,41339,41341,41342],{"_key":41310,"_type":316,"href":41338},"\u002Fworks\u002Fpiece-of-4\u002F",{"_key":41313,"_type":316,"href":41340},"\u002Fworks\u002Fkraehenalles\u002F",{"_key":41310,"_type":316,"href":41338},{"_key":41313,"_type":316,"href":41340},{"_key":41344,"_type":9,"children":41345,"image":4,"markDefs":41389,"style":18},"e9f5a1f77da3",[41346,41350,41354,41358,41362,41365,41369,41373,41377,41381,41385],{"_key":41347,"_type":13,"marks":41348,"text":41349},"99240af92d4a0",[],"By the time we had returned to Switzerland in 1984 Gerald (together with ",{"_key":41351,"_type":13,"marks":41352,"text":8230},"99240af92d4a1",[41353],"ea187337d861",{"_key":41355,"_type":13,"marks":41356,"text":41357},"99240af92d4a2",[],") had founded the Computer Music Centre in Oetwil am See which offered courses and organised concerts in this new form of electroacoustic music. I attended a number of courses here, each time composing a new piece. The first was ",{"_key":41359,"_type":13,"marks":41360,"text":7343},"99240af92d4a3",[41361,73],"f58988fe0d03",{"_key":41363,"_type":13,"marks":41364,"text":8218},"99240af92d4a4",[],{"_key":41366,"_type":13,"marks":41367,"text":7989},"99240af92d4a5",[41368],"10d143e41712",{"_key":41370,"_type":13,"marks":41371,"text":41372},"99240af92d4a6",[]," texts - Michael was actually here and visited the Centre where his voice was recorded for the second song). Then followed ",{"_key":41374,"_type":13,"marks":41375,"text":8138},"99240af92d4a7",[41376,73],"ef52f7d8abbb",{"_key":41378,"_type":13,"marks":41379,"text":41380},"99240af92d4a8",[]," (performed several times by Franziska Staehelin, soprano and singing teacher colleague from the department of ",{"_key":41382,"_type":13,"marks":41383,"text":41384},"99240af92d4a9",[73],"Musikalische Früherziehung",{"_key":41386,"_type":13,"marks":41387,"text":41388},"99240af92d4a10",[]," Early Music-Education).",[41390,41392,41394,41396],{"_key":41353,"_type":316,"href":41391},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FBruno_Spoerri",{"_key":41361,"_type":316,"href":41393},"\u002Fworks\u002Fnelson-songs\u002F",{"_key":41368,"_type":316,"href":41395},"\u002Fpeople\u002Fmichael-harlow\u002F",{"_key":41376,"_type":316,"href":41397},"\u002Fworks\u002Fchinese-songs\u002F",{"_key":41399,"_type":9,"children":41400,"image":4,"markDefs":41444,"style":18},"da5b8e036d0d",[41401,41405,41409,41413,41418,41422,41425,41429,41433,41437,41441],{"_key":41402,"_type":13,"marks":41403,"text":41404},"ba174b591be20",[],"In 1987 Gerald suggested I do a course in the Paris studio of ",{"_key":41406,"_type":13,"marks":41407,"text":7846},"ba174b591be21",[41408],"898ccba1a27c",{"_key":41410,"_type":13,"marks":41411,"text":41412},"ba174b591be22",[]," (founded by the Greek composer ",{"_key":41414,"_type":13,"marks":41415,"text":41417},"ba174b591be23",[41416],"cbb27f5d5d22","Xenakis",{"_key":41419,"_type":13,"marks":41420,"text":41421},"ba174b591be24",[],"). He felt that the basic idea of the UPIC machine, in which one drew directly onto the computer screen (wave forms, dynamic curves, pitch and duration, overall form) would appeal to my visual approach to composition. I was indeed especially delighted with the possibilities of this computer machine and would gladly have continued with it, but so far I have never seen the promised UPIC for private computer. I went to the course armed with Kokoschka’s picture ",{"_key":41423,"_type":13,"marks":41424,"text":7837},"ba174b591be25",[73],{"_key":41426,"_type":13,"marks":41427,"text":41428},"ba174b591be26",[]," and also with recordings of bat song (slowed down so that it could be heard by humans). All this material I was able to use and returned with the tape for my piece ",{"_key":41430,"_type":13,"marks":41431,"text":7837},"ba174b591be27",[41432,73],"05335865810c",{"_key":41434,"_type":13,"marks":41435,"text":41436},"ba174b591be28",[]," which was premièred by the flautist Heinrich Keller and later played several times by ",{"_key":41438,"_type":13,"marks":41439,"text":7911},"ba174b591be29",[41440],"5351cfab2352",{"_key":41442,"_type":13,"marks":41443,"text":2020},"ba174b591be210",[],[41445,41446,41448,41450],{"_key":41408,"_type":316,"href":7853},{"_key":41416,"_type":316,"href":41447},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FIannis_Xenakis",{"_key":41432,"_type":316,"href":41449},"\u002Fworks\u002Ffloetenspieler-und-fledermaeuse\u002F",{"_key":41440,"_type":316,"href":41451},"\u002Fpeople\u002Fdominique-hunziker\u002F",{"_key":41453,"_type":9,"children":41454,"image":4,"markDefs":41467,"style":18},"0f378dfed344",[41455,41459,41463],{"_key":41456,"_type":13,"marks":41457,"text":41458},"dcead573fb1b0",[],"The very considerable help I had from Gerald with the tape for ",{"_key":41460,"_type":13,"marks":41461,"text":12768},"dcead573fb1b1",[41462,73],"803a9d7d5ac9",{"_key":41464,"_type":13,"marks":41465,"text":41466},"dcead573fb1b2",[]," (no. 80) is documented on that page.",[41468],{"_key":41462,"_type":316,"href":41469},"\u002Fworks\u002Fwhale\u002F",{"_key":41471,"_type":9,"children":41472,"image":4,"markDefs":41477,"style":18},"bfc182125269",[41473],{"_key":41474,"_type":13,"marks":41475,"text":41476},"c1f14efef2610",[],"In the years that followed we kept in regular contact and I was often asked to take part in the concerts of the Computer Music Centre which later moved to the Zurich Conservatory where its courses became part of the normal conservatory program.",[],{"_key":41479,"_type":9,"children":41480,"image":4,"markDefs":41503,"style":18},"c921103d8d4d",[41481,41485,41490,41494,41499],{"_key":41482,"_type":13,"marks":41483,"text":41484},"2d55259f2cbb0",[],"In 2005 the Centre was reorganised as the ",{"_key":41486,"_type":13,"marks":41487,"text":41489},"2d55259f2cbb1",[41488],"f53ee6f3a1b0","ICST",{"_key":41491,"_type":13,"marks":41492,"text":41493},"2d55259f2cbb2",[]," (Institute for Computer Music and Sound Technology), still connected with the Music Conservatory but as part of the new ",{"_key":41495,"_type":13,"marks":41496,"text":41498},"2d55259f2cbb3",[41497],"2bfbbf5d3326","ZHdK",{"_key":41500,"_type":13,"marks":41501,"text":41502},"2d55259f2cbb4",[]," (Zurich University of the Arts). Here Gerald could develop his special interests (Ambisonics - 3D sound propagation, among other things) and was able to engage some of the people he himself had trained: Martin Neukom, Peter Färber, Johannes Schütt, etc. and was even able to find a niche for me as English teacher which ensured regular contact for a few years until his retirement.",[41504,41506],{"_key":41488,"_type":316,"href":41505},"https:\u002F\u002Fwww.zhdk.ch\u002Fforschung\u002Ficst",{"_key":41497,"_type":316,"href":41507},"https:\u002F\u002Fwww.zhdk.ch\u002Fen\u002Fzurich-university-of-the-arts-1",[41509],{"caption":41295,"id":41297,"meta":41510,"parentID":5841,"parentType":326,"url":41301},{"_type":506,"aspectRatio":41299,"height":29122,"width":41300},"\n\nGerald and I met in 1980 as I was following the students from one of Walter Baer’s music classes. He told me later that he was so impressed with this particular group that he decided to share a commission he had from the Electroacoustic Music Studio in Bourges, France with them and write a collective piece. And since I was already part of this class he asked if I would like to come along too - which of course I would, very much! We all went twice to Bourges during 1981, once to get the feel of the studio and to gather ideas and then again to realise them. The first piece I wrote was Piece of 4, which, although it interested Gerald, he found unsuitable for the concept which was to tear the various pieces of each of the group members apart and then stitch them together again in a single collage. So my second piece was Krähenalles, a work for flute (later played by a clarinet) and tape based on a poem of the same name by our nephew Renaud Racine. The final piece was assembled and very successfully performed after our return to NZ.\n\nBy the time we had returned to Switzerland in 1984 Gerald (together with Bruno Spoerri) had founded the Computer Music Centre in Oetwil am See which offered courses and organised concerts in this new form of electroacoustic music. I attended a number of courses here, each time composing a new piece. The first was Nelson Songs (Harlow texts - Michael was actually here and visited the Centre where his voice was recorded for the second song). Then followed Chinese Songs (performed several times by Franziska Staehelin, soprano and singing teacher colleague from the department of Musikalische Früherziehung Early Music-Education).\n\nIn 1987 Gerald suggested I do a course in the Paris studio of UPIC (founded by the Greek composer Xenakis). He felt that the basic idea of the UPIC machine, in which one drew directly onto the computer screen (wave forms, dynamic curves, pitch and duration, overall form) would appeal to my visual approach to composition. I was indeed especially delighted with the possibilities of this computer machine and would gladly have continued with it, but so far I have never seen the promised UPIC for private computer. I went to the course armed with Kokoschka’s picture Flötenspieler und Fledermäuse and also with recordings of bat song (slowed down so that it could be heard by humans). All this material I was able to use and returned with the tape for my piece Flötenspieler und Fledermäuse which was premièred by the flautist Heinrich Keller and later played several times by Dominique Hunziker.\n\nThe very considerable help I had from Gerald with the tape for WHALE (no. 80) is documented on that page.\n\nIn the years that followed we kept in regular contact and I was often asked to take part in the concerts of the Computer Music Centre which later moved to the Zurich Conservatory where its courses became part of the normal conservatory program.\n\nIn 2005 the Centre was reorganised as the ICST (Institute for Computer Music and Sound Technology), still connected with the Music Conservatory but as part of the new ZHdK (Zurich University of the Arts). Here Gerald could develop his special interests (Ambisonics - 3D sound propagation, among other things) and was able to engage some of the people he himself had trained: Martin Neukom, Peter Färber, Johannes Schütt, etc. and was even able to find a niche for me as English teacher which ensured regular contact for a few years until his retirement.",{"_type":375,"current":5842},{"_id":41514,"chapters":41515,"content":41516,"images":41627,"rawText":41630,"slug":41631,"title":1621},"f3dd2a6e-d955-45e4-9a55-90de17406b31",[],[41517,41556,41564,41572,41580,41588,41595,41602,41610],{"_key":41518,"_type":9,"children":41519,"image":4,"markDefs":41554,"style":18},"59ff94029c4c",[41520,41524,41528,41532,41536,41539,41542,41546,41550],{"_key":41521,"_type":13,"marks":41522,"text":41523},"0da735baa7f6",[],"In July and August 1966 (just after meeting Brigitte at th ",{"_key":41525,"_type":13,"marks":41526,"text":41527},"83ef4eb994c5",[73],"Università per Stranieri",{"_key":41529,"_type":13,"marks":41530,"text":41531},"af5217f82ba9",[]," in Perugia) I attended the composition class of ",{"_key":41533,"_type":13,"marks":41534,"text":1621},"7620bdb3338b",[41535],"da19be7c1f8b",{"_key":41537,"_type":13,"marks":41538,"text":2410},"6fca49a7918a",[],{"_key":41540,"_type":13,"marks":41541,"text":1612},"8b0fc1b790c7",[73],{"_key":41543,"_type":13,"marks":41544,"text":41545},"11c33f443c04",[]," in Siena. The ",{"_key":41547,"_type":13,"marks":41548,"text":41549},"fc1654d3de59",[73],"maestro",{"_key":41551,"_type":13,"marks":41552,"text":41553},"2b421d6b41ce",[]," was very friendly but sadly I learnt very little that I hadn't already learnt in New Zealand. I had clear expectations of the course, based on my experiences in New Zealand at the Cambridge Music School, also a summer school but only of two weeks duration. At the Cambridge course the days were spent in class, in the evenings there were concerts or social events, and the late nights were often spent writing instrumental parts for orchestral works or revising pieces that were being tried out. The main thing was, there was a lively interchange between instrumental and composition students. In the whole two months I spent at the Chigiana, there was, however, hardly any contact with students from other departments. We barely even heard them practising and there was no invitation to meet them. The one exception was when Petrassi invited a colleague, the famous flautist Severino Gazzalloni, to demonstrate some new techniques on his instrument. Otherwise we just met in our group of eight. At the beginning Petrassi taught us the basics of 12-tone composition (something I had learnt very well from Ron Tremain at my first Cambridge Music School) and suggested that we try writing a piece in this style for a chamber ensemble. I had now been away from composition for at least seven months and was finding it very difficult to start again:",[41555],{"_key":41535,"_type":316,"href":1647},{"_key":41557,"_type":9,"children":41558,"image":4,"markDefs":41563,"style":18},"98822252d470",[41559],{"_key":41560,"_type":13,"marks":41561,"text":41562},"16389b43bc5e0",[73],"Letter to Brigitte",[],{"_key":41565,"_type":9,"children":41566,"image":4,"markDefs":41571,"style":634},"ce15743d292c",[41567],{"_key":41568,"_type":13,"marks":41569,"text":41570},"3fecb55a17d10",[],"It’s all strange here. So much has happened and yet nothing has happened. I still feel the same. No musical ideas. I’m happy to write letters and even to revise my stories, but I have to push myself to write music. And the result is terrible – musically that is. I don’t seem to sense anything much – I seem to wander along in a state of “neutralness” – of limbo…",[],{"_key":41573,"_type":9,"children":41574,"image":4,"markDefs":41579,"style":634},"a860ed658c04",[41575],{"_key":41576,"_type":13,"marks":41577,"text":41578},"129f65fc6a290",[],"The Maestro continues to play through the dodecaphonic exercises that we all write and they’re ALL AWFUL. Not that I dislike dodecaphonic music, the Berg Violin Concerto is good (but it needs at least six listenings before much goodness appears). And other thoughts and stories and numbers are still very jumbled and indistinct.",[],{"_key":41581,"_type":9,"children":41582,"image":4,"markDefs":41587,"style":18},"5f2373fbd54c",[41583],{"_key":41584,"_type":13,"marks":41585,"text":41586},"40d2de667f3f0",[73],"Brigitte to me",[],{"_key":41589,"_type":9,"children":41590,"image":4,"markDefs":41594,"style":634},"dffd6ff22296",[41591],{"_key":41592,"_type":13,"marks":41593,"text":25945},"f72453edeef00",[],[],{"_key":41596,"_type":9,"children":41597,"image":4,"markDefs":41601,"style":18},"13b5619f3263",[41598],{"_key":41599,"_type":13,"marks":41600,"text":25},"daef4103528d",[],[],{"_key":41603,"_type":500,"alt":41604,"caption":41604,"image":41605,"markDefs":4},"a30cd76b9aca","The Petrassi compositions class: self, Michael Short, il Maestro, …)",{"caption":4,"id":41606,"meta":41607,"parentID":4,"parentType":326,"url":41609},"bfc9f8bd81e5f2e41e314f37cf3883e25f36860e",{"_type":506,"aspectRatio":41608,"height":29146,"width":4775},1.4727540500736378,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fbfc9f8bd81e5f2e41e314f37cf3883e25f36860e-1000x679.jpg",{"_key":41611,"_type":9,"children":41612,"image":4,"markDefs":41624,"style":18},"3d4d6940eda7",[41613,41617,41621],{"_key":41614,"_type":13,"marks":41615,"text":41616},"46bc067adf9e0",[],"I regained faith in myself and finished my work for the end of course concert: ",{"_key":41618,"_type":13,"marks":41619,"text":1773},"46bc067adf9e1",[41620,73],"b46e18a48d63",{"_key":41622,"_type":13,"marks":41623,"text":2020},"46bc067adf9e2",[],[41625],{"_key":41620,"_type":316,"href":41626},"\u002Fworks\u002Fdue-movimenti",[41628],{"caption":41604,"id":41606,"meta":41629,"parentID":41514,"parentType":326,"url":41609},{"_type":506,"aspectRatio":41608,"height":29146,"width":4775},"In July and August 1966 (just after meeting Brigitte at th Università per Stranieri in Perugia) I attended the composition class of Goffredo Petrassi at the Accademia Chigiana in Siena. The maestro was very friendly but sadly I learnt very little that I hadn't already learnt in New Zealand. I had clear expectations of the course, based on my experiences in New Zealand at the Cambridge Music School, also a summer school but only of two weeks duration. At the Cambridge course the days were spent in class, in the evenings there were concerts or social events, and the late nights were often spent writing instrumental parts for orchestral works or revising pieces that were being tried out. The main thing was, there was a lively interchange between instrumental and composition students. In the whole two months I spent at the Chigiana, there was, however, hardly any contact with students from other departments. We barely even heard them practising and there was no invitation to meet them. The one exception was when Petrassi invited a colleague, the famous flautist Severino Gazzalloni, to demonstrate some new techniques on his instrument. Otherwise we just met in our group of eight. At the beginning Petrassi taught us the basics of 12-tone composition (something I had learnt very well from Ron Tremain at my first Cambridge Music School) and suggested that we try writing a piece in this style for a chamber ensemble. I had now been away from composition for at least seven months and was finding it very difficult to start again:\n\nLetter to Brigitte\n\nIt’s all strange here. So much has happened and yet nothing has happened. I still feel the same. No musical ideas. I’m happy to write letters and even to revise my stories, but I have to push myself to write music. And the result is terrible – musically that is. I don’t seem to sense anything much – I seem to wander along in a state of “neutralness” – of limbo…\n\nThe Maestro continues to play through the dodecaphonic exercises that we all write and they’re ALL AWFUL. Not that I dislike dodecaphonic music, the Berg Violin Concerto is good (but it needs at least six listenings before much goodness appears). And other thoughts and stories and numbers are still very jumbled and indistinct.\n\nBrigitte to me\n\nI’m sad you think you wander along in a state of neutralness. But, don’t forget, this state is necessary to get into another state, in a state of creation. Do wait and be patient with yourself and have faith in yourself. If you lose that, it is bad. But I’m very sure that you won’t!\n\n\n\nI regained faith in myself and finished my work for the end of course concert: Due movimenti per quattro strumenti.",{"_type":375,"current":41632},"goffredo-petrassi",{"_id":31841,"chapters":41634,"content":41635,"images":41877,"rawText":41878,"slug":41879,"title":31273},[],[41636,41664,41683,41695,41703,41721,41737,41765,41773,41781,41796,41846,41854,41861,41869],{"_key":41637,"_type":9,"children":41638,"image":4,"markDefs":41659,"style":18},"c950494549a8",[41639,41643,41648,41652,41656],{"_key":41640,"_type":13,"marks":41641,"text":41642},"3263d5ff4a99",[],"Ian was much better known to me as a critic for the newspaper than as a Teachers College colleague and as such I have a lot to thank him for. Not only was he well informed, he was brutally honest. On days when I had a performance that he was to write about and we met by chance in the corridor, he hardly spoke to me and I would have to wait until the day after to read his judgement in the ",{"_key":41644,"_type":13,"marks":41645,"text":41647},"475d865b4284",[41646],"0c09d855674f","Star",{"_key":41649,"_type":13,"marks":41650,"text":41651},"97b6af65d3d2",[],". In general he was always very supportive of what I did but at the same time he wouldn’t hesitate to criticise. See Ian’s criticism of ",{"_key":41653,"_type":13,"marks":41654,"text":4378},"1d9d3802f377",[73,41655],"c0ad4a486ebc",{"_key":41657,"_type":13,"marks":41658,"text":2020},"cddc6105cd57",[],[41660,41662],{"_key":41646,"_type":316,"href":41661},"http:\u002F\u002Fwww.star.kiwi\u002Fnews\u002F",{"_key":41655,"_type":321,"reference":41663,"slug":2343,"type":510},{"_ref":2342,"_type":324},{"_key":41665,"_type":9,"children":41666,"image":4,"markDefs":41680,"style":18},"53eacc04db99",[41667,41671,41676],{"_key":41668,"_type":13,"marks":41669,"text":41670},"0478c0c849bd0",[],"Looking back on this time in New Zealand I can honestly say that I was never so well served by critics as then. After every premiere I could count on at least two independent reviews in the daily papers. Ian was without a doubt the best informed of these when it came to writing about contemporary music, but there were other very high quality critics including ",{"_key":41672,"_type":13,"marks":41673,"text":41675},"0478c0c849bd1",[41674],"937c61510765","Philip Norman",{"_key":41677,"_type":13,"marks":41678,"text":41679},"0478c0c849bd2",[],", all of whom made an absolutely important contribution to the cultural life of the city.",[41681],{"_key":41674,"_type":316,"href":41682},"https:\u002F\u002Fwww.philipnormancomposer.com\u002F",{"_key":41684,"_type":9,"children":41685,"image":4,"markDefs":41694,"style":634},"da6e1f1fe39d",[41686,41690],{"_key":41687,"_type":13,"marks":41688,"text":41689},"c6f2925c0d0b0",[15],"Birthday Tribute to Kit",{"_key":41691,"_type":13,"marks":41692,"text":41693},"c6f2925c0d0b1",[]," (December 2012)",[],{"_key":41696,"_type":9,"children":41697,"image":4,"markDefs":41702,"style":634},"c4343295bf11",[41698],{"_key":41699,"_type":13,"marks":41700,"text":41701},"995b9f4f32080",[],"My dear Kit and family and fellow Zürich friends who are celebrating your 75th birthday. In 1979 when we were music colleagues in Christchurch New Zealand you told me: The whole of life is a multiplicity of chance systems. There are semblances of order. Chromosomes tell us to grow in different ways. But chance gives us the variety. I guess this is what I do with my compositions. I create systems. Chance then operates on these systems. There’s Kit the composer ahead of his time in conservative New Zealand.",[],{"_key":41704,"_type":9,"children":41705,"image":4,"markDefs":41718,"style":634},"f358d80be8bc",[41706,41710,41714],{"_key":41707,"_type":13,"marks":41708,"text":41709},"3d6200ed617a0",[],"But Kit in 1983 was also a Music Lecturer in the division for training students in secondary teaching. Kit was the radical side of training while his colleague the late Frank Dennis taught the traditional elements of how to train students in conducting school orchestras, choirs and preparing the children for academic exams at sixteen to seventeen year old level. Here is Kit the music educator which I have translated from his booklet ",{"_key":41711,"_type":13,"marks":41712,"text":5364},"6c9a46f6ec0e",[41713],"4f3ed534a897",{"_key":41715,"_type":13,"marks":41716,"text":41717},"89a1ba14f079",[],": This wider sound-world makes the improvisation and discovery of sound pictures with children much easier. If one chooses only conventional instruments their imagination becomes inhibited, because they need a lot of time to master these instruments first. With found objects one can spontaneously touch their sound vocabulary enormously and at the same time develop in them a greater sensitivity towards sounds and noises in the environment. What started in the realm of music education quickly became absorbed as one of the key components in his composition.",[41719],{"_key":41713,"_type":321,"reference":41720,"slug":39082,"type":528},{"_ref":38744,"_type":324},{"_key":41722,"_type":9,"children":41723,"image":4,"markDefs":41736,"style":634},"93661f35befc",[41724,41728,41732],{"_key":41725,"_type":13,"marks":41726,"text":41727},"a6c13cbfc9dd0",[],"To integrate chance structure and found instruments into music theatre became the third component of Powell’s style. The key to this was seeing the surreal theatre of Argentine composer Mauricio Kagel in action in Germany then with his ",{"_key":41729,"_type":13,"marks":41730,"text":41731},"a6c13cbfc9dd1",[73],"Match",{"_key":41733,"_type":13,"marks":41734,"text":41735},"a6c13cbfc9dd2",[]," (1964) for two cellos with percussion acting as the referees and to announce the start and close of each fighting round.",[],{"_key":41738,"_type":9,"children":41739,"image":4,"markDefs":41760,"style":634},"d5987038efee",[41740,41744,41748,41752,41756],{"_key":41741,"_type":13,"marks":41742,"text":41743},"f636c9cb97780",[],"At this point Powell paired up with one of NZ’s best poets ",{"_key":41745,"_type":13,"marks":41746,"text":3405},"f5fee0f31b08",[41747],"0bb4007ed092",{"_key":41749,"_type":13,"marks":41750,"text":41751},"b3c961798918",[]," to help create an intensely emotive use of music theatre in ",{"_key":41753,"_type":13,"marks":41754,"text":3662},"f636c9cb97783",[73,41755],"19e8d6107863",{"_key":41757,"_type":13,"marks":41758,"text":41759},"f636c9cb97784",[],". Five musicians play, act and dance simultaneously with plywood wobble-boards on a stage in the round. Later in the movement they exploit these wobble-boards as shields to defend themselves against the invasion of these same sounds thrown back at them from the corners of the room by electronic feedback. Says Powell at that time, “The effect is emotive and dramatic—a wordless opera scene in which the visual elements emerge from within the music and reinforce its emotional power.”",[41761,41763],{"_key":41747,"_type":321,"reference":41762,"slug":3414,"type":326},{"_ref":3413,"_type":324},{"_key":41755,"_type":321,"reference":41764,"slug":4007,"type":510},{"_ref":3617,"_type":324},{"_key":41766,"_type":9,"children":41767,"image":4,"markDefs":41772,"style":634},"d8380ac324b6",[41768],{"_key":41769,"_type":13,"marks":41770,"text":41771},"83a3486cc06c0",[],"Powell’s use of found instruments is different from United States composers such as Lou Harrison who fashions his on the scale and sonorities of Eastern ethnic instruments or Harry Partch’s home made but very sophisticated cloud bowls and microtonal xylophones requiring a professional musician. “My instruments are designed to be played by amateurs”, claims Powell.",[],{"_key":41774,"_type":9,"children":41775,"image":4,"markDefs":41780,"style":634},"b98ac2f483c9",[41776],{"_key":41777,"_type":13,"marks":41778,"text":41779},"283e853268a30",[],"Chance music which developed with Cage’s “Music of Changes” had many facets including indeterminacy which almost gives total freedom to the point of improvisation such as the works of United States composer Earle Brown. Cage used tossing of coins and number charts to determine the durations, silences, pitches, dynamics and modes of attack in the work. This randomness such as coin-tossing is central to existentialism to remove all conscious human control, inspiration and personality of the artist from the compositional process. Nothing could be further from Powell’s aims. He knows precisely what he wants from chance. “Most of my music expresses my own feelings very strongly and the chance systems I devise are always intended to serve that purpose The aesthetic I strive for has a balance of logic and irrational, symmetry and chaos, order and surprise.”",[],{"_key":41782,"_type":9,"children":41783,"image":4,"markDefs":41793,"style":634},"0babec17ecc9",[41784,41789],{"_key":41785,"_type":13,"marks":41786,"text":41788},"47e1b55bcc410",[73,41787],"c25745117025","The Ever Circling Light",{"_key":41790,"_type":13,"marks":41791,"text":41792},"47e1b55bcc411",[]," (1980) for four choruses and six percussionists shows the opposites of chance and Powell the mathematician—a subject he taught before doing his B. Mus. Hons. at University of Canterbury. “I chose texts from traditional Maori poetry and arranged them in movements to show New Zealand today as I saw it. The programme therefore decides the macroform while chance supplies the microform. For example the introductory “night sounds” movement is subdivided into bars whose proportions are derived from the Fibonacci series 1, 2, 3, 5, 8, 13, 21, 34. (And here Powell the mathematician and chance music proponent join hands) “Six of these numbers are written on the sides of a die which is rolled till the total adds up to 90 seconds. In this way the structure of the introduction becomes a framework of nine bars of irregular length of 1, 5, 34, 8, 2, 13, 2, 3 and 1 second.",[41794],{"_key":41787,"_type":321,"reference":41795,"slug":2343,"type":510},{"_ref":2342,"_type":324},{"_key":41797,"_type":9,"children":41798,"image":4,"markDefs":41837,"style":634},"f54a080b6b59",[41799,41803,41808,41812,41817,41820,41825,41828,41833],{"_key":41800,"_type":13,"marks":41801,"text":41802},"38a187135ddd0",[],"We can now back pedal to his music degree in 1965 and fill in the gaps till this above 1980 work. He undertook further study overseas in 1966-67 where he met and married his Swiss wife Brigitte. His first year studying under ",{"_key":41804,"_type":13,"marks":41805,"text":41807},"228515940aa2",[41806],"10e32d4881d5","Petrassi",{"_key":41809,"_type":13,"marks":41810,"text":41811},"9f906cb84ad0",[]," in Italy disappointed him. It was his attendance at the Darmstadt Summer School where he suddenly found himself face to face with the latest from the new wave of ",{"_key":41813,"_type":13,"marks":41814,"text":41816},"38a187135ddd3",[41815],"dd825ec3fd17","Stockhausen",{"_key":41818,"_type":13,"marks":41819,"text":2617},"38a187135ddd4",[],{"_key":41821,"_type":13,"marks":41822,"text":41824},"38a187135ddd5",[41823],"39afb19ab795","Pousseur",{"_key":41826,"_type":13,"marks":41827,"text":2625},"38a187135ddd6",[],{"_key":41829,"_type":13,"marks":41830,"text":41832},"38a187135ddd7",[41831],"c7bc63822673","Earle Brown",{"_key":41834,"_type":13,"marks":41835,"text":41836},"38a187135ddd8",[],". A short time later his hearing of Stockhausen’s Gruppen enabled Powell to absorb the work’s “directionality” into his technique and Ligeti’s micropolyphony in Atmosphères. All this gave him more strings to his bow if he wanted to absorb more into his acquired chance, found instruments and Kagelian music theatre. By 1980 his knowledge of all new movements in music were decidedly well in advance of conservative and isolated NZ. In 1984 he relocated permanently with his wife Brigitte to Switzerland.",[41838,41840,41842,41844],{"_key":41815,"_type":316,"href":41839},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FKarlheinz_Stockhausen",{"_key":41823,"_type":316,"href":41841},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FHenri_Pousseur",{"_key":41831,"_type":316,"href":41843},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FEarle_Brown",{"_key":41806,"_type":321,"reference":41845,"slug":41632,"type":326},{"_ref":41514,"_type":324},{"_key":41847,"_type":9,"children":41848,"image":4,"markDefs":41853,"style":634},"784a376eb9d4",[41849],{"_key":41850,"_type":13,"marks":41851,"text":41852},"be0a1542a6f00",[],"Kit, you and I were more than colleagues. We were and still are friends and both lovers of modernism. Frankly I do not recall me criticising much of your work in my role of professional critic. But if I did, you accepted it as a friend. I remember my Polish pianist friend André Czajkovski took me to hear one of his closest friends Stephen Bishop-Kovachevich playing Brahms Piano Concerto No 2 with Ashkenazy conducting the London Symphony. Stephen’s Brahms failed to catch fire. He seemed to need a rest from the touring circuit. André said he would go backstage and reproach Stephen for such a dreadful performance! As they were both close friends Stephen would have accepted that. I think any small critisims I had of your stuff Kit would be accepted in the same manner as one friend to another. For you and Brigitte a big hug from me. I hope your family and your Zürich friends will celebrate your 75th birthday concert as an unforgettable occasion for you.",[],{"_key":41855,"_type":9,"children":41856,"image":4,"markDefs":41860,"style":634},"7015f04d1ed2",[41857],{"_key":41858,"_type":13,"marks":41859,"text":31273},"e7fcc588ba5d0",[],[],{"_key":41862,"_type":9,"children":41863,"image":4,"markDefs":41868,"style":634},"239cf5f2b8bc",[41864],{"_key":41865,"_type":13,"marks":41866,"text":41867},"0b1418b5b87c0",[],"Music critic",[],{"_key":41870,"_type":9,"children":41871,"image":4,"markDefs":41876,"style":634},"3ffbbeb38731",[41872],{"_key":41873,"_type":13,"marks":41874,"text":41875},"22f25eec26870",[],"NZ Listener weekly.",[],[],"Ian was much better known to me as a critic for the newspaper than as a Teachers College colleague and as such I have a lot to thank him for. Not only was he well informed, he was brutally honest. On days when I had a performance that he was to write about and we met by chance in the corridor, he hardly spoke to me and I would have to wait until the day after to read his judgement in the Star. In general he was always very supportive of what I did but at the same time he wouldn’t hesitate to criticise. See Ian’s criticism of The Ever-Circling Light.\n\nLooking back on this time in New Zealand I can honestly say that I was never so well served by critics as then. After every premiere I could count on at least two independent reviews in the daily papers. Ian was without a doubt the best informed of these when it came to writing about contemporary music, but there were other very high quality critics including Philip Norman, all of whom made an absolutely important contribution to the cultural life of the city.\n\nBirthday Tribute to Kit (December 2012)\n\nMy dear Kit and family and fellow Zürich friends who are celebrating your 75th birthday. In 1979 when we were music colleagues in Christchurch New Zealand you told me: The whole of life is a multiplicity of chance systems. There are semblances of order. Chromosomes tell us to grow in different ways. But chance gives us the variety. I guess this is what I do with my compositions. I create systems. Chance then operates on these systems. There’s Kit the composer ahead of his time in conservative New Zealand.\n\nBut Kit in 1983 was also a Music Lecturer in the division for training students in secondary teaching. Kit was the radical side of training while his colleague the late Frank Dennis taught the traditional elements of how to train students in conducting school orchestras, choirs and preparing the children for academic exams at sixteen to seventeen year old level. Here is Kit the music educator which I have translated from his booklet Musik mit gefundenen Gegenständen: This wider sound-world makes the improvisation and discovery of sound pictures with children much easier. If one chooses only conventional instruments their imagination becomes inhibited, because they need a lot of time to master these instruments first. With found objects one can spontaneously touch their sound vocabulary enormously and at the same time develop in them a greater sensitivity towards sounds and noises in the environment. What started in the realm of music education quickly became absorbed as one of the key components in his composition.\n\nTo integrate chance structure and found instruments into music theatre became the third component of Powell’s style. The key to this was seeing the surreal theatre of Argentine composer Mauricio Kagel in action in Germany then with his Match (1964) for two cellos with percussion acting as the referees and to announce the start and close of each fighting round.\n\nAt this point Powell paired up with one of NZ’s best poets Michael Harlow to help create an intensely emotive use of music theatre in Texts for Composition. Five musicians play, act and dance simultaneously with plywood wobble-boards on a stage in the round. Later in the movement they exploit these wobble-boards as shields to defend themselves against the invasion of these same sounds thrown back at them from the corners of the room by electronic feedback. Says Powell at that time, “The effect is emotive and dramatic—a wordless opera scene in which the visual elements emerge from within the music and reinforce its emotional power.”\n\nPowell’s use of found instruments is different from United States composers such as Lou Harrison who fashions his on the scale and sonorities of Eastern ethnic instruments or Harry Partch’s home made but very sophisticated cloud bowls and microtonal xylophones requiring a professional musician. “My instruments are designed to be played by amateurs”, claims Powell.\n\nChance music which developed with Cage’s “Music of Changes” had many facets including indeterminacy which almost gives total freedom to the point of improvisation such as the works of United States composer Earle Brown. Cage used tossing of coins and number charts to determine the durations, silences, pitches, dynamics and modes of attack in the work. This randomness such as coin-tossing is central to existentialism to remove all conscious human control, inspiration and personality of the artist from the compositional process. Nothing could be further from Powell’s aims. He knows precisely what he wants from chance. “Most of my music expresses my own feelings very strongly and the chance systems I devise are always intended to serve that purpose The aesthetic I strive for has a balance of logic and irrational, symmetry and chaos, order and surprise.”\n\nThe Ever Circling Light (1980) for four choruses and six percussionists shows the opposites of chance and Powell the mathematician—a subject he taught before doing his B. Mus. Hons. at University of Canterbury. “I chose texts from traditional Maori poetry and arranged them in movements to show New Zealand today as I saw it. The programme therefore decides the macroform while chance supplies the microform. For example the introductory “night sounds” movement is subdivided into bars whose proportions are derived from the Fibonacci series 1, 2, 3, 5, 8, 13, 21, 34. (And here Powell the mathematician and chance music proponent join hands) “Six of these numbers are written on the sides of a die which is rolled till the total adds up to 90 seconds. In this way the structure of the introduction becomes a framework of nine bars of irregular length of 1, 5, 34, 8, 2, 13, 2, 3 and 1 second.\n\nWe can now back pedal to his music degree in 1965 and fill in the gaps till this above 1980 work. He undertook further study overseas in 1966-67 where he met and married his Swiss wife Brigitte. His first year studying under Petrassi in Italy disappointed him. It was his attendance at the Darmstadt Summer School where he suddenly found himself face to face with the latest from the new wave of Stockhausen, Pousseur and Earle Brown. A short time later his hearing of Stockhausen’s Gruppen enabled Powell to absorb the work’s “directionality” into his technique and Ligeti’s micropolyphony in Atmosphères. All this gave him more strings to his bow if he wanted to absorb more into his acquired chance, found instruments and Kagelian music theatre. By 1980 his knowledge of all new movements in music were decidedly well in advance of conservative and isolated NZ. In 1984 he relocated permanently with his wife Brigitte to Switzerland.\n\nKit, you and I were more than colleagues. We were and still are friends and both lovers of modernism. Frankly I do not recall me criticising much of your work in my role of professional critic. But if I did, you accepted it as a friend. I remember my Polish pianist friend André Czajkovski took me to hear one of his closest friends Stephen Bishop-Kovachevich playing Brahms Piano Concerto No 2 with Ashkenazy conducting the London Symphony. Stephen’s Brahms failed to catch fire. He seemed to need a rest from the touring circuit. André said he would go backstage and reproach Stephen for such a dreadful performance! As they were both close friends Stephen would have accepted that. I think any small critisims I had of your stuff Kit would be accepted in the same manner as one friend to another. For you and Brigitte a big hug from me. I hope your family and your Zürich friends will celebrate your 75th birthday concert as an unforgettable occasion for you.\n\nIan Dando\n\nMusic critic\n\nNZ Listener weekly.",{"_type":375,"current":31842},{"_id":3838,"chapters":41881,"content":41882,"images":41974,"rawText":41979,"slug":41980,"title":3822},[],[41883,41893,41901,41928,41938,41946,41954,41964],{"_key":41884,"_type":500,"alt":41885,"caption":41885,"image":41886,"markDefs":4},"0552efe7b004","Ian Whalley as one of the percussionists in The Ever-Circling Light",{"caption":4,"id":41887,"meta":41888,"parentID":4,"parentType":326,"url":41892},"a7aab4d255d26441dface00667377269da8159ce",{"_type":506,"aspectRatio":41889,"height":41890,"width":41891},0.7907928388746803,1955,1546,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fa7aab4d255d26441dface00667377269da8159ce-1546x1955.jpg",{"_key":41894,"_type":9,"children":41895,"image":4,"markDefs":41900,"style":18},"1af78ed835e5",[41896],{"_key":41897,"_type":13,"marks":41898,"text":41899},"c4f20683bddf0",[],"Ian and I met in 1982 at the Christchurch Teachers College, he as a music student and I towards the end of my time as a music lecturer there. He had a maturity and personableness which made him appreciated and respected by staff and students alike. He was interested in what I was doing and made himself very helpful. At the same time he had ideas of his own which he was anxious to realise and he had the ability to interest and organise others to help him.",[],{"_key":41902,"_type":9,"children":41903,"image":4,"markDefs":41923,"style":18},"c5a9838e388a",[41904,41908,41912,41915,41919],{"_key":41905,"_type":13,"marks":41906,"text":41907},"fe62ffb645240",[],"He took charge of the electronics in my ",{"_key":41909,"_type":13,"marks":41910,"text":5759},"fe62ffb645241",[41911,73],"c0ec458fc2bf",{"_key":41913,"_type":13,"marks":41914,"text":3809},"fe62ffb645242",[],{"_key":41916,"_type":13,"marks":41917,"text":3662},"fe62ffb645243",[41918,73],"84fa38cddbd3",{"_key":41920,"_type":13,"marks":41921,"text":41922},"fe62ffb645244",[],". Inspired by my invention of “Dowel Boxes” he increased their size about ten times and (with the help of a student working bee) created a set of huge dowel boxes which were both musically and sculpturally impressive:",[41924,41926],{"_key":41911,"_type":316,"href":41925},"\u002Fworks\u002Fpiece-of-4",{"_key":41918,"_type":316,"href":41927},"\u002Fworks\u002Ftexts-for-composition",{"_key":41929,"_type":500,"alt":41930,"caption":41930,"image":41931,"markDefs":4},"692fab25319b","My small Dowel Boxes (left) and Ian's man-sized ones (right) which were hung from scaffolding and bowed or beaten and equipped with contact microphones.",{"caption":4,"id":41932,"meta":41933,"parentID":4,"parentType":326,"url":41937},"6063aaf0af535875ee912d9eb9f714aef9310a80",{"_type":506,"aspectRatio":41934,"height":41935,"width":41936},1.2251497005988023,835,1023,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F6063aaf0af535875ee912d9eb9f714aef9310a80-1023x835.jpg",{"_key":41939,"_type":9,"children":41940,"image":4,"markDefs":41945,"style":18},"1a42e7de5048",[41941],{"_key":41942,"_type":13,"marks":41943,"text":41944},"4464b3d42ce50",[],"The next I next heard of him, after very few years as a teacher, he was a lecturer in the music department of Waikato University where he set up a tone studio and inspired a new generation of electroacoustic composers.",[],{"_key":41947,"_type":9,"children":41948,"image":4,"markDefs":41953,"style":18},"e3b6d7a69de0",[41949],{"_key":41950,"_type":13,"marks":41951,"text":41952},"264e7f0cca8f0",[],"His department put out a series of CDs which included two works of mine:",[],{"_key":41955,"_type":9,"children":41956,"image":4,"level":382,"listItem":2078,"markDefs":41961,"style":18},"4de1a18e3f29",[41957],{"_key":41958,"_type":13,"marks":41959,"text":14681},"64f3b43ef7b60",[41960,73],"96f34c95856f",[41962],{"_key":41960,"_type":316,"href":41963},"\u002Fworks\u002Fdapple-metal",{"_key":41965,"_type":9,"children":41966,"image":4,"level":382,"listItem":2078,"markDefs":41971,"style":18},"bdbd38d11cca",[41967],{"_key":41968,"_type":13,"marks":41969,"text":15598},"6525ee3858cc0",[41970,73],"ae10b264834d",[41972],{"_key":41970,"_type":316,"href":41973},"\u002Fworks\u002Fcontrasts",[41975,41977],{"caption":41885,"id":41887,"meta":41976,"parentID":3838,"parentType":326,"url":41892},{"_type":506,"aspectRatio":41889,"height":41890,"width":41891},{"caption":41930,"id":41932,"meta":41978,"parentID":3838,"parentType":326,"url":41937},{"_type":506,"aspectRatio":41934,"height":41935,"width":41936},"Ian and I met in 1982 at the Christchurch Teachers College, he as a music student and I towards the end of my time as a music lecturer there. He had a maturity and personableness which made him appreciated and respected by staff and students alike. He was interested in what I was doing and made himself very helpful. At the same time he had ideas of his own which he was anxious to realise and he had the ability to interest and organise others to help him.\n\nHe took charge of the electronics in my Piece of 4 and the Texts for Composition. Inspired by my invention of “Dowel Boxes” he increased their size about ten times and (with the help of a student working bee) created a set of huge dowel boxes which were both musically and sculpturally impressive:\n\nThe next I next heard of him, after very few years as a teacher, he was a lecturer in the music department of Waikato University where he set up a tone studio and inspired a new generation of electroacoustic composers.\n\nHis department put out a series of CDs which included two works of mine:\n\nDapple Metal\n\nContrasts",{"_type":375,"current":3839},{"_id":12859,"chapters":41982,"content":41983,"images":42181,"rawText":42186,"slug":42187,"title":12849},[],[41984,41992,42096,42134,42142,42150,42158,42166,42174],{"_key":41985,"_type":500,"alt":41986,"caption":41986,"image":41987,"markDefs":4},"8a6aaf54fc7e","Jack and Brigitte",{"caption":4,"id":41988,"meta":41989,"parentID":4,"parentType":326,"url":41991},"f1a4886c1a514521d3f12f0c34c5e7f895c220e3",{"_type":506,"aspectRatio":41990,"height":38859,"width":8615},1.4691823899371068,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Ff1a4886c1a514521d3f12f0c34c5e7f895c220e3-1168x795.jpg",{"_key":41993,"_type":9,"children":41994,"image":4,"markDefs":42079,"style":18},"abfaac6d6747",[41995,41999,42004,42008,42012,42016,42020,42023,42027,42031,42035,42039,42044,42048,42053,42056,42060,42063,42067,42071,42076],{"_key":41996,"_type":13,"marks":41997,"text":41998},"f85ccf777d4b",[],"In the late 70s I became secretary of the composers organisation ",{"_key":42000,"_type":13,"marks":42001,"text":42003},"9d7ab16db9dc",[42002],"08085d4beb6b","CANZ",{"_key":42005,"_type":13,"marks":42006,"text":42007},"dc603a101113",[]," and had to visit Wellington for meetings. By this time my father had left Wellington and so I was delighted when Jack invited me to stay at his place. I came to know him as one of the most original of New Zealand’s composers and one who did more than any other for furthering NZ music. Thanks to Jack my group of performers of ",{"_key":42009,"_type":13,"marks":42010,"text":5759},"3737c8357a41",[42011,73],"30bc0ea8fb55",{"_key":42013,"_type":13,"marks":42014,"text":42015},"969c08d2317e",[]," could visit and perform in Wellington. Also the orchestral settings of poems by ",{"_key":42017,"_type":13,"marks":42018,"text":3405},"374a8ece401a",[42019],"5a474656edcb",{"_key":42021,"_type":13,"marks":42022,"text":6652},"6bd8f95b991b",[],{"_key":42024,"_type":13,"marks":42025,"text":35854},"6b4d6f2c1695",[42026,73],"b80a6c329107",{"_key":42028,"_type":13,"marks":42029,"text":42030},"18cb5dbf6d91",[]," was performed in the ",{"_key":42032,"_type":13,"marks":42033,"text":42034},"7ef6ae1809cd",[73],"Sonic Circus",{"_key":42036,"_type":13,"marks":42037,"text":42038},"709fff0e0db5",[]," of 1987 in Wellington. Here Jack not only found the soloists and an accompanist for them to rehearse with, he also organised the costumes that they wore. Jack was also the editor of ",{"_key":42040,"_type":13,"marks":42041,"text":42043},"69c0782ed365",[42042],"92efe682042f","Waitiata Press Music Editions",{"_key":42045,"_type":13,"marks":42046,"text":42047},"f67dae2a3609",[]," in which several of my works have been published: ",{"_key":42049,"_type":13,"marks":42050,"text":42052},"eb5a768c46fb",[42051,73],"a073ed19d49a","Three Chance Pieces plus One",{"_key":42054,"_type":13,"marks":42055,"text":2617},"f06afa011375",[],{"_key":42057,"_type":13,"marks":42058,"text":7550},"d4f4f6afd6b1",[42059,73],"39c70399eea3",{"_key":42061,"_type":13,"marks":42062,"text":2617},"8668c69c2fec",[],{"_key":42064,"_type":13,"marks":42065,"text":12831},"4c503d8bf80a",[42066],"08c113b7a38c",{"_key":42068,"_type":13,"marks":42069,"text":42070},"3f670901f98f",[],". The latter was superbly performed (through Jack’s organisation) by ",{"_key":42072,"_type":13,"marks":42073,"text":42075},"7b6461ff3e40",[42074],"c85c6b1a583e","Daniel Poynten",{"_key":42077,"_type":13,"marks":42078,"text":2020},"0c3c335b7ff9",[],[42080,42081,42082,42084,42086,42088,42090,42092,42094],{"_key":42002,"_type":316,"href":4796},{"_key":42011,"_type":316,"href":41925},{"_key":42019,"_type":316,"href":42083},"\u002Fpeople\u002Fmichael-harlow",{"_key":42026,"_type":316,"href":42085},"\u002Fworks\u002Fles-episodes",{"_key":42042,"_type":316,"href":42087},"http:\u002F\u002Fwww.waiteatamusicpress.co.nz\u002F",{"_key":42051,"_type":316,"href":42089},"\u002Fworks\u002Fthree-chance-pieces-plus-one",{"_key":42059,"_type":316,"href":42091},"\u002Fworks\u002Fsnakes-and-ladders",{"_key":42066,"_type":316,"href":42093},"\u002Fworks\u002Fpiano-poems",{"_key":42074,"_type":316,"href":42095},"http:\u002F\u002Fwww.trustcds.com\u002Fphp\u002Fartist.php?ID=8",{"_key":42097,"_type":9,"children":42098,"image":4,"markDefs":42128,"style":18},"cd377c4b5c2e",[42099,42103,42108,42112,42116,42120,42125],{"_key":42100,"_type":13,"marks":42101,"text":42102},"a32b6efdc5f60",[],"After we moved to Switzerland we met less often. One memorable time, in the early 90s, we met in ",{"_key":42104,"_type":13,"marks":42105,"text":42107},"a32b6efdc5f61",[42106],"e557b413e6e3","Donaueschingen",{"_key":42109,"_type":13,"marks":42110,"text":42111},"a32b6efdc5f62",[]," for the famous contemporary music festival and he stayed on afterwards for a few days with us in Eglisau. We did however keep in contact via email. One of his last was on 13th Oct. 2014 after he heard the ",{"_key":42113,"_type":13,"marks":42114,"text":18238},"a32b6efdc5f63",[42115],"ce39668c8a76",{"_key":42117,"_type":13,"marks":42118,"text":42119},"a32b6efdc5f64",[]," “reading” of ",{"_key":42121,"_type":13,"marks":42122,"text":42124},"5559322938b4",[42123],"9aaf585e18f8","The Death of Maui",{"_key":42126,"_type":13,"marks":42127,"text":2020},"30b283363cb7",[],[42129,42131,42132],{"_key":42106,"_type":316,"href":42130},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FDonaueschingen_Festival",{"_key":42115,"_type":316,"href":40090},{"_key":42123,"_type":316,"href":42133},"\u002Fworks\u002Fte-ika-a-maui",{"_key":42135,"_type":9,"children":42136,"image":4,"markDefs":42141,"style":634},"bb5daeade015",[42137],{"_key":42138,"_type":13,"marks":42139,"text":42140},"fc2711855429",[],"Dear Kit, The recording session went very well and the orchestra is playing like a Rolls Royce. I am sure you will be very satisfied with the result. The soloist was exemplary. The producer was a little anxious about how to create the sense of distance for the soloist, at the required moment—more or a challenge in a recording than in live performance—since when he moved to the back he was swallowed by the orchestral sound. It might take some time for the editing to be completed, there were so many takes. It was a colourful, dramatic score. The dance of the fantail, with it's triple beat, Dorothy thought referenced the haka, but my instinct was more for Firebird. Perhaps we were both right—or wrong…!? Congratulations and much love, Jack",[],{"_key":42143,"_type":9,"children":42144,"image":4,"markDefs":42149,"style":18},"dc3260014f05",[42145],{"_key":42146,"_type":13,"marks":42147,"text":42148},"fd2aa64199c90",[],"In January 2014 after my note asking about his health he wrote:",[],{"_key":42151,"_type":9,"children":42152,"image":4,"markDefs":42157,"style":634},"b720737112fa",[42153],{"_key":42154,"_type":13,"marks":42155,"text":42156},"c2c4210cd4170",[],"Dear Kit, News travels fast! I am absolutely feeling fine, just a small dull ache in the left leg…. It's a bugger. In myself I feel that I'm going to live for ever - I am so active and full of ideas, and convinced that this energy will sustain me for as long as I want - but the experts tell me otherwise. We'll see who's right! Love to you both, and thanks for the thoughtful message. Jack",[],{"_key":42159,"_type":9,"children":42160,"image":4,"markDefs":42165,"style":18},"876cf35c4ea5",[42161],{"_key":42162,"_type":13,"marks":42163,"text":42164},"2136bc6ad0650",[],"Jack died on 10th May 2015 aged 70. We miss him sadly.",[],{"_key":42167,"_type":500,"alt":42168,"caption":42168,"image":42169,"markDefs":4},"b822bc21ddb3","Jack and Kit",{"caption":4,"id":42170,"meta":42171,"parentID":4,"parentType":326,"url":42173},"65ca2ff4bc70f6ebae88fe2b2c3a8ffb13f53708",{"_type":506,"aspectRatio":42172,"height":36633,"width":38859},0.6829896907216495,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F65ca2ff4bc70f6ebae88fe2b2c3a8ffb13f53708-795x1164.jpg",{"_key":42175,"_type":9,"children":42176,"image":4,"markDefs":42180,"style":18},"bca290989907",[42177],{"_key":42178,"_type":13,"marks":42179,"text":25},"a298812db793",[],[],[42182,42184],{"caption":41986,"id":41988,"meta":42183,"parentID":12859,"parentType":326,"url":41991},{"_type":506,"aspectRatio":41990,"height":38859,"width":8615},{"caption":42168,"id":42170,"meta":42185,"parentID":12859,"parentType":326,"url":42173},{"_type":506,"aspectRatio":42172,"height":36633,"width":38859},"In the late 70s I became secretary of the composers organisation CANZ and had to visit Wellington for meetings. By this time my father had left Wellington and so I was delighted when Jack invited me to stay at his place. I came to know him as one of the most original of New Zealand’s composers and one who did more than any other for furthering NZ music. Thanks to Jack my group of performers of Piece of 4 could visit and perform in Wellington. Also the orchestral settings of poems by Michael Harlow Les Episodes was performed in the Sonic Circus of 1987 in Wellington. Here Jack not only found the soloists and an accompanist for them to rehearse with, he also organised the costumes that they wore. Jack was also the editor of Waitiata Press Music Editions in which several of my works have been published: Three Chance Pieces plus One, Snakes and Ladders, Piano Poems. The latter was superbly performed (through Jack’s organisation) by Daniel Poynten.\n\nAfter we moved to Switzerland we met less often. One memorable time, in the early 90s, we met in Donaueschingen for the famous contemporary music festival and he stayed on afterwards for a few days with us in Eglisau. We did however keep in contact via email. One of his last was on 13th Oct. 2014 after he heard the NZSO “reading” of The Death of Maui.\n\nDear Kit, The recording session went very well and the orchestra is playing like a Rolls Royce. I am sure you will be very satisfied with the result. The soloist was exemplary. The producer was a little anxious about how to create the sense of distance for the soloist, at the required moment—more or a challenge in a recording than in live performance—since when he moved to the back he was swallowed by the orchestral sound. It might take some time for the editing to be completed, there were so many takes. It was a colourful, dramatic score. The dance of the fantail, with it's triple beat, Dorothy thought referenced the haka, but my instinct was more for Firebird. Perhaps we were both right—or wrong…!? Congratulations and much love, Jack\n\nIn January 2014 after my note asking about his health he wrote:\n\nDear Kit, News travels fast! I am absolutely feeling fine, just a small dull ache in the left leg…. It's a bugger. In myself I feel that I'm going to live for ever - I am so active and full of ideas, and convinced that this energy will sustain me for as long as I want - but the experts tell me otherwise. We'll see who's right! Love to you both, and thanks for the thoughtful message. Jack\n\nJack died on 10th May 2015 aged 70. We miss him 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Tutors: Ron Tremain and Larry Pruden\n\n1964 graduates as Bachelor of Music (hons)\n\n1966 – 1967 travels to Europe:\n\nCorso medio at the Università per Stranieri, Perugia, where he meets Brigitte Bänninger.\n\n2 months’ course at Accademia Chigiana, Siena, with composer Goffredo Petrassi.\n\nIn December 1966 marries Brigitte in Bülach (Switzerland).\n\n1967 teaches English in Zurich (Berlitz School), learns German and attends a course in Neue Musik, Darmstadt (Stockhausen, Ligeti, Earl Brown, etc.).\n\n1968 returns to Linwood High School.\n\n1969 birth of Philip and 1970 of Fiona.\n\nStarts composing for total theatre productions:\n\n1969 The Odyssey\n\n1970 Harald and William\n\n1971 Simplicissimus\n\n1972 Akhnaton\n\n1973 writes Musical Design for schools.\n\n1975 becomes a lecturer at the Teachers Training College, meets Michael Harlow and completes The Fisherman and his Wife.\n\nFirst works with Michael Harlow: Stone Poem (1976), Devotion to the Small (1980) and Texts for Composition (1979 – performed 1983).\n\n1978 meets Gennie de Lange. She and KP teach their own children pottery and music. In 1980 a concert of their compositions and an exhibition of their clay sculptures takes place.\n\n1980 – 1981 sabbatical year in Switzerland to study teaching of creativity.\n\nComposition course in Aix-en-Provence with Mauricio Kagel.\n\nTeaches composition at the Kantonsschule in Bülach. Meets André Fischer.\n\n1980 meets Gerald Bennett and travels with him and students to the Electronic Music Studio in Bourges, France).\n\nperformances of Galgenlieder and Christophorus.\n\n1982 back in New Zealand (Christchurch Teachers College). Performances of Piece of 4, Christophorus (English version) and The Evercircling Light.\n\n1983 Pan Verlag publishes Galgenlieder and Musik mit gefundenen Gegenständen.\n\n1984 Powell family moves to Switzerland, teaches theory at Winterthur Conservatory, meets Dominik Blum. Concert in Winterthur under the title of Chance Meeting: Three Chance Pieces Plus One, Stone Poem for Clarinet and Tape, etc.\n\n1986 Michael Harlow is Katherine Mansfield scholar in Menton (France). He visits Eglisau and plans the Nelson Songs with KP. In summer Nelson Songs is premiered in Laufen (Germany) by Nelson Wattie.\n\n1987 visits UPIC course in Paris on the computer music machine by Iannis Xenakis and writes Flötenspieler und Fledermäuse. In October takes part in the Wellington Sonic Circus with the Harlow\u002FPowell Les Episodes for soprano, baritone and orchestra and misses the premiere of Flötenspieler und Fledermäuse in Winterthur. Meets Yuri Sobolev at his first exhibition in Switzerland.\n\n1988 Chinese Songs performed several times in Switzerland by Franziska Stähelin.\n\n1989 Monika Lichtensteiger organises a concert in Rigiblick Theatre (Zürich). First performances of Poem then, for love, The Green Man and Father’s Telescope. Performers: David Thorner, Franziska Stähelin and percussionist Christoph Caskel (related to Monika).\n\n1990 works on the chamber opera Hauptsache, man geht zusammen hin to a libretto by Jürg Schubiger. First Russian trip: Moscow and Lenningrad. Planning for Puppet Desert\n\n1990 Gargantua conducted by André Fischer with the Statdmusik Illnau\u002FEffretikon.\n\n1991 Lemon Music for an exhibition of works by Yuri and his wife Galia in Zurich. Work on Encounter with Don Giovanni and Un quart d'heure avec Dom Juan\n\n1992 Eglisau 1100 year celebrations: Mayenzeit for brass band.\n\n1993 Concert (together with André Fischer) in the Zürcher Stadthaus. Both versions of WHALE are premièred: for choir and tape and for trombone and tape\n\nVisit to the Woollastons in Nairobi. Tape piece: Jua Kali with sounds from metal market.\n\nPerformance of three scenes from the chamber opera Hauptsache, man geht zusammen hin conducted by André Fischer.\n\n1994: Dominik Blum conducts Dies irae for soprano, men’s chorus and ensemble. First meeting with Dominique Hunziker as solo flautist.\n\nPerformance of WHALE for trombone and tape at the 1994 Bourges Festival.\n\n1995: Second Russian visit: KYKART-II Festival in Pushkin. Première of After Babel (Harlow texts). Also performed: WHALE, Amselbaum, Piano Poems, Metamorphoses, Sonatina for Trombone and Piano.\n\n1996: Buys house on Promenadenstrasse 24, Eglisau\n\nVarious commissions:\n\n1995 Innere Stimmen Robert Schumanns. from the Vokalensemble Zürich for electroacoustic interpolations in the Schumann Mass\n\n1996 Boundaries from the Musicum Collegium Schaffhausen\n\n1997 Der Wal from the Union of Music Teachers, Aarau\n\n1997 Concerto for 5 Percussionists and Orchestra from the Kantonsschule Wattwil\n\n1998 Koauau from the flute ensemble les joueurs de flûte\n\n1998 Salmagundi from the brass ensemble Brass Connection\n\n1999 Credo from a group of Swiss churches\n\n1999 Die Poppa from the Landeskirchen (regional churches) Switzerland\n\n2000 Sextett für Klarinette, Bassklarinette und Streichquartett from a group of music teachers\n\n2001 Concerto for Trombone and Tuba from the Europäischer Musikmonat in Basel\n\n2001 Scheint denn die Sonne heut’ nicht? from the Zurich Conservatory for the Robert Walser Centenary\n\n2002 Retires from the Zurich Conservatory (2003). 65th birthday concert organised by André Fischer.\n\n2005 Rothko Variations is played as a reading by the New Zealand Symphony Orchestra NZSO in Wellington.\n\n2005 Visits Kapiti Island – piano piece Kapiti\n\n2006 Fiona and Roger's wedding: Wedding Fanfare\n\n2006 Starts writing the Maui Cycle for solo clarinet and orchestra.\n\n2007 Concert for 70th birthday in Zurich Conservatory organised by the Institute for Computermusic and Sound Technology ICST. Performance of Piece of 4 and Three Chance Pieces plus One\n\n2008 Starts writing Missa Profana\n\n2009 Alles unter einem Hut (soprano and string orchestra) performed in Thayngen and Schaffhausen\n\n2009 Te Ika a Maui (first movement of the Maui Cycle, a concerto for clarinet and orchestra) is played in a reading by the NZSO in Wellington\n\n2010 Finishes the Maui Cycle\n\n2011 Finishes the Missa Profana\n\n2012 Was Liebe ist (soprano and piano). Two concerts in Zurich: also with Alles unter einem Hut\n\n2012 Roger Boltshauser makes 75th Birthday Concert in the Kunsthaus Zürich possible, with ensemble neue musik zürich, David Thorner, Dominik Blum, Philip and Fiona Powell. Première performances of Kapiti, Sextet, Chance Piece for Flute and Tape and Microzoic Piano Suite\n\n2015 Whale Fantasy piano solo written for See Siang Wong\n\n2017 Let all words be music\n\n2016-17 Schubert 1828\n\n2016-17 Symphonie réflectique\n\n2. 12. 2017 Tide Pools, 80th birthday concert in the Auditorium of the Old Conservatory, Zürich. A concert of so far unperformed choral works sung by the Vokalensemble Zürich with conductor by Peter Siegwart and pianist Paul Suits.Program: Tide Pools A Shout Paper Pieces Whale Fantasy Today is the Piano’s Birthday 5 Schwitters Songs for Andres Let all words be music\n\n17. 4. 2018 Kit Powell meets Schubert First performance of Schubert 1828 Concert in the Maaghalle Zürich. Conductor André Fischer, orchestra ZKO\n\n2021 Finishes Symphonic Reflections for Sop. Bass and Orchestra to texts by Michael Harlow\n\n2021 Old student friend Neil Ashcroft dies. In Memoriam NWA for String Quartet composed in his honour. Performed by NZ String Quartet\n\nFilm Music for \"Making of the Kiln Tower\"\n\n",{"_type":375,"current":44236},"kit-powell",{"_id":44238,"chapters":44239,"content":44240,"images":44345,"rawText":44350,"slug":44351,"title":44353},"511502dc-9794-4a42-8cce-ffbb73fe4841",[],[44241,44250,44285,44293,44312,44328,44336],{"_key":44242,"_type":500,"alt":44243,"caption":44243,"image":44244,"markDefs":4},"d1ebe5eed956","Luc in the early 60s",{"caption":4,"id":44245,"meta":44246,"parentID":4,"parentType":326,"url":44249},"c3af43ab9a796df6588dc235e81b19aaa2749056",{"_type":506,"aspectRatio":44247,"height":5812,"width":44248},1.2865671641791045,431,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fc3af43ab9a796df6588dc235e81b19aaa2749056-431x335.jpg",{"_key":44251,"_type":9,"children":44252,"image":4,"markDefs":44282,"style":18},"f1bdb87f86f7",[44253,44257,44261,44265,44270,44274,44278],{"_key":44254,"_type":13,"marks":44255,"text":44256},"bb80df3c9bcf",[],"During my time at the university in Wellington I spent the long summer holidays working on the Wellington wharves doing a variety of jobs, by far the best of which was driving a tractor, bringing goods to and fro between the ships and the sheds. It was here that I met Luc, a Dutchman about 10 years my senior. He spent his winters in the mountains skiing and teaching skiing and the summers as a tally clerk on the wharves. For the first time in my life I was speaking to someone who was really versed in classical music. He had a huge collection of records (LPs), which his mother sent him from Europe and which he was happy to lend me. Because both our jobs involved a lot of waiting, we could often talk together for long periods undisturbed. He knew all the Beethoven symphonies, which I loved and also the Brahms symphonies, which I was keen to get to know. He talked of the Beethoven 8th as his skiing symphony and whistled the opening theme, a theme, which has remained as our family call ever since. He also knew the late Beethoven quartets, which I had just read about in Huxley’s ",{"_key":44258,"_type":13,"marks":44259,"text":44260},"67a23d1659c8",[73],"Point Counterpoint",{"_key":44262,"_type":13,"marks":44263,"text":44264},"716854eaf35f",[]," and lent me the records of them. He told me how he got to know Monteverdi madrigals through Steinbeck’s character “Doc” and so I learnt some of these too. When I bought a recording of ",{"_key":44266,"_type":13,"marks":44267,"text":44269},"64e816610ae8",[44268],"aac0bd9bd17a","Stravinsky",{"_key":44271,"_type":13,"marks":44272,"text":44273},"1f7723fad0c2",[],"’s ",{"_key":44275,"_type":13,"marks":44276,"text":44277},"7bc04988a325",[73],"L’histoire du Soldat",{"_key":44279,"_type":13,"marks":44280,"text":44281},"a60ea69a265e",[]," and couldn’t make much sense of it, he listened with me and said: (although it was new to him) “I think you could come to like this”.",[44283],{"_key":44268,"_type":316,"href":44284},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FIgor_Stravinsky",{"_key":44286,"_type":9,"children":44287,"image":4,"markDefs":44292,"style":18},"5c8b104a2ec2",[44288],{"_key":44289,"_type":13,"marks":44290,"text":44291},"e94c87c5497f0",[],"Shortly afterwards he returned to Europe and in 1966 when I came here for the first time, I could stay with him in Leysin, Switzerland, and we took up our music conversations again as if they had never stopped. I told him in my hesitant way how I wanted to study music in Italy and in Germany and that my first objective was to study these languages. “I don’t know how you think you’re going to learn Italian and German” he said, “you’re not even fluent in English”. But he said it in such loving way, I couldn't possibly take umbrage—besides he was right!",[],{"_key":44294,"_type":9,"children":44295,"image":4,"markDefs":44309,"style":18},"1eb7bd98f4bc",[44296,44300,44305],{"_key":44297,"_type":13,"marks":44298,"text":44299},"6986f26f58850",[],"This was 1966 and new drugs (eg. LSD) were starting to appear in Europe. Luc was interested in a scientific sort of way (he had read Huxley's \"The Doors of Perception\") and had asked a visitor to ",{"_key":44301,"_type":13,"marks":44302,"text":44304},"6986f26f58851",[44303],"86730cd543dd","Club Vagabond",{"_key":44306,"_type":13,"marks":44307,"text":44308},"6986f26f58852",[]," where he lived to find him some which he did: it came in the form of a sugar cube. At the same time he often worked closely together with the local police—because of the many foreigners visiting Leysin and because Luc was fluent in English, French and German (plus his native Dutch and Indonesian where he had been interned during the war) he was an important interpreter for them. Now he received a visit from the local constable saying that they had heard that drugs were in circulation and that he should please keep a look out and inform them if he saw anything suspicious. Luc said that he had also heard that LSD was around and that it was often disguised to look like a cube of suger—so saying, he picked up the very cube had received the day before. The policeman thanked him profusely for his help! Some days later I agreed to sit with him while he tested the drug. We sat opposite one another, he set a tape recorder running so that he could hear later all he had said, and for several hours I listened while he talked about what he was experiencing until he finally fell asleep. I still hear his words: this could be very dangerous—one has the felling one can walk out of the window and fly.",[44310],{"_key":44303,"_type":316,"href":44311},"http:\u002F\u002Fwww.frof.ch\u002F2014\u002F08\u002F20\u002Fluc_paolo\u002F",{"_key":44313,"_type":9,"children":44314,"image":4,"markDefs":44327,"style":18},"f366c069b566",[44315,44319,44323],{"_key":44316,"_type":13,"marks":44317,"text":44318},"8f305525f0d50",[],"He often made fun of my passion for ordering the music I was listening to according to composers and period. Years later when we were living in Christchurch he sent me a parcel of 5 kilos of records from East Europe, knowing that I wouldn’t be able to read the labels and would have to listen without ordering! But I couldn’t change. I worked out that they were early classical composers from the ",{"_key":44320,"_type":13,"marks":44321,"text":44322},"8f305525f0d51",[73],"Mannheim School",{"_key":44324,"_type":13,"marks":44325,"text":44326},"8f305525f0d52",[]," and so was able to keep them in my poor head.",[],{"_key":44329,"_type":9,"children":44330,"image":4,"markDefs":44335,"style":18},"c9d427533fb2",[44331],{"_key":44332,"_type":13,"marks":44333,"text":44334},"b234d7baf7870",[],"Luc was homosexual and only towards the end of his life did he find a permanent friend: René. We met them for the last time in 1981 changing planes in Amsterdam. Six years later (in his early 60s) he died suddenly of a heart attack, no doubt as a result of his predilection for unfiltered Gitanes. He remains as the person who taught me most about classical music—without even trying!",[],{"_key":44337,"_type":500,"alt":44338,"caption":44338,"image":44339,"markDefs":4},"43ee09906a47","We visited Switzerland several times in the Christmas holidays with the children in the 70s and always made a point of meeting Luc—Jan 1979 near the Aare",{"caption":4,"id":44340,"meta":44341,"parentID":4,"parentType":326,"url":44344},"7c2e760669e4637ad55a330d64b38b4899c753e7",{"_type":506,"aspectRatio":44342,"height":44343,"width":11006},1.4634146341463414,820,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F7c2e760669e4637ad55a330d64b38b4899c753e7-1200x820.jpg",[44346,44348],{"caption":44243,"id":44245,"meta":44347,"parentID":44238,"parentType":326,"url":44249},{"_type":506,"aspectRatio":44247,"height":5812,"width":44248},{"caption":44338,"id":44340,"meta":44349,"parentID":44238,"parentType":326,"url":44344},{"_type":506,"aspectRatio":44342,"height":44343,"width":11006},"During my time at the university in Wellington I spent the long summer holidays working on the Wellington wharves doing a variety of jobs, by far the best of which was driving a tractor, bringing goods to and fro between the ships and the sheds. It was here that I met Luc, a Dutchman about 10 years my senior. He spent his winters in the mountains skiing and teaching skiing and the summers as a tally clerk on the wharves. For the first time in my life I was speaking to someone who was really versed in classical music. He had a huge collection of records (LPs), which his mother sent him from Europe and which he was happy to lend me. Because both our jobs involved a lot of waiting, we could often talk together for long periods undisturbed. He knew all the Beethoven symphonies, which I loved and also the Brahms symphonies, which I was keen to get to know. He talked of the Beethoven 8th as his skiing symphony and whistled the opening theme, a theme, which has remained as our family call ever since. He also knew the late Beethoven quartets, which I had just read about in Huxley’s Point Counterpoint and lent me the records of them. He told me how he got to know Monteverdi madrigals through Steinbeck’s character “Doc” and so I learnt some of these too. When I bought a recording of Stravinsky’s L’histoire du Soldat and couldn’t make much sense of it, he listened with me and said: (although it was new to him) “I think you could come to like this”.\n\nShortly afterwards he returned to Europe and in 1966 when I came here for the first time, I could stay with him in Leysin, Switzerland, and we took up our music conversations again as if they had never stopped. I told him in my hesitant way how I wanted to study music in Italy and in Germany and that my first objective was to study these languages. “I don’t know how you think you’re going to learn Italian and German” he said, “you’re not even fluent in English”. But he said it in such loving way, I couldn't possibly take umbrage—besides he was right!\n\nThis was 1966 and new drugs (eg. LSD) were starting to appear in Europe. Luc was interested in a scientific sort of way (he had read Huxley's \"The Doors of Perception\") and had asked a visitor to Club Vagabond where he lived to find him some which he did: it came in the form of a sugar cube. At the same time he often worked closely together with the local police—because of the many foreigners visiting Leysin and because Luc was fluent in English, French and German (plus his native Dutch and Indonesian where he had been interned during the war) he was an important interpreter for them. Now he received a visit from the local constable saying that they had heard that drugs were in circulation and that he should please keep a look out and inform them if he saw anything suspicious. Luc said that he had also heard that LSD was around and that it was often disguised to look like a cube of suger—so saying, he picked up the very cube had received the day before. The policeman thanked him profusely for his help! Some days later I agreed to sit with him while he tested the drug. We sat opposite one another, he set a tape recorder running so that he could hear later all he had said, and for several hours I listened while he talked about what he was experiencing until he finally fell asleep. I still hear his words: this could be very dangerous—one has the felling one can walk out of the window and fly.\n\nHe often made fun of my passion for ordering the music I was listening to according to composers and period. Years later when we were living in Christchurch he sent me a parcel of 5 kilos of records from East Europe, knowing that I wouldn’t be able to read the labels and would have to listen without ordering! But I couldn’t change. I worked out that they were early classical composers from the Mannheim School and so was able to keep them in my poor head.\n\nLuc was homosexual and only towards the end of his life did he find a permanent friend: René. We met them for the last time in 1981 changing planes in Amsterdam. Six years later (in his early 60s) he died suddenly of a heart attack, no doubt as a result of his predilection for unfiltered Gitanes. He remains as the person who taught me most about classical music—without even trying!",{"_type":375,"current":44352},"luc-van-der-kaay","Luc van der Kaay",{"_id":3413,"chapters":44355,"content":44356,"images":44781,"rawText":44786,"slug":44787,"title":3405},[],[44357,44366,44374,44388,44402,44416,44430,44444,44458,44472,44486,44500,44514,44528,44542,44556,44570,44584,44598,44612,44626,44635,44650,44693,44755],{"_key":44358,"_type":500,"alt":44359,"caption":44359,"image":44360,"markDefs":4},"d6b4ee399fd6","Michael and Kit in Eglisau, 2010",{"caption":4,"id":44361,"meta":44362,"parentID":4,"parentType":326,"url":44365},"c19bf90e304d1a98a45be4da3de2e1e93917a298",{"_type":506,"aspectRatio":44363,"height":44364,"width":18147},1.349056603773585,424,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fc19bf90e304d1a98a45be4da3de2e1e93917a298-572x424.jpg",{"_key":44367,"_type":9,"children":44368,"image":4,"markDefs":44373,"style":18},"9b59c069d761",[44369],{"_key":44370,"_type":13,"marks":44371,"text":44372},"6e104f950c80",[15],"Collaborative Harlow \u002F Powell Works",[],{"_key":44375,"_type":9,"children":44376,"image":4,"markDefs":44385,"style":18},"4f203284939c",[44377,44381],{"_key":44378,"_type":13,"marks":44379,"text":3535},"270606563fa30",[44380],"46c6e8676ebd",{"_key":44382,"_type":13,"marks":44383,"text":44384},"2bf72157cea6",[]," (1976, for double wind quintet, 2 speakers and stone curtain)",[44386],{"_key":44380,"_type":321,"reference":44387,"slug":3612,"type":510},{"_ref":3357,"_type":324},{"_key":44389,"_type":9,"children":44390,"image":4,"markDefs":44399,"style":18},"b3562d550e92",[44391,44395],{"_key":44392,"_type":13,"marks":44393,"text":3662},"81cb19addab30",[44394],"8bcf6274f400",{"_key":44396,"_type":13,"marks":44397,"text":44398},"69f6f2c868ab",[]," (1980, graphic scores, published in “Vlaminck’s Tie”, AUP 1985)",[44400],{"_key":44394,"_type":321,"reference":44401,"slug":4007,"type":510},{"_ref":3617,"_type":324},{"_key":44403,"_type":9,"children":44404,"image":4,"markDefs":44413,"style":18},"b6a7c335af1a",[44405,44409],{"_key":44406,"_type":13,"marks":44407,"text":4687},"88db377e846c0",[44408],"8d927faae8cc",{"_key":44410,"_type":13,"marks":44411,"text":44412},"b46f29040c35",[]," (1980 soprano & percussion ensemble, Waitiata Music Press)",[44414],{"_key":44408,"_type":321,"reference":44415,"slug":4904,"type":510},{"_ref":4640,"_type":324},{"_key":44417,"_type":9,"children":44418,"image":4,"markDefs":44427,"style":18},"9dfdbc611b21",[44419,44423],{"_key":44420,"_type":13,"marks":44421,"text":5639},"26ef59d2404c0",[44422],"1b4127c3d2a3",{"_key":44424,"_type":13,"marks":44425,"text":44426},"80e3476aea62",[]," (1985, soprano and instrumental trio)",[44428],{"_key":44422,"_type":321,"reference":44429,"slug":5736,"type":510},{"_ref":5567,"_type":324},{"_key":44431,"_type":9,"children":44432,"image":4,"markDefs":44441,"style":18},"e476d9314ed2",[44433,44437],{"_key":44434,"_type":13,"marks":44435,"text":6508},"0d034aaf25630",[44436],"8679f26c27b7",{"_key":44438,"_type":13,"marks":44439,"text":44440},"cdde91dbe291",[]," (1983, soprano, baritone and percussionist)",[44442],{"_key":44436,"_type":321,"reference":44443,"slug":6556,"type":510},{"_ref":6337,"_type":324},{"_key":44445,"_type":9,"children":44446,"image":4,"markDefs":44455,"style":18},"2ffd53d4339a",[44447,44451],{"_key":44448,"_type":13,"marks":44449,"text":6633},"277bb9821f960",[44450],"fd2cdb074e54",{"_key":44452,"_type":13,"marks":44453,"text":44454},"aee59b5b6e5a",[]," (1985, for clarinet and tape)",[44456],{"_key":44450,"_type":321,"reference":44457,"slug":6637,"type":510},{"_ref":6561,"_type":324},{"_key":44459,"_type":9,"children":44460,"image":4,"markDefs":44469,"style":18},"dbc6f72d8103",[44461,44465],{"_key":44462,"_type":13,"marks":44463,"text":7343},"d92566886b780",[44464],"ebe0b855cb2d",{"_key":44466,"_type":13,"marks":44467,"text":44468},"d62d61c8ceba",[]," (1986, baritone and 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tape)",[44498],{"_key":44492,"_type":321,"reference":44499,"slug":9175,"type":510},{"_ref":8604,"_type":324},{"_key":44501,"_type":9,"children":44502,"image":4,"markDefs":44511,"style":18},"f58f189ab4c4",[44503,44507],{"_key":44504,"_type":13,"marks":44505,"text":9196},"7b65720477d00",[44506],"ba4e35763368",{"_key":44508,"_type":13,"marks":44509,"text":44510},"f44e46b19b45",[]," (1989 - 92, solo percussion)",[44512],{"_key":44506,"_type":321,"reference":44513,"slug":9458,"type":510},{"_ref":9183,"_type":324},{"_key":44515,"_type":9,"children":44516,"image":4,"markDefs":44525,"style":18},"006a6b13fd12",[44517,44521],{"_key":44518,"_type":13,"marks":44519,"text":11182},"95a2c9a936270",[44520],"7a3bdc0f0338",{"_key":44522,"_type":13,"marks":44523,"text":44524},"e2b96d758e95",[]," (1985 - 92, baritone and piano)",[44526],{"_key":44520,"_type":321,"reference":44527,"slug":11181,"type":510},{"_ref":10968,"_type":324},{"_key":44529,"_type":9,"children":44530,"image":4,"markDefs":44539,"style":18},"ec402661b822",[44531,44535],{"_key":44532,"_type":13,"marks":44533,"text":13528},"c76494cd53900",[44534],"3a2fa2c3dd59",{"_key":44536,"_type":13,"marks":44537,"text":44538},"538400130938",[]," (1995, soprano, brass quartet and piano)",[44540],{"_key":44534,"_type":321,"reference":44541,"slug":14242,"type":510},{"_ref":13438,"_type":324},{"_key":44543,"_type":9,"children":44544,"image":4,"markDefs":44553,"style":18},"aede1359cf8f",[44545,44549],{"_key":44546,"_type":13,"marks":44547,"text":18282},"fab111067aab0",[44548],"f408dc0539e6",{"_key":44550,"_type":13,"marks":44551,"text":44552},"c749bda88aec",[]," (2003, soprano and piano)",[44554],{"_key":44548,"_type":321,"reference":44555,"slug":18378,"type":510},{"_ref":18273,"_type":324},{"_key":44557,"_type":9,"children":44558,"image":4,"markDefs":44567,"style":18},"18596b3cb7c3",[44559,44563],{"_key":44560,"_type":13,"marks":44561,"text":18392},"f222bee7741f0",[44562],"dfa0a9587237",{"_key":44564,"_type":13,"marks":44565,"text":44566},"1c78bd1290fd",[]," (2005, soprano, women’s chorus and piano)",[44568],{"_key":44562,"_type":321,"reference":44569,"slug":18636,"type":510},{"_ref":18383,"_type":324},{"_key":44571,"_type":9,"children":44572,"image":4,"markDefs":44581,"style":18},"a5db5b5f18b4",[44573,44577],{"_key":44574,"_type":13,"marks":44575,"text":2203},"ca918f0ea6280",[44576],"548d46dda426",{"_key":44578,"_type":13,"marks":44579,"text":44580},"8d762ea65a4c",[]," (2008 - 10, soli SATB, chorus SATB and orchestra)",[44582],{"_key":44576,"_type":321,"reference":44583,"slug":2211,"type":510},{"_ref":2210,"_type":324},{"_key":44585,"_type":9,"children":44586,"image":4,"markDefs":44595,"style":18},"e7a568b1a2e4",[44587,44591],{"_key":44588,"_type":13,"marks":44589,"text":20216},"5b2bef51980d0",[44590],"bd788e881f0e",{"_key":44592,"_type":13,"marks":44593,"text":44594},"fba364f1e317",[]," (2012, baritone, and ensemble)",[44596],{"_key":44590,"_type":321,"reference":44597,"slug":20407,"type":510},{"_ref":20207,"_type":324},{"_key":44599,"_type":9,"children":44600,"image":4,"markDefs":44609,"style":18},"bbec90397f39",[44601,44605],{"_key":44602,"_type":13,"marks":44603,"text":20555},"034ed89a9b8a0",[44604],"3b58746886f5",{"_key":44606,"_type":13,"marks":44607,"text":44608},"ca69c6526251",[]," (2016, choir, soloists, trombone and piano)",[44610],{"_key":44604,"_type":321,"reference":44611,"slug":20586,"type":510},{"_ref":20481,"_type":324},{"_key":44613,"_type":9,"children":44614,"image":4,"markDefs":44623,"style":18},"b93a398740d2",[44615,44619],{"_key":44616,"_type":13,"marks":44617,"text":21761},"f5308c9adc9f",[44618],"7ec793e9a829",{"_key":44620,"_type":13,"marks":44621,"text":44622},"b6c04c82d078",[]," (2017, soprano, baritone and orchestra)",[44624],{"_key":44618,"_type":321,"reference":44625,"slug":21940,"type":510},{"_ref":21745,"_type":324},{"_key":44627,"_type":500,"alt":44628,"caption":44628,"image":44629,"markDefs":4},"dda8885a6b8b","Michael and Kit at the Giacometti room in the Zurich Kunsthaus, 2016",{"caption":4,"id":44630,"meta":44631,"parentID":4,"parentType":326,"url":44634},"786e32fa60f980f626095a2e200f12283e8738f3",{"_type":506,"aspectRatio":19722,"height":44632,"width":44633},2448,3264,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F786e32fa60f980f626095a2e200f12283e8738f3-3264x2448.jpg",{"_key":44636,"_type":9,"children":44637,"image":4,"markDefs":44647,"style":18},"b437f035d8d6",[44638,44642],{"_key":44639,"_type":13,"marks":44640,"text":44641},"e7a365a8510a",[73],"Introduction to Chapter 9 of ",{"_key":44643,"_type":13,"marks":44644,"text":44646},"c9cc946f2987",[73,44645],"7f5f9b4dd9c0","Quite by Chance \u002F Wie durch Zufall",[44648],{"_key":44645,"_type":321,"reference":44649,"slug":7522,"type":3456},{"_ref":7521,"_type":324},{"_key":44651,"_type":9,"children":44652,"image":4,"markDefs":44688,"style":18},"7644769c5424",[44653,44657,44661,44665,44668,44672,44676,44680,44684],{"_key":44654,"_type":13,"marks":44655,"text":44656},"395ecc14b9880",[],"When I look at the long list of collaborative works with Michael Harlow, what comes first to mind is not the many texts he has supplied (which have produced many of my best works), but the confidence he gave me, to believe in myself and my own musical abilities, in my own creativity – although this was not something we ever discussed. When we first met in 1976 we were both new lecturers at the Christchurch Teachers College and I had just left Linwood High School (a period of almost exclusively writing for amateurs) and I was now looking for a new start. The years at Linwood High School had been happy but enormously time consuming writing music for the annual total theatre productions and it had left no time for working with other musicians. I had made a name for myself in this school music field but now I wanted to be known for music in general. It was a new challenge, one that I specially wanted to accept, but it needed courage and Michael gave me that. Just his matter-of-course manner and the enthusiasm for my ideas was enough to remove any doubts I might have had. I suggested works to the huge Royal Christchurch Musical Society (a choir of 150 to 200 singers) in which I sang at the time and they were accepted (including ",{"_key":44658,"_type":13,"marks":44659,"text":42907},"f268f4fbad5e",[44660],"f5e058410281",{"_key":44662,"_type":13,"marks":44663,"text":44664},"90be6fcb9e2a",[]," – whose history was to prove long and difficult!) and I was invited to write a piece for the ",{"_key":44666,"_type":13,"marks":44667,"text":42034},"395ecc14b9883",[73],{"_key":44669,"_type":13,"marks":44670,"text":44671},"395ecc14b9884",[]," (festival of contemporary music) using the ",{"_key":44673,"_type":13,"marks":44674,"text":44675},"395ecc14b9885",[73],"Christchurch Wind Ensemble",{"_key":44677,"_type":13,"marks":44678,"text":44679},"395ecc14b9886",[]," (double wind quintet), something that Michael supported enthusiastically and out of which grew ",{"_key":44681,"_type":13,"marks":44682,"text":3535},"501d309716f5",[44683],"60bcda5da624",{"_key":44685,"_type":13,"marks":44686,"text":44687},"2ab3d87e9cbf",[]," in which we both took part as speakers and stone players! The mere fact that this work was a concerto for two speakers with a curtain of large stones shows the Harlow influence. Had we never met I would have done something similar with the double wind quintet but nothing so outrageous as adding stones to this revered group.",[44689,44691],{"_key":44660,"_type":321,"reference":44690,"slug":2343,"type":510},{"_ref":2342,"_type":324},{"_key":44683,"_type":321,"reference":44692,"slug":3612,"type":510},{"_ref":3357,"_type":324},{"_key":44694,"_type":9,"children":44695,"image":4,"markDefs":44746,"style":18},"2c71384322a4",[44696,44700,44703,44707,44710,44714,44718,44722,44726,44730,44734,44738,44742],{"_key":44697,"_type":13,"marks":44698,"text":44699},"8b9cb674d8f50",[],"The idea of the stones started on the farm south of Christchurch where Michael and family lived at this time. We visited them for a weekend and on the way back to his house in the nearby countryside we invented a game in which one was only allowed to step on stones. We leapt and balanced and collected a magazine of stones for the empty stretches. “They are the bones of the earth” said Michael and when we arrived back: “We’ve performed a living stone poem”. That was not only the beginning of the work for the ",{"_key":44701,"_type":13,"marks":44702,"text":42034},"8b9cb674d8f51",[73],{"_key":44704,"_type":13,"marks":44705,"text":44706},"8b9cb674d8f52",[]," it was the beginning of other Harlow poems about stones, including his now famous ",{"_key":44708,"_type":13,"marks":44709,"text":3543},"8b9cb674d8f53",[73],{"_key":44711,"_type":13,"marks":44712,"text":44713},"8b9cb674d8f54",[]," which I have set at least three times and also marks the beginning of my use of stones in other works: ",{"_key":44715,"_type":13,"marks":44716,"text":42907},"d9e1b61c1996",[44717],"d37eb8592b8c",{"_key":44719,"_type":13,"marks":44720,"text":44721},"326870b7c994",[]," (1980), ",{"_key":44723,"_type":13,"marks":44724,"text":6633},"5fdb59ab9d33",[44725],"5afa18f3004e",{"_key":44727,"_type":13,"marks":44728,"text":44729},"bb65cff6dbde",[]," (1985), ",{"_key":44731,"_type":13,"marks":44732,"text":35854},"7407e12a8506",[44733],"72aa19cb711b",{"_key":44735,"_type":13,"marks":44736,"text":44737},"e9f9ca732eb3",[]," (1988), etc. and in the book for teachers: ",{"_key":44739,"_type":13,"marks":44740,"text":5364},"6808be7d225f",[44741],"e1e47e922e01",{"_key":44743,"_type":13,"marks":44744,"text":44745},"a4a0d30dc71b",[]," (1984).",[44747,44749,44751,44753],{"_key":44717,"_type":321,"reference":44748,"slug":2343,"type":510},{"_ref":2342,"_type":324},{"_key":44725,"_type":321,"reference":44750,"slug":6637,"type":510},{"_ref":6561,"_type":324},{"_key":44733,"_type":321,"reference":44752,"slug":8081,"type":510},{"_ref":7963,"_type":324},{"_key":44741,"_type":321,"reference":44754,"slug":5373,"type":3456},{"_ref":5372,"_type":324},{"_key":44756,"_type":9,"children":44757,"image":4,"markDefs":44778,"style":18},"5badb7ee9a79",[44758,44762,44766,44770,44774],{"_key":44759,"_type":13,"marks":44760,"text":44761},"145db735b00b0",[],"Before I leave the subject of the artist’s confidence in himself, it is interesting to note that Michael, as many others before him, must have given this considerable thought as the following shows. ",{"_key":44763,"_type":13,"marks":44764,"text":20216},"fd061865b728",[44765],"cf7138620024",{"_key":44767,"_type":13,"marks":44768,"text":44769},"f7517eacc77f",[]," (2012) is essentially about the life of an artist, his beginnings, his masculine and feminine sides (a frequent theme with Harlow), his necessary slight craziness, his emotional problems, and his old age. The “slight craziness” is an essential part of the artist’s creativity and he needs courage and conviction to face the almost certain opposition. But he will always have to battle with the doubt that this step into new land involves. Against such doubt, according to Samuel Beckett, whom Michael quotes in this poem, the only antidote is music: ",{"_key":44771,"_type":13,"marks":44772,"text":44773},"145db735b00b3",[73],"Quand on est dans la merde jusqu’au cou, il ne reste plus qu’à chanter",{"_key":44775,"_type":13,"marks":44776,"text":44777},"145db735b00b4",[],". Whether singing also works for musicians he doesn’t say, perhaps they should read poetry? And yet there is, according to Harlow, some hope: “The depth of despair can be the place and source of renewed spirit.”",[44779],{"_key":44765,"_type":321,"reference":44780,"slug":20407,"type":510},{"_ref":20207,"_type":324},[44782,44784],{"caption":44359,"id":44361,"meta":44783,"parentID":3413,"parentType":326,"url":44365},{"_type":506,"aspectRatio":44363,"height":44364,"width":18147},{"caption":44628,"id":44630,"meta":44785,"parentID":3413,"parentType":326,"url":44634},{"_type":506,"aspectRatio":19722,"height":44632,"width":44633},"Collaborative Harlow \u002F Powell Works\n\nStone Poem (1976, for double wind quintet, 2 speakers and stone curtain)\n\nTexts for Composition (1980, graphic scores, published in “Vlaminck’s Tie”, AUP 1985)\n\nDevotion to the Small (1980 soprano & percussion ensemble, Waitiata Music Press)\n\nNothing but Switzerland and Lemonade (1985, soprano and instrumental trio)\n\nPoem then, for love (1983, soprano, baritone and percussionist)\n\nStonepoem for Clarinet and Tape (1985, for clarinet and tape)\n\nNelson Songs (1986, baritone and tape)\n\nLes Episodes (1987, soprano, baritone and orchestra)\n\nFather’s Telescope (1989, baritone, speaker and tape)\n\nThe Green Man (1989 - 92, solo percussion)\n\nVlaminck’s Tie (1985 - 92, baritone and piano)\n\nAfter Babel (1995, soprano, brass quartet and piano)\n\nToday is the Piano’s Birthday (2003, soprano and piano)\n\nA Shout (2005, soprano, women’s chorus and piano)\n\nMissa Profana (2008 - 10, soli SATB, chorus SATB and orchestra)\n\nMicrozoic Piano Suite (2012, baritone, and ensemble)\n\nLet all words be music (2016, choir, soloists, trombone and piano)\n\nSymphonic Reflections (2017, soprano, baritone and orchestra)\n\nIntroduction to Chapter 9 of Quite by Chance \u002F Wie durch Zufall\n\nWhen I look at the long list of collaborative works with Michael Harlow, what comes first to mind is not the many texts he has supplied (which have produced many of my best works), but the confidence he gave me, to believe in myself and my own musical abilities, in my own creativity – although this was not something we ever discussed. When we first met in 1976 we were both new lecturers at the Christchurch Teachers College and I had just left Linwood High School (a period of almost exclusively writing for amateurs) and I was now looking for a new start. The years at Linwood High School had been happy but enormously time consuming writing music for the annual total theatre productions and it had left no time for working with other musicians. I had made a name for myself in this school music field but now I wanted to be known for music in general. It was a new challenge, one that I specially wanted to accept, but it needed courage and Michael gave me that. Just his matter-of-course manner and the enthusiasm for my ideas was enough to remove any doubts I might have had. I suggested works to the huge Royal Christchurch Musical Society (a choir of 150 to 200 singers) in which I sang at the time and they were accepted (including The Evercircling Light – whose history was to prove long and difficult!) and I was invited to write a piece for the Sonic Circus (festival of contemporary music) using the Christchurch Wind Ensemble (double wind quintet), something that Michael supported enthusiastically and out of which grew Stone Poem in which we both took part as speakers and stone players! The mere fact that this work was a concerto for two speakers with a curtain of large stones shows the Harlow influence. Had we never met I would have done something similar with the double wind quintet but nothing so outrageous as adding stones to this revered group.\n\nThe idea of the stones started on the farm south of Christchurch where Michael and family lived at this time. We visited them for a weekend and on the way back to his house in the nearby countryside we invented a game in which one was only allowed to step on stones. We leapt and balanced and collected a magazine of stones for the empty stretches. “They are the bones of the earth” said Michael and when we arrived back: “We’ve performed a living stone poem”. That was not only the beginning of the work for the Sonic Circus it was the beginning of other Harlow poems about stones, including his now famous Stonepoem which I have set at least three times and also marks the beginning of my use of stones in other works: The Evercircling Light (1980), Stonepoem for Clarinet and Tape (1985), Les Episodes (1988), etc. and in the book for teachers: Musik mit gefundenen Gegenständen (1984).\n\nBefore I leave the subject of the artist’s confidence in himself, it is interesting to note that Michael, as many others before him, must have given this considerable thought as the following shows. Microzoic Piano Suite (2012) is essentially about the life of an artist, his beginnings, his masculine and feminine sides (a frequent theme with Harlow), his necessary slight craziness, his emotional problems, and his old age. The “slight craziness” is an essential part of the artist’s creativity and he needs courage and conviction to face the almost certain opposition. But he will always have to battle with the doubt that this step into new land involves. Against such doubt, according to Samuel Beckett, whom Michael quotes in this poem, the only antidote is music: Quand on est dans la merde jusqu’au cou, il ne reste plus qu’à chanter. Whether singing also works for musicians he doesn’t say, perhaps they should read poetry? And yet there is, according to Harlow, some hope: “The depth of despair can be the place and source of renewed spirit.”",{"_type":375,"current":3414},{"_id":9520,"chapters":44789,"content":44790,"images":44944,"rawText":44947,"slug":44948,"title":9486},[],[44791,44801,44847,44862,44888,44896,44904,44914,44924,44934],{"_key":44792,"_type":500,"alt":44793,"caption":44793,"image":44794,"markDefs":4},"b7b8432ee59e","Yuri Sobolev and Mischa Husid directing a play",{"caption":4,"id":44795,"meta":44796,"parentID":4,"parentType":326,"url":44800},"32fec8048d66a7db0c340af02bda148d47c275a4",{"_type":506,"aspectRatio":44797,"height":44798,"width":44799},1.0010764262648009,929,930,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F32fec8048d66a7db0c340af02bda148d47c275a4-930x929.jpg",{"_key":44802,"_type":9,"children":44803,"image":4,"markDefs":44839,"style":18},"71090dbe7f47",[44804,44808,44812,44816,44820,44824,44828,44832,44836],{"_key":44805,"_type":13,"marks":44806,"text":44807},"36096c204bb30",[],"Mischa and ",{"_key":44809,"_type":13,"marks":44810,"text":10390},"360270d3b243",[44811],"73d1692cc737",{"_key":44813,"_type":13,"marks":44814,"text":44815},"479de5dc1fc3",[]," were close friends. They had worked together as Mischa was director of a puppet theatre in Cheliabinsk. Yuri was first invited to visit Switzerland in his role as a painter, but he had obviously promised Mischa he would try to get him an invitation to come here too. This was before the fall of the iron curtain and at this time the only way a Russian citizen could leave the country (even for short periods) was with a formal invitation. We had got to know Yuri well and felt we could help by inviting Mischa. Mischa came and stayed two weeks with us in Eglisau. He brought with him a French text for me to work on: ",{"_key":44817,"_type":13,"marks":44818,"text":43259},"76ca18c1c781",[44819],"9b12b64c7c39",{"_key":44821,"_type":13,"marks":44822,"text":44823},"717910487aee",[]," which was to be part of a big project on Don Juan which they were planning. Whereas Yuri was fluent in German, Mischa had just an energetic and (as well as I could judge) rather chaotic French. My French was even worse and so we never really communicated very well. Nevertheless he was very grateful for the opportunity to come abroad and promised to do the same for us. We visited him in 1989 (just before the fall of the Berlin Wall) and were treated like royalty. We were shown round Moscow (lodged in a house on the perifery of the city (for retired actors) with sauna and surrounded by a beautiful birch forest). We then travelled by train to St Petersburg (still called Leningrad) drinking tea from samovars! Here too, we were treated as VIPs: visited the Hermitage, ate caviar and drank vodka and I signed a contract for the composition of ",{"_key":44825,"_type":13,"marks":44826,"text":9547},"328c98b399d6",[44827],"43a0b47433b9",{"_key":44829,"_type":13,"marks":44830,"text":44831},"32ce222e15ae",[]," which they pointed out contained a fee equal to that offered ",{"_key":44833,"_type":13,"marks":44834,"text":10425},"36096c204bb37",[44835],"1633cfa12768",{"_key":44837,"_type":13,"marks":44838,"text":2020},"36096c204bb38",[],[44840,44841,44843,44845],{"_key":44835,"_type":316,"href":10438},{"_key":44811,"_type":321,"reference":44842,"slug":9517,"type":326},{"_ref":9516,"_type":324},{"_key":44819,"_type":321,"reference":44844,"slug":10492,"type":510},{"_ref":10343,"_type":324},{"_key":44827,"_type":321,"reference":44846,"slug":9546,"type":510},{"_ref":9463,"_type":324},{"_key":44848,"_type":9,"children":44849,"image":4,"markDefs":44861,"style":18},"1f1dda264d14",[44850,44854,44857],{"_key":44851,"_type":13,"marks":44852,"text":44853},"98efca3d771d0",[],"In the years that followed Mischa and Yuri visited Switzerland almost every summer, several times by bus with the whole cast of their ",{"_key":44855,"_type":13,"marks":44856,"text":10697},"98efca3d771d1",[73],{"_key":44858,"_type":13,"marks":44859,"text":44860},"98efca3d771d2",[]," (fortunately only Mischa and his girlfriend stayed under our roof!).",[],{"_key":44863,"_type":9,"children":44864,"image":4,"markDefs":44885,"style":18},"63d2970b6921",[44865,44869,44873,44877,44881],{"_key":44866,"_type":13,"marks":44867,"text":44868},"fc4e4892a5440",[],"Then in 1996 we were invited to visit the school for actors in Pushkin (near St Petersburg) which Mischa and Yuri had started. The Festival was called ",{"_key":44870,"_type":13,"marks":44871,"text":44872},"fc4e4892a5441",[73],"Kukart",{"_key":44874,"_type":13,"marks":44875,"text":44876},"fc4e4892a5442",[]," and in that year the theme was “The Tower of Babel”. I have recounted this visit under ",{"_key":44878,"_type":13,"marks":44879,"text":43259},"92164ac2195a",[44880],"49e2960086a9",{"_key":44882,"_type":13,"marks":44883,"text":44884},"a6087c1ce8bc",[],". Sad is that what specially remains in our mind after this visit is how everything had changed. We were no longer the greatly desired visitors from the west. Quite the opposite. We were housed in cheap student quarters, had to buy our own food and for a visit to the Hermitage in St Petersburg we had to pay about ten times the entrance fee for Russians. Nevertheless there were special moments, in particular our own performances which were well received.",[44886],{"_key":44880,"_type":321,"reference":44887,"slug":10492,"type":510},{"_ref":10343,"_type":324},{"_key":44889,"_type":9,"children":44890,"image":4,"markDefs":44895,"style":18},"71e31c066a4d",[44891],{"_key":44892,"_type":13,"marks":44893,"text":44894},"e9fbd186e8dc0",[],"Shortly afterwards we heard that Mischa had emmigrated to America and had become a Rabbi. This was especially hard for Yuri who had years earlier planned to emmigrate with Mischa to Israel, a plan they never managed to realise.",[],{"_key":44897,"_type":9,"children":44898,"image":4,"markDefs":44903,"style":18},"4a8d3c615eb8",[44899],{"_key":44900,"_type":13,"marks":44901,"text":44902},"b59fa466ba490",[],"Works inspired by Yuri include:",[],{"_key":44905,"_type":9,"children":44906,"image":4,"level":382,"listItem":2078,"markDefs":44911,"style":18},"ca8da1bcf091",[44907],{"_key":44908,"_type":13,"marks":44909,"text":43259},"16dfa252e7720",[44910],"22eba41a93e0",[44912],{"_key":44910,"_type":321,"reference":44913,"slug":10492,"type":510},{"_ref":10343,"_type":324},{"_key":44915,"_type":9,"children":44916,"image":4,"level":382,"listItem":2078,"markDefs":44921,"style":18},"9f998caef116",[44917],{"_key":44918,"_type":13,"marks":44919,"text":9547},"dfd22c1b45d90",[44920],"c387762d4240",[44922],{"_key":44920,"_type":321,"reference":44923,"slug":9546,"type":510},{"_ref":9463,"_type":324},{"_key":44925,"_type":9,"children":44926,"image":4,"level":382,"listItem":2078,"markDefs":44931,"style":18},"fcaa3a15e90b",[44927],{"_key":44928,"_type":13,"marks":44929,"text":10509},"fa2d543ac11e0",[44930],"7ec85c1672bc",[44932],{"_key":44930,"_type":321,"reference":44933,"slug":10628,"type":510},{"_ref":10500,"_type":324},{"_key":44935,"_type":9,"children":44936,"image":4,"level":382,"listItem":2078,"markDefs":44941,"style":18},"2cb974b97e3a",[44937],{"_key":44938,"_type":13,"marks":44939,"text":10713},"07e1d30002660",[44940],"77840f0e0660",[44942],{"_key":44940,"_type":321,"reference":44943,"slug":10851,"type":510},{"_ref":10634,"_type":324},[44945],{"caption":44793,"id":44795,"meta":44946,"parentID":9520,"parentType":326,"url":44800},{"_type":506,"aspectRatio":44797,"height":44798,"width":44799},"Mischa and Yuri were close friends. They had worked together as Mischa was director of a puppet theatre in Cheliabinsk. Yuri was first invited to visit Switzerland in his role as a painter, but he had obviously promised Mischa he would try to get him an invitation to come here too. This was before the fall of the iron curtain and at this time the only way a Russian citizen could leave the country (even for short periods) was with a formal invitation. We had got to know Yuri well and felt we could help by inviting Mischa. Mischa came and stayed two weeks with us in Eglisau. He brought with him a French text for me to work on: Un quart d'heure avec Dom Juan which was to be part of a big project on Don Juan which they were planning. Whereas Yuri was fluent in German, Mischa had just an energetic and (as well as I could judge) rather chaotic French. My French was even worse and so we never really communicated very well. Nevertheless he was very grateful for the opportunity to come abroad and promised to do the same for us. We visited him in 1989 (just before the fall of the Berlin Wall) and were treated like royalty. We were shown round Moscow (lodged in a house on the perifery of the city (for retired actors) with sauna and surrounded by a beautiful birch forest). We then travelled by train to St Petersburg (still called Leningrad) drinking tea from samovars! Here too, we were treated as VIPs: visited the Hermitage, ate caviar and drank vodka and I signed a contract for the composition of Puppet Desert which they pointed out contained a fee equal to that offered Schnittke.\n\nIn the years that followed Mischa and Yuri visited Switzerland almost every summer, several times by bus with the whole cast of their Don Juan (fortunately only Mischa and his girlfriend stayed under our roof!).\n\nThen in 1996 we were invited to visit the school for actors in Pushkin (near St Petersburg) which Mischa and Yuri had started. The Festival was called Kukart and in that year the theme was “The Tower of Babel”. I have recounted this visit under Un quart d'heure avec Dom Juan. Sad is that what specially remains in our mind after this visit is how everything had changed. We were no longer the greatly desired visitors from the west. Quite the opposite. We were housed in cheap student quarters, had to buy our own food and for a visit to the Hermitage in St Petersburg we had to pay about ten times the entrance fee for Russians. Nevertheless there were special moments, in particular our own performances which were well received.\n\nShortly afterwards we heard that Mischa had emmigrated to America and had become a Rabbi. This was especially hard for Yuri who had years earlier planned to emmigrate with Mischa to Israel, a plan they never managed to realise.\n\nWorks inspired by Yuri include:\n\nUn quart d'heure avec Dom Juan\n\nPuppet Desert\n\nLemon Music\n\nEncounter with Don Giovanni",{"_type":375,"current":9521},{"_id":19760,"chapters":44950,"content":44951,"images":45075,"rawText":45078,"slug":45079,"title":19737},[],[44952,44959,45021],{"_key":44953,"_type":500,"alt":44954,"caption":44954,"image":44955,"markDefs":4},"16ddac5d5a00","Monika (right) bringing flowers after a concert in the Hottinger Saal (6. May, 2012). From left to right: Dominik Blum, Fiona Powell, Jürg Schubiger, Kit Powell, Monika Lichtensteiger",{"caption":4,"id":44956,"meta":44957,"parentID":4,"parentType":326,"url":44958},"ffe3ac749f24f7691eb7a968687b89c155773fdb",{"_type":506,"aspectRatio":19722,"height":22245,"width":15264},"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fffe3ac749f24f7691eb7a968687b89c155773fdb-1280x960.jpg",{"_key":44960,"_type":9,"children":44961,"image":4,"markDefs":45010,"style":18},"b30b9fec0675",[44962,44966,44970,44974,44978,44981,44985,44988,44992,44995,44999,45002,45006],{"_key":44963,"_type":13,"marks":44964,"text":44965},"56a373d77d25",[],"Monika was a colleague at the Zurich Conservatory. She was, and still is, a passionate ‘impressario’ and I have her to thank for many concerts of my music in Zurich. When we first met she was able to have most concerts in the ",{"_key":44967,"_type":13,"marks":44968,"text":44969},"eeb8d0427bf5",[73],"Theater Rigiblick",{"_key":44971,"_type":13,"marks":44972,"text":44973},"d5fe6587c8b4",[]," —on the Zürichberg with splendid view over the city. It was here that works like ",{"_key":44975,"_type":13,"marks":44976,"text":6508},"0be23c7dca16",[44977],"050da6425165",{"_key":44979,"_type":13,"marks":44980,"text":2617},"4a9d7988b91e",[],{"_key":44982,"_type":13,"marks":44983,"text":9196},"4f40942171b7",[44984],"b36fe3c1f2ae",{"_key":44986,"_type":13,"marks":44987,"text":2617},"6f85b37fe45a",[],{"_key":44989,"_type":13,"marks":44990,"text":8712},"5abcdf520199",[44991],"74da21b4f2c8",{"_key":44993,"_type":13,"marks":44994,"text":2617},"55f7cd53eca2",[],{"_key":44996,"_type":13,"marks":44997,"text":17904},"b9c7516f3ad0",[44998],"d8e3c6f052cb",{"_key":45000,"_type":13,"marks":45001,"text":2625},"d5d78a9712ea",[],{"_key":45003,"_type":13,"marks":45004,"text":11854},"a29b09e06d18",[45005],"9ceaa288447c",{"_key":45007,"_type":13,"marks":45008,"text":45009},"793b58389e15",[]," were premièred.",[45011,45013,45015,45017,45019],{"_key":44977,"_type":321,"reference":45012,"slug":6556,"type":510},{"_ref":6337,"_type":324},{"_key":44984,"_type":321,"reference":45014,"slug":9458,"type":510},{"_ref":9183,"_type":324},{"_key":44991,"_type":321,"reference":45016,"slug":9175,"type":510},{"_ref":8604,"_type":324},{"_key":44998,"_type":321,"reference":45018,"slug":18067,"type":510},{"_ref":17876,"_type":324},{"_key":45005,"_type":321,"reference":45020,"slug":12521,"type":510},{"_ref":11845,"_type":324},{"_key":45022,"_type":9,"children":45023,"image":4,"markDefs":45068,"style":18},"11e2465559fe",[45024,45028,45032,45036,45040,45044,45048,45052,45056,45060,45064],{"_key":45025,"_type":13,"marks":45026,"text":45027},"37c902fce0fb0",[],"Later ",{"_key":45029,"_type":13,"marks":45030,"text":45031},"37c902fce0fb1",[73],"Rigiblick",{"_key":45033,"_type":13,"marks":45034,"text":45035},"37c902fce0fb2",[]," became too expensive but she was able to rent the ",{"_key":45037,"_type":13,"marks":45038,"text":45039},"37c902fce0fb3",[73],"Hottinger Saal",{"_key":45041,"_type":13,"marks":45042,"text":45043},"37c902fce0fb4",[]," (nearer the centre of Zurich) where the more recent of my ",{"_key":45045,"_type":13,"marks":45046,"text":42210},"a4629b27dda5",[45047],"be727077475b",{"_key":45049,"_type":13,"marks":45050,"text":45051},"ecd0581e2b62",[],"-settings were first performed: ",{"_key":45053,"_type":13,"marks":45054,"text":20131},"ba94d34c7bb0",[45055],"c4569210258b",{"_key":45057,"_type":13,"marks":45058,"text":45059},"6e398e66b980",[]," and the piano version of ",{"_key":45061,"_type":13,"marks":45062,"text":19814},"c19db33f74d1",[45063],"ea7aa6979974",{"_key":45065,"_type":13,"marks":45066,"text":45067},"973e5407038a",[]," —a concert that was so successful that it had to be repeated.",[45069,45071,45073],{"_key":45047,"_type":321,"reference":45070,"slug":11907,"type":326},{"_ref":11906,"_type":324},{"_key":45055,"_type":321,"reference":45072,"slug":20202,"type":510},{"_ref":20057,"_type":324},{"_key":45063,"_type":321,"reference":45074,"slug":19813,"type":510},{"_ref":19666,"_type":324},[45076],{"caption":44954,"id":44956,"meta":45077,"parentID":19760,"parentType":326,"url":44958},{"_type":506,"aspectRatio":19722,"height":22245,"width":15264},"Monika was a colleague at the Zurich Conservatory. She was, and still is, a passionate ‘impressario’ and I have her to thank for many concerts of my music in Zurich. When we first met she was able to have most concerts in the Theater Rigiblick —on the Zürichberg with splendid view over the city. It was here that works like Poem then, for love, The Green Man, Father's Telescope, Das Ausland and Hauptsache, man geht zusammen hin were premièred.\n\nLater Rigiblick became too expensive but she was able to rent the Hottinger Saal (nearer the centre of Zurich) where the more recent of my Schubiger-settings were first performed: Was Liebe ist and the piano version of Alles unter einem Hut —a concert that was so successful that it had to be repeated.",{"_type":375,"current":19761},{"_id":323,"chapters":45081,"content":45082,"images":45269,"rawText":45274,"slug":45275,"title":309},[],[45083,45093,45101,45109,45117,45125,45135,45145,45155,45165,45173,45181,45189,45197,45205,45213,45221,45229,45237,45244,45252,45259],{"_key":45084,"_type":500,"alt":45085,"caption":45086,"image":45087,"markDefs":4,"position":3495,"size":3496},"a8a8adf81331","Nelson following the steps of Godfried Keller","Nelson following the steps of Godfried Keller, Glattfelden, Switzerland, 2001",{"caption":4,"id":45088,"meta":45089,"parentID":4,"parentType":326,"url":45092},"6093ba64d912ac54a71182300a47eacdcff226e0",{"_type":506,"aspectRatio":45090,"height":23826,"width":45091},0.6867364746945899,787,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F6093ba64d912ac54a71182300a47eacdcff226e0-787x1146.jpg",{"_key":45094,"_type":9,"children":45095,"image":4,"markDefs":45100,"style":18},"09596a9fa814",[45096],{"_key":45097,"_type":13,"marks":45098,"text":45099},"f79fef2a5bc2",[],"Nelson and I first met as students at the Cambridge Music School in NZ in 1961.",[],{"_key":45102,"_type":9,"children":45103,"image":4,"markDefs":45108,"style":18},"0a1b8716ac73",[45104],{"_key":45105,"_type":13,"marks":45106,"text":45107},"63934b3e37760",[],"He left NZ before I did and we met again in Vienna in 1966 where he was studying singing and I was waiting to be accepted as an English teacher at the Berlitz School in Zurich.",[],{"_key":45110,"_type":9,"children":45111,"image":4,"markDefs":45116,"style":18},"5a88f64b25a6",[45112],{"_key":45113,"_type":13,"marks":45114,"text":45115},"31d278cb7b2e0",[],"Later Brigitte and I returned to NZ and Nelson and his family moved to Cologne. Ever since we've alternated living on opposite sides of the globe, just meeting when one or the other was on holiday or on leave. Nevertheless two further works were written especially for him.",[],{"_key":45118,"_type":9,"children":45119,"image":4,"markDefs":45124,"style":18},"c4b08e85e1c3",[45120],{"_key":45121,"_type":13,"marks":45122,"text":45123},"41aad42aa98a0",[],"The stories of our work together I have told in the notes to the works which were specially written for him:",[],{"_key":45126,"_type":9,"children":45127,"image":4,"level":382,"listItem":2078,"markDefs":45132,"style":18},"d8b71fdae58e",[45128],{"_key":45129,"_type":13,"marks":45130,"text":377},"6edf4ff538cf0",[45131],"b82a48baf699",[45133],{"_key":45131,"_type":321,"reference":45134,"slug":376,"type":510},{"_ref":277,"_type":324},{"_key":45136,"_type":9,"children":45137,"image":4,"level":382,"listItem":2078,"markDefs":45142,"style":18},"19f0f091bc99",[45138],{"_key":45139,"_type":13,"marks":45140,"text":838},"8e2c099b83850",[45141],"5a06931167ea",[45143],{"_key":45141,"_type":321,"reference":45144,"slug":837,"type":510},{"_ref":715,"_type":324},{"_key":45146,"_type":9,"children":45147,"image":4,"level":382,"listItem":2078,"markDefs":45152,"style":18},"8530f9d7621e",[45148],{"_key":45149,"_type":13,"marks":45150,"text":7343},"6b1f094b5b080",[45151],"918b8d9bb1ce",[45153],{"_key":45151,"_type":321,"reference":45154,"slug":7342,"type":510},{"_ref":7076,"_type":324},{"_key":45156,"_type":9,"children":45157,"image":4,"level":382,"listItem":2078,"markDefs":45162,"style":18},"ee58fec10039",[45158],{"_key":45159,"_type":13,"marks":45160,"text":8712},"4cb17f1959130",[45161],"a0e67d5ec5ba",[45163],{"_key":45161,"_type":321,"reference":45164,"slug":9175,"type":510},{"_ref":8604,"_type":324},{"_key":45166,"_type":9,"children":45167,"image":4,"markDefs":45172,"style":18},"ef6227d122d2",[45168],{"_key":45169,"_type":13,"marks":45170,"text":45171},"d0ecf0bf6bb00",[],"The following essay, written by Nelson for my 75th birthday celebrations, tells so much about both of us that I will print it here as a portrait of him.",[],{"_key":45174,"_type":9,"children":45175,"image":4,"markDefs":45180,"style":634},"cc83bd5f1422",[45176],{"_key":45177,"_type":13,"marks":45178,"text":45179},"63f85b10b26a0",[],"I first met Kit Powell at a summer music school in Cambridge, New Zealand, in about 1961. I was immediately impressed by his dominating height and his cheerful charismatic personality. We started out by laughing a lot, but I couldn’t know that he was to be a valued life-long friend. In fact I was a little bit in awe of him.",[],{"_key":45182,"_type":9,"children":45183,"image":4,"markDefs":45188,"style":634},"3389ea8579aa",[45184],{"_key":45185,"_type":13,"marks":45186,"text":45187},"7d4d897e6a490",[],"That was partly because he was a composer and therefore, surely, much more knowledgeable and sophisticated than I could be. He was from the big smoke, while I was from a small provincial town, and the most intense musical experiences I had faced were in singing competitions in Auckland. I felt that Kit and his composer colleagues could teach me a lot not only about music but about life itself – after all he was two years older than me. The Cambridge Music Schools have long been a formative institution for New Zealand’s musicians, a unique chance for young artists to try themselves out in cooperation and competition with their peers in an environment totally and idealistically devoted to that task. My first Cambridge school was a heady time, unforgettable, and it brought many learning experiences, not least the chance to work on a new song sequence with its composer, a wise conductor and a devoted orchestra.",[],{"_key":45190,"_type":9,"children":45191,"image":4,"markDefs":45196,"style":634},"123700aaabe8",[45192],{"_key":45193,"_type":13,"marks":45194,"text":45195},"57f2a983d1df0",[],"We performed ‘Reading Gaol’ late in the week and the excited reception it received was overwhelming. The applause seemed to go on endlessly and my memory of Kit facing the standing ovation with a mixture of pride, modesty and surprise has accompanied me ever since. It was also a bonding moment, so that Kit and I, even when we have our disagreements and temperamental conflicts, remain staunch friends.",[],{"_key":45198,"_type":9,"children":45199,"image":4,"markDefs":45204,"style":634},"47ed1be94e4d",[45200],{"_key":45201,"_type":13,"marks":45202,"text":45203},"d9a8d7bb33640",[],"A few weeks later, ‘Reading Gaol’ was recorded for broadcasting with the National Orchestra (now the New Zealand Symphony Orchestra) conducted by John Hopkins. Performing with the country’s only professional orchestra under its distinguished conductor was a little intimidating and very satisfying. No doubt Kit, who assisted at rehearsals and listened to the performance in the studio, shared those feelings. The recording can be found online with a bit of assiduity, but I rarely listen to it now. When I do, some of that youthful excitement returns – but the first ‘real’ performance was the one at Cambridge, now recorded only in our minds.",[],{"_key":45206,"_type":9,"children":45207,"image":4,"markDefs":45212,"style":634},"a2730fcbc10b",[45208],{"_key":45209,"_type":13,"marks":45210,"text":45211},"1ca14907c3e30",[],"The success of ‘Reading Gaol’ encouraged Kit to write something for me for the Cambridge school of the following year. This ‘something’ was a setting of Dylan Thomas’s poem ‘Do Not Go Gentle into that Good Night’ for chamber group and baritone voice. In my early twenties, I loved Thomas’s verse and thought that this particular poem was as good as a poem could be. It was a thrilling moment when the manuscript arrived, and I immediately sat down at my parents’ piano in Napier to go through it. Sadly, it confused me. I was not musical enough to imagine the quirky sounds of the unconventional chamber group and I found it hard to attach meaning to the vocal line without that blend. I looked forward to exploring the piece with Kit and the other musicians at Cambridge. Unfortunately, with all the commitments that the musicians have at such a school, our rehearsal time was far too short. Some members of the group seemed as insecure as I was, but we stepped out on the stage to perform for our fellow students and teachers, with the composer conducting. I have no clear memory of that performance, but it seems to have been so chaotic that some in the audience were amused. With a grin, the conductor James Robertson stepped up to the stage and asked us to repeat it. Kit and I looked at each other aghast. It had been hard enough getting through once. Could we do it a second time? On the second run through we were all too aware that the piece sounded quite different from the first one. The thunderous applause of the previous year had become a distant memory, and our attempt to repeat that success ended in confusion. There were important lessons for me: you are only as good as your last performance; trying to double a success by doubling its ambition and complexities is not a good idea; talent is good, but hard work is even better; take nothing for granted.",[],{"_key":45214,"_type":9,"children":45215,"image":4,"markDefs":45220,"style":634},"54afc746c38f",[45216],{"_key":45217,"_type":13,"marks":45218,"text":45219},"b5b5e81c6ab00",[],"In the mid sixties I went to Vienna for the “overseas experience” that seems so important to young New Zealanders. Now, next to Wellington, Vienna is my second home, but then, in a world that was still distinctly post-war – even though World War II had finished twenty years earlier – I found the environment strange and strained. One aid to settling in was the arrival of Kit, who came to stay with me while waiting for a Swiss visa which would enable him to marry Brigitte. We happily explored some of the city together, even though his happiness was limited by his yearning for Switzerland and his fiancée. Among my memories are the puzzled faces of good citizens as two big lads carried furniture through their streets: Kit was helping me shift house. Of course we shared musical experiences too, such as a performance of György Ligeti’s “Aventures” in the small Schubert-Saal of the Konzerthaus. It must have been one of the first performances of that work. I think it was on the same evening that we heard Schoenberg’s “Pierrot Lunaire”, another first for me. One day – was it Good Friday? – I made Kit sit through a five-hour performance of Wagner’s “Parsifal”, directed and conducted by Herbert von Karajan, which he enjoyed more than he had expected to, especially when resonant gongs awakened him from a short snooze (of course I mean Kit, not Karajan). “There were some splendid sounds,” he said afterwards.",[],{"_key":45222,"_type":9,"children":45223,"image":4,"markDefs":45228,"style":634},"9231b694a7a5",[45224],{"_key":45225,"_type":13,"marks":45226,"text":45227},"a66b7f90197a0",[],"Kit returned to New Zealand with his new wife and in Christchurch, where he taught mathematics at Linwood High School and later music at the Teacher’s training college, they started to bring up their two bright and beautiful children, Philip and Fiona. I stayed on in Europe so that it was not until 1981, when I brought my own European wife on a visit to New Zealand, that Kit and I met up again. On the weekend we spent in Christchurch, Kit and Michael Harlow were taking trainee teachers to the beach to build the city of Babylon with sand and shells. Elfi and I had a day at the beach as well, watching the splendid buildings emerge and listening to the exotic discussions of how they were to be constructed. That evening we attended a performance of a Powell work called – if I remember correctly – “Piece of Four”. Four performers each using four “found instruments” improvised on four rhythmic and melodic structures. It was a lot of fun for performers and listeners. Having re-established contact in this way, and especially after the Powell family’s move back to Switzerland, we were involved in a variety of social and musical contacts in the eighties. Most notably, Kit wrote two works for me – to be performed by me and others. The first of these was “Nelson Songs”, which had its first performance at a conference for “The New Literatures in English” at Laufen in Bavaria. I sang works by Douglas Lilburn and Schubert on that occasion, but it was Kit’s new work that brought the greatest audience response. It was almost as heady and exciting as our first performance of “Reading Gaol” a quarter-century earlier. The work is a setting of poems by Michael Harlow, whose speaking voice can be heard on the accompanying tape, mixed with electronic sounds. We made several performances of the work, in Cologne, Wuppertal, Zurich and Wellington.",[],{"_key":45230,"_type":9,"children":45231,"image":4,"markDefs":45236,"style":634},"c46cc88718e1",[45232],{"_key":45233,"_type":13,"marks":45234,"text":45235},"5f3dc6bef21c0",[],"The other work Kit wrote for me was “Father’s Telescope”, again using Harlow poems. It, too, was performed in Europe and New Zealand, and the most notable recording used the actor Barry Empson for the spoken text which is in dialogue with the singer. Our friendship has been marked by occasions when I have visited Eglisau and Kit has visited Wellington. We have swum across the Rhine – a fact not believed by my Cologne friends, but in Eglisau the river is by no means so wide. We have watched the birds swarm in the evening, eaten Brigitte’s cuisine and drunk the excellent wine of Eglisau. I have joined Kit in the Michael Fowler Centre to hear “readings” of new works for orchestra. And we have spent happy times with our families and friends in both hemispheres. Long may such exchanges continue, and long may Kit Powell enrich our lives with his colourful personality and his inventive mind!",[],{"_key":45238,"_type":9,"children":45239,"image":4,"markDefs":45243,"style":634},"17be2bdf31b1",[45240],{"_key":45241,"_type":13,"marks":45242,"text":25},"1688da9ba729",[],[],{"_key":45245,"_type":9,"children":45246,"image":4,"markDefs":45251,"style":18},"584a3ca4f65f",[45247],{"_key":45248,"_type":13,"marks":45249,"text":45250},"4453c11bfa850",[],"Nelson Wattie, Wellington, NZ, September 2012",[],{"_key":45253,"_type":9,"children":45254,"image":4,"markDefs":45258,"style":18},"dff6c5300df9",[45255],{"_key":45256,"_type":13,"marks":45257,"text":25},"4d84ac74e880",[],[],{"_key":45260,"_type":500,"alt":45261,"caption":45261,"image":45262,"markDefs":4,"position":3495,"size":1662},"ca43f523ae36","Nelson and ‘Henry Moore’ in Zurich, 2001",{"caption":4,"id":45263,"meta":45264,"parentID":4,"parentType":326,"url":45268},"af15e8cc8ec3cc22622b1352955efe18d08acbc7",{"_type":506,"aspectRatio":45265,"height":45266,"width":45267},1.4572864321608041,796,1160,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Faf15e8cc8ec3cc22622b1352955efe18d08acbc7-1160x796.jpg",[45270,45272],{"caption":45086,"id":45088,"meta":45271,"parentID":323,"parentType":326,"url":45092},{"_type":506,"aspectRatio":45090,"height":23826,"width":45091},{"caption":45261,"id":45263,"meta":45273,"parentID":323,"parentType":326,"url":45268},{"_type":506,"aspectRatio":45265,"height":45266,"width":45267},"Nelson and I first met as students at the Cambridge Music School in NZ in 1961.\n\nHe left NZ before I did and we met again in Vienna in 1966 where he was studying singing and I was waiting to be accepted as an English teacher at the Berlitz School in Zurich.\n\nLater Brigitte and I returned to NZ and Nelson and his family moved to Cologne. Ever since we've alternated living on opposite sides of the globe, just meeting when one or the other was on holiday or on leave. Nevertheless two further works were written especially for him.\n\nThe stories of our work together I have told in the notes to the works which were specially written for him:\n\nReading Gaol\n\nDo Not Go Gentle into that Good Night\n\nNelson Songs\n\nFather's Telescope\n\nThe following essay, written by Nelson for my 75th birthday celebrations, tells so much about both of us that I will print it here as a portrait of him.\n\nI first met Kit Powell at a summer music school in Cambridge, New Zealand, in about 1961. I was immediately impressed by his dominating height and his cheerful charismatic personality. We started out by laughing a lot, but I couldn’t know that he was to be a valued life-long friend. In fact I was a little bit in awe of him.\n\nThat was partly because he was a composer and therefore, surely, much more knowledgeable and sophisticated than I could be. He was from the big smoke, while I was from a small provincial town, and the most intense musical experiences I had faced were in singing competitions in Auckland. I felt that Kit and his composer colleagues could teach me a lot not only about music but about life itself – after all he was two years older than me. The Cambridge Music Schools have long been a formative institution for New Zealand’s musicians, a unique chance for young artists to try themselves out in cooperation and competition with their peers in an environment totally and idealistically devoted to that task. My first Cambridge school was a heady time, unforgettable, and it brought many learning experiences, not least the chance to work on a new song sequence with its composer, a wise conductor and a devoted orchestra.\n\nWe performed ‘Reading Gaol’ late in the week and the excited reception it received was overwhelming. The applause seemed to go on endlessly and my memory of Kit facing the standing ovation with a mixture of pride, modesty and surprise has accompanied me ever since. It was also a bonding moment, so that Kit and I, even when we have our disagreements and temperamental conflicts, remain staunch friends.\n\nA few weeks later, ‘Reading Gaol’ was recorded for broadcasting with the National Orchestra (now the New Zealand Symphony Orchestra) conducted by John Hopkins. Performing with the country’s only professional orchestra under its distinguished conductor was a little intimidating and very satisfying. No doubt Kit, who assisted at rehearsals and listened to the performance in the studio, shared those feelings. The recording can be found online with a bit of assiduity, but I rarely listen to it now. When I do, some of that youthful excitement returns – but the first ‘real’ performance was the one at Cambridge, now recorded only in our minds.\n\nThe success of ‘Reading Gaol’ encouraged Kit to write something for me for the Cambridge school of the following year. This ‘something’ was a setting of Dylan Thomas’s poem ‘Do Not Go Gentle into that Good Night’ for chamber group and baritone voice. In my early twenties, I loved Thomas’s verse and thought that this particular poem was as good as a poem could be. It was a thrilling moment when the manuscript arrived, and I immediately sat down at my parents’ piano in Napier to go through it. Sadly, it confused me. I was not musical enough to imagine the quirky sounds of the unconventional chamber group and I found it hard to attach meaning to the vocal line without that blend. I looked forward to exploring the piece with Kit and the other musicians at Cambridge. Unfortunately, with all the commitments that the musicians have at such a school, our rehearsal time was far too short. Some members of the group seemed as insecure as I was, but we stepped out on the stage to perform for our fellow students and teachers, with the composer conducting. I have no clear memory of that performance, but it seems to have been so chaotic that some in the audience were amused. With a grin, the conductor James Robertson stepped up to the stage and asked us to repeat it. Kit and I looked at each other aghast. It had been hard enough getting through once. Could we do it a second time? On the second run through we were all too aware that the piece sounded quite different from the first one. The thunderous applause of the previous year had become a distant memory, and our attempt to repeat that success ended in confusion. There were important lessons for me: you are only as good as your last performance; trying to double a success by doubling its ambition and complexities is not a good idea; talent is good, but hard work is even better; take nothing for granted.\n\nIn the mid sixties I went to Vienna for the “overseas experience” that seems so important to young New Zealanders. Now, next to Wellington, Vienna is my second home, but then, in a world that was still distinctly post-war – even though World War II had finished twenty years earlier – I found the environment strange and strained. One aid to settling in was the arrival of Kit, who came to stay with me while waiting for a Swiss visa which would enable him to marry Brigitte. We happily explored some of the city together, even though his happiness was limited by his yearning for Switzerland and his fiancée. Among my memories are the puzzled faces of good citizens as two big lads carried furniture through their streets: Kit was helping me shift house. Of course we shared musical experiences too, such as a performance of György Ligeti’s “Aventures” in the small Schubert-Saal of the Konzerthaus. It must have been one of the first performances of that work. I think it was on the same evening that we heard Schoenberg’s “Pierrot Lunaire”, another first for me. One day – was it Good Friday? – I made Kit sit through a five-hour performance of Wagner’s “Parsifal”, directed and conducted by Herbert von Karajan, which he enjoyed more than he had expected to, especially when resonant gongs awakened him from a short snooze (of course I mean Kit, not Karajan). “There were some splendid sounds,” he said afterwards.\n\nKit returned to New Zealand with his new wife and in Christchurch, where he taught mathematics at Linwood High School and later music at the Teacher’s training college, they started to bring up their two bright and beautiful children, Philip and Fiona. I stayed on in Europe so that it was not until 1981, when I brought my own European wife on a visit to New Zealand, that Kit and I met up again. On the weekend we spent in Christchurch, Kit and Michael Harlow were taking trainee teachers to the beach to build the city of Babylon with sand and shells. Elfi and I had a day at the beach as well, watching the splendid buildings emerge and listening to the exotic discussions of how they were to be constructed. That evening we attended a performance of a Powell work called – if I remember correctly – “Piece of Four”. Four performers each using four “found instruments” improvised on four rhythmic and melodic structures. It was a lot of fun for performers and listeners. Having re-established contact in this way, and especially after the Powell family’s move back to Switzerland, we were involved in a variety of social and musical contacts in the eighties. Most notably, Kit wrote two works for me – to be performed by me and others. The first of these was “Nelson Songs”, which had its first performance at a conference for “The New Literatures in English” at Laufen in Bavaria. I sang works by Douglas Lilburn and Schubert on that occasion, but it was Kit’s new work that brought the greatest audience response. It was almost as heady and exciting as our first performance of “Reading Gaol” a quarter-century earlier. The work is a setting of poems by Michael Harlow, whose speaking voice can be heard on the accompanying tape, mixed with electronic sounds. We made several performances of the work, in Cologne, Wuppertal, Zurich and Wellington.\n\nThe other work Kit wrote for me was “Father’s Telescope”, again using Harlow poems. It, too, was performed in Europe and New Zealand, and the most notable recording used the actor Barry Empson for the spoken text which is in dialogue with the singer. Our friendship has been marked by occasions when I have visited Eglisau and Kit has visited Wellington. We have swum across the Rhine – a fact not believed by my Cologne friends, but in Eglisau the river is by no means so wide. We have watched the birds swarm in the evening, eaten Brigitte’s cuisine and drunk the excellent wine of Eglisau. I have joined Kit in the Michael Fowler Centre to hear “readings” of new works for orchestra. And we have spent happy times with our families and friends in both hemispheres. Long may such exchanges continue, and long may Kit Powell enrich our lives with his colourful personality and his inventive mind!\n\n\n\nNelson Wattie, Wellington, NZ, September 2012\n\n",{"_type":375,"current":325},{"_id":20519,"chapters":45277,"content":45278,"images":45481,"rawText":45484,"slug":45485,"title":14327},[],[45279,45288,45296,45306,45316,45344,45371,45381,45391,45401,45411,45421,45436,45444,45454,45464],{"_key":45280,"_type":500,"alt":45281,"caption":45281,"image":45282,"markDefs":4},"6569579b85f2","Peter Siegwart and his Vokalensemble plus instrumentalists",{"caption":4,"id":45283,"meta":45284,"parentID":4,"parentType":326,"url":45287},"cad533bb785370818b8e294273ffdf4494238622",{"_type":506,"aspectRatio":45285,"height":45286,"width":45266},1.4934333958724202,533,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fcad533bb785370818b8e294273ffdf4494238622-796x533.png",{"_key":45289,"_type":9,"children":45290,"image":4,"markDefs":45295,"style":18},"8cb33ece21d0",[45291],{"_key":45292,"_type":13,"marks":45293,"text":45294},"96baff620ce7",[],"Works of mine influenced or performed by Peter Siegwart:",[],{"_key":45297,"_type":9,"children":45298,"image":4,"level":382,"listItem":2078,"markDefs":45303,"style":18},"661916ba0c94",[45299],{"_key":45300,"_type":13,"marks":45301,"text":14364},"4f209eeef48d0",[45302],"11268e36957a",[45304],{"_key":45302,"_type":321,"reference":45305,"slug":14363,"type":510},{"_ref":14309,"_type":324},{"_key":45307,"_type":9,"children":45308,"image":4,"level":382,"listItem":2078,"markDefs":45313,"style":18},"86e34630da86",[45309],{"_key":45310,"_type":13,"marks":45311,"text":14568},"a3a8d0812ffb0",[45312],"cb42e84fa11c",[45314],{"_key":45312,"_type":321,"reference":45315,"slug":14567,"type":510},{"_ref":14369,"_type":324},{"_key":45317,"_type":9,"children":45318,"image":4,"markDefs":45339,"style":18},"2dca96500e78",[45319,45323,45327,45331,45335],{"_key":45320,"_type":13,"marks":45321,"text":45322},"549387929866",[],"The conductor of the ",{"_key":45324,"_type":13,"marks":45325,"text":7065},"eebd01893fff",[45326],"7d9e15ee47ef",{"_key":45328,"_type":13,"marks":45329,"text":45330},"eda8a4decd20",[],", Peter Siegwart, was present at the performance in Luzern (1990?) of my ",{"_key":45332,"_type":13,"marks":45333,"text":43126},"1f6478155dc5",[45334],"5f204b90c5d0",{"_key":45336,"_type":13,"marks":45337,"text":45338},"f1e766810274",[]," and as a result thought of asking me for a piece for his choir (12 soloists).",[45340,45342],{"_key":45326,"_type":316,"href":45341},"http:\u002F\u002Fwww.vokalensemblezuerich.ch\u002F",{"_key":45334,"_type":321,"reference":45343,"slug":9175,"type":510},{"_ref":8604,"_type":324},{"_key":45345,"_type":9,"children":45346,"image":4,"markDefs":45366,"style":18},"e78b3c7dc19e",[45347,45351,45355,45359,45363],{"_key":45348,"_type":13,"marks":45349,"text":45350},"bb3a29526798",[],"Peter and the speaker Danièla Sandoz) and I all searched the literature for material about Schumann's last years and then met together to plan the work. After the successful performance of the ",{"_key":45352,"_type":13,"marks":45353,"text":14364},"2f876299a706",[45354],"9e88aa40ee77",{"_key":45356,"_type":13,"marks":45357,"text":45358},"5b7724e768f4",[]," I had a collection of texts by Clara Schumann which we had not used because we had decided to let only Schumann ‘speak’ in that work. These Clara-texts became the basis of the work ",{"_key":45360,"_type":13,"marks":45361,"text":14568},"e8f065af7106",[45362],"26c533b48199",{"_key":45364,"_type":13,"marks":45365,"text":2020},"10da09d00424",[],[45367,45369],{"_key":45354,"_type":321,"reference":45368,"slug":14363,"type":510},{"_ref":14309,"_type":324},{"_key":45362,"_type":321,"reference":45370,"slug":14567,"type":510},{"_ref":14369,"_type":324},{"_key":45372,"_type":9,"children":45373,"image":4,"level":382,"listItem":2078,"markDefs":45378,"style":18},"6d78ec985e32",[45374],{"_key":45375,"_type":13,"marks":45376,"text":7070},"90c6e8f817720",[45377],"8ca19a23eacc",[45379],{"_key":45377,"_type":321,"reference":45380,"slug":7069,"type":510},{"_ref":6841,"_type":324},{"_key":45382,"_type":9,"children":45383,"image":4,"level":382,"listItem":2078,"markDefs":45388,"style":18},"3fe60eefe732",[45384],{"_key":45385,"_type":13,"marks":45386,"text":7066},"6b06039ab6900",[45387],"88fca5e681e5",[45389],{"_key":45387,"_type":321,"reference":45390,"slug":10067,"type":510},{"_ref":9551,"_type":324},{"_key":45392,"_type":9,"children":45393,"image":4,"level":382,"listItem":2078,"markDefs":45398,"style":18},"7b52815881b8",[45394],{"_key":45395,"_type":13,"marks":45396,"text":18392},"bf6998161f450",[45397],"8916afc6e35e",[45399],{"_key":45397,"_type":321,"reference":45400,"slug":18636,"type":510},{"_ref":18383,"_type":324},{"_key":45402,"_type":9,"children":45403,"image":4,"level":382,"listItem":2078,"markDefs":45408,"style":18},"f32c297a7bde",[45404],{"_key":45405,"_type":13,"marks":45406,"text":18665},"fd6af3ca00cd0",[45407],"a29c3e730b30",[45409],{"_key":45407,"_type":321,"reference":45410,"slug":18872,"type":510},{"_ref":18641,"_type":324},{"_key":45412,"_type":9,"children":45413,"image":4,"level":382,"listItem":2078,"markDefs":45418,"style":18},"c4ef80a64751",[45414],{"_key":45415,"_type":13,"marks":45416,"text":20555},"6957672265810",[45417],"fd823d4c50b7",[45419],{"_key":45417,"_type":321,"reference":45420,"slug":20586,"type":510},{"_ref":20481,"_type":324},{"_key":45422,"_type":9,"children":45423,"image":4,"markDefs":45435,"style":18},"53bdfcb5bef0",[45424,45428,45431],{"_key":45425,"_type":13,"marks":45426,"text":45427},"70cd47baff940",[],"The  five works above were part of a program performed by Peter and his ",{"_key":45429,"_type":13,"marks":45430,"text":20502},"70cd47baff941",[73],{"_key":45432,"_type":13,"marks":45433,"text":45434},"70cd47baff942",[]," for my 80th birthday concert: 2. 12. 2017",[],{"_key":45437,"_type":9,"children":45438,"image":4,"markDefs":45443,"style":18},"6c524ebbf73b",[45439],{"_key":45440,"_type":13,"marks":45441,"text":45442},"bd40798d3686",[],"For my 85th birthday (2. 12. 2022) he conducted the \"ensemble neue musik zürich\" together with 4 soloists from his \"Vokalensemble Zürich\" performing the following works:",[],{"_key":45445,"_type":9,"children":45446,"image":4,"level":382,"listItem":2078,"markDefs":45451,"style":18},"37a83a7eb1b4",[45447],{"_key":45448,"_type":13,"marks":45449,"text":17393},"dd23565c79b3",[45450],"62f8a3c5a687",[45452],{"_key":45450,"_type":321,"reference":45453,"slug":17744,"type":510},{"_ref":17658,"_type":324},{"_key":45455,"_type":9,"children":45456,"image":4,"level":382,"listItem":2078,"markDefs":45461,"style":18},"bced18c953e7",[45457],{"_key":45458,"_type":13,"marks":45459,"text":8712},"dcdd6dca6f91",[45460],"9f52e3a45643",[45462],{"_key":45460,"_type":321,"reference":45463,"slug":9175,"type":510},{"_ref":8604,"_type":324},{"_key":45465,"_type":9,"children":45466,"image":4,"level":382,"listItem":2078,"markDefs":45478,"style":18},"4228e58773c1",[45467,45471,45475],{"_key":45468,"_type":13,"marks":45469,"text":45470},"362a3c3870cf",[],"Two scenes (no. 5 & no. 9) from \"",{"_key":45472,"_type":13,"marks":45473,"text":11854},"9e07bcbe3bd6",[45474],"144e4a8c713b",{"_key":45476,"_type":13,"marks":45477,"text":32654},"8429fdb28056",[],[45479],{"_key":45474,"_type":321,"reference":45480,"slug":12521,"type":510},{"_ref":11845,"_type":324},[45482],{"caption":45281,"id":45283,"meta":45483,"parentID":20519,"parentType":326,"url":45287},{"_type":506,"aspectRatio":45285,"height":45286,"width":45266},"Works of mine influenced or performed by Peter Siegwart:\n\nInnere Stimmen Robert Schumanns\n\nClara Schumann\n\nThe conductor of the Vokalensemble Zürich, Peter Siegwart, was present at the performance in Luzern (1990?) of my Father’s Telescope and as a result thought of asking me for a piece for his choir (12 soloists).\n\nPeter and the speaker Danièla Sandoz) and I all searched the literature for material about Schumann's last years and then met together to plan the work. After the successful performance of the Innere Stimmen Robert Schumanns I had a collection of texts by Clara Schumann which we had not used because we had decided to let only Schumann ‘speak’ in that work. These Clara-texts became the basis of the work Clara Schumann.\n\nPaper Pieces\n\nTide Pools\n\nA Shout\n\n5 Schwitters Songs for Andres\n\nLet all words be music\n\nThe  five works above were part of a program performed by Peter and his Vokalensemble for my 80th birthday concert: 2. 12. 2017\n\nFor my 85th birthday (2. 12. 2022) he conducted the \"ensemble neue musik zürich\" together with 4 soloists from his \"Vokalensemble Zürich\" performing the following works:\n\nScheint denn die Sonne heut' nicht?\n\nFather's Telescope\n\nTwo scenes (no. 5 & no. 9) from \"Hauptsache, man geht zusammen hin\"",{"_type":375,"current":20520},{"_id":7378,"chapters":45487,"content":45488,"images":45637,"rawText":45640,"slug":45641,"title":7370},[],[45489,45499,45507,45514,45532,45540,45554,45568,45582,45596,45610,45623],{"_key":45490,"_type":500,"alt":45491,"caption":45491,"image":45492,"markDefs":4},"e3230fbad716","Philip performing with Gabriela Krapf and Horns",{"caption":4,"id":45493,"meta":45494,"parentID":4,"parentType":326,"url":45498},"dc74c330816f404c25dcf2a2fd5668134ef9cd1e",{"_type":506,"aspectRatio":45495,"height":45496,"width":45497},1.3276785714285715,1120,1487,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fdc74c330816f404c25dcf2a2fd5668134ef9cd1e-1487x1120.jpg",{"_key":45500,"_type":9,"children":45501,"image":4,"markDefs":45506,"style":18},"23f437581adf",[45502],{"_key":45503,"_type":13,"marks":45504,"text":45505},"6c732e00270d",[],"Philip Powell, born 1969 in Christchurch, New Zealand, first child of Brigitte and Kit Powell",[],{"_key":45508,"_type":9,"children":45509,"image":4,"markDefs":45513,"style":18},"7705e6ad9ec6",[45510],{"_key":45511,"_type":13,"marks":45512,"text":25},"d578c624fa8f0",[],[],{"_key":45515,"_type":9,"children":45516,"image":4,"markDefs":45529,"style":18},"2b2998389d04",[45517,45521,45526],{"_key":45518,"_type":13,"marks":45519,"text":45520},"f3fb8589ace80",[],"Studied trombone at Zurich Conservatorium (Teaching Diploma, Teacher: Alfred Kosak) and with Armin Bachmann in Bern. Further courses abroad: Siena Jazz and “Computer Arts Intensive” with George Lewis at the Simon Fraser University in Vancouver. Performs as a free lance musician in numerous groups: Jazz, classic, new music and also as an alphornist. Teaches trombone in and around Zurich and also practices as a computer expert for ",{"_key":45522,"_type":13,"marks":45523,"text":45525},"f3fb8589ace81",[45524],"774ac6b060d4","Boltshauser Architects",{"_key":45527,"_type":13,"marks":45528,"text":2020},"f3fb8589ace82",[],[45530],{"_key":45524,"_type":316,"href":45531},"https:\u002F\u002Fboltshauser.info",{"_key":45533,"_type":9,"children":45534,"image":4,"markDefs":45539,"style":18},"f13406407d8d",[45535],{"_key":45536,"_type":13,"marks":45537,"text":45538},"31a7def63e650",[],"Many of Kit Powell’s works for trombone were written for Philip:",[],{"_key":45541,"_type":9,"children":45542,"image":4,"level":382,"listItem":2078,"markDefs":45551,"style":18},"5e7b0ae67620",[45543,45547],{"_key":45544,"_type":13,"marks":45545,"text":7411},"dcee2cd9a3320",[45546],"cbf2e19d2813",{"_key":45548,"_type":13,"marks":45549,"text":45550},"b796e56c376c",[]," (1986)",[45552],{"_key":45546,"_type":321,"reference":45553,"slug":7495,"type":510},{"_ref":7348,"_type":324},{"_key":45555,"_type":9,"children":45556,"image":4,"level":382,"listItem":2078,"markDefs":45565,"style":18},"f912c6aa3fb3",[45557,45561],{"_key":45558,"_type":13,"marks":45559,"text":10337},"a77f147e05450",[45560],"d5d2f70d638f",{"_key":45562,"_type":13,"marks":45563,"text":45564},"22c61b88c59a",[]," (1990)",[45566],{"_key":45560,"_type":321,"reference":45567,"slug":10336,"type":510},{"_ref":10190,"_type":324},{"_key":45569,"_type":9,"children":45570,"image":4,"level":382,"listItem":2078,"markDefs":45579,"style":18},"e940c323353f",[45571,45575],{"_key":45572,"_type":13,"marks":45573,"text":13528},"4faec69d7c270",[45574],"9cd87e5f15d6",{"_key":45576,"_type":13,"marks":45577,"text":45578},"0d82407a67e3",[]," (1995, soprano, piano & brass ensemble: 2 trumpets, 2 trombones) texts by Michael Harlow",[45580],{"_key":45574,"_type":321,"reference":45581,"slug":14242,"type":510},{"_ref":13438,"_type":324},{"_key":45583,"_type":9,"children":45584,"image":4,"level":382,"listItem":2078,"markDefs":45593,"style":18},"52ae6b92c087",[45585,45589],{"_key":45586,"_type":13,"marks":45587,"text":16931},"a9cc8d47f0ba0",[45588],"65a0b17883a0",{"_key":45590,"_type":13,"marks":45591,"text":45592},"c71f86fd48e0",[]," (2001)",[45594],{"_key":45588,"_type":321,"reference":45595,"slug":17270,"type":510},{"_ref":16922,"_type":324},{"_key":45597,"_type":9,"children":45598,"image":4,"level":382,"listItem":2078,"markDefs":45607,"style":18},"0e4033cfb4f4",[45599,45603],{"_key":45600,"_type":13,"marks":45601,"text":12768},"c0a8bb7364380",[45602],"61d6f8ed1e7c",{"_key":45604,"_type":13,"marks":45605,"text":45606},"161a25d874b7",[]," for Trombone and Tape (1993)",[45608],{"_key":45602,"_type":321,"reference":45609,"slug":12795,"type":510},{"_ref":12529,"_type":324},{"_key":45611,"_type":9,"children":45612,"image":4,"level":382,"listItem":2078,"markDefs":45620,"style":18},"baf5aac13584",[45613,45617],{"_key":45614,"_type":13,"marks":45615,"text":17904},"ba51f359c0b90",[45616],"1c72482a2a72",{"_key":45618,"_type":13,"marks":45619,"text":41135},"5a3dc4118786",[],[45621],{"_key":45616,"_type":321,"reference":45622,"slug":18067,"type":510},{"_ref":17876,"_type":324},{"_key":45624,"_type":9,"children":45625,"image":4,"level":382,"listItem":2078,"markDefs":45634,"style":18},"353ae53927e0",[45626,45630],{"_key":45627,"_type":13,"marks":45628,"text":14780},"ef09b9e59dac0",[45629],"96d8dd2d7b91",{"_key":45631,"_type":13,"marks":45632,"text":45633},"c4ca8f16ed69",[]," (1997, four songs for soprano, trombone and piano) texts by Jürg Schubiger",[45635],{"_key":45629,"_type":321,"reference":45636,"slug":14851,"type":510},{"_ref":14711,"_type":324},[45638],{"caption":45491,"id":45493,"meta":45639,"parentID":7378,"parentType":326,"url":45498},{"_type":506,"aspectRatio":45495,"height":45496,"width":45497},"Philip Powell, born 1969 in Christchurch, New Zealand, first child of Brigitte and Kit Powell\n\n\n\nStudied trombone at Zurich Conservatorium (Teaching Diploma, Teacher: Alfred Kosak) and with Armin Bachmann in Bern. Further courses abroad: Siena Jazz and “Computer Arts Intensive” with George Lewis at the Simon Fraser University in Vancouver. Performs as a free lance musician in numerous groups: Jazz, classic, new music and also as an alphornist. Teaches trombone in and around Zurich and also practices as a computer expert for Boltshauser Architects.\n\nMany of Kit Powell’s works for trombone were written for Philip:\n\nSonatina for Trombone and Piano (1986)\n\nMetamorphoses (1990)\n\nAfter Babel (1995, soprano, piano & brass ensemble: 2 trumpets, 2 trombones) texts by Michael Harlow\n\nConcerto for Trombone and Tuba (2001)\n\nWHALE for Trombone and Tape (1993)\n\nDas Ausland (2003, soprano & trombone) texts by Jürg Schubiger\n\nVerschiedene Tiere (1997, four songs for soprano, trombone and piano) texts by Jürg Schubiger",{"_type":375,"current":7379},{"_id":11484,"chapters":45643,"content":45644,"images":45737,"rawText":45740,"slug":45741,"title":11468},[],[45645,45664,45674,45682,45690,45698,45706,45714,45722,45730],{"_key":45646,"_type":9,"children":45647,"image":4,"markDefs":45661,"style":18},"d80924f39edf",[45648,45652,45657],{"_key":45649,"_type":13,"marks":45650,"text":45651},"fcd67497ca4d",[],"Philip is a multi-talented friend who has a wide interest in all the arts especially the visual arts. His father, ",{"_key":45653,"_type":13,"marks":45654,"text":45656},"f5e542bd1a97",[45655],"7c413bd65dac","Toss Woollaston",{"_key":45658,"_type":13,"marks":45659,"text":45660},"cc738b421971",[],", was one of New Zealand's most famous artists and Philip actually trained as a restorer in order to be able to rescue works of his father's. That was just one of his many trainings. He studied physics and in that capacity came to Linwood High School, where we first met. In order to build a house (out of rammed earth bricks) he was confronted with building regulations and so entered local politics (Collingwood). Shortly after we left New Zealand he entered national politics and rose from rank and file to Minister of the Environment in the Labour Government and then became the New Zealand representative at the United Nations in Nairobi (where we met again for an unforgettable holiday with safari). When his term finished he returned to Nelson, New Zealand, became mayor, and bought land for wine production, something which he did very successfully until his retirement.",[45662],{"_key":45655,"_type":316,"href":45663},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FToss_Woollaston",{"_key":45665,"_type":500,"alt":45666,"caption":45666,"image":45667,"markDefs":4},"a871a4de90c0","Philip enjoying a sculpture by Luginbühl at the Zurich Kunsthaus",{"caption":4,"id":45668,"meta":45669,"parentID":4,"parentType":326,"url":45673},"96840758f393ba7a10893a3514826f992e938f64",{"_type":506,"aspectRatio":45670,"height":45671,"width":45672},0.6830015313935681,653,446,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F96840758f393ba7a10893a3514826f992e938f64-446x653.jpg",{"_key":45675,"_type":9,"children":45676,"image":4,"markDefs":45681,"style":634},"61122a6c45db",[45677],{"_key":45678,"_type":13,"marks":45679,"text":45680},"b184bf6602770",[],"I first met Kit Powell over 40 years ago when, as a trainee physics teacher, I joined the high school where he taught in Christchurch, NZ. At first sight I was intimidated by his size and strength (Kit was probably the tallest person I had met at that time) but when he spoke I was surprised by his light voice and gentle manner. And I soon found that, rather than the brash rugby player or basketballer I had assumed at first sight, Kit is one of the most cultured and sensitive people I know. It soon became apparent that his love of the humanities exceeded that of many who were teaching them alongside us.",[],{"_key":45683,"_type":9,"children":45684,"image":4,"markDefs":45689,"style":634},"deb34f08be55",[45685],{"_key":45686,"_type":13,"marks":45687,"text":45688},"f23f134fd6f00",[],"As our friendship grew I found in him more surprising contradictions. An obvious one was that, though employed principally as a mathematics teacher, Kit's contribution to the school was far greater in the areas of music and drama. With several other talented teachers he inspired students to write, produce and perform an annual musical drama of a scale and standard unheard of at secondary school level. Under Kit's leadership students composed and performed the music (and sometimes invented unconventional ‘instruments’ for the purpose).",[],{"_key":45691,"_type":9,"children":45692,"image":4,"markDefs":45697,"style":634},"80a9af143241",[45693],{"_key":45694,"_type":13,"marks":45695,"text":45696},"53111c5085990",[],"I think all Kit's friends are aware of his perseverance - sometimes to the point of stubbornness. One of his stubbornly held beliefs is that everyone is capable of musical expression at some level. He applied this belief to me, despite my accounts of regular rejection by music teachers and choirmasters as being unmusical beyond any redemption. To my delight and pride he eventually had me perform (not well, but without totally disgracing myself) in a small choir of students and staff which he assembled to sing excerpts from his opera The Fisherman and his Wife, though after one brief ‘season’ involving two or three performances we both felt the point had been adequately made! That he managed to make me sing in tune at all is a testament to his great talent as a teacher.”",[],{"_key":45699,"_type":9,"children":45700,"image":4,"markDefs":45705,"style":634},"810b49378733",[45701],{"_key":45702,"_type":13,"marks":45703,"text":45704},"cc5db7a41edf0",[],"Another of Kit's unusual qualities is that, despite his passionate support for many causes connected with the arts and the environment, he rarely raises his voice in argument, preferring gentler (and usually more effective) forms of persuasion. Indeed, I can recall seeing him give way to anger in a conventional way only once. Arriving at school one day (late as was often the case) he found that a favourite tree had been cut down, without warning, by contractors hired to extend a building. Kit burst into the staff room red-faced and angry, interrupted the principal's staff meeting without apology and demanded to know who was responsible. No amount of explanation or excuse from the principal could placate him. It was a complete victory for Kit - apart from the unfortunate fact that the tree had already been felled.",[],{"_key":45707,"_type":9,"children":45708,"image":4,"markDefs":45713,"style":634},"390ca9debce2",[45709],{"_key":45710,"_type":13,"marks":45711,"text":45712},"81ba3509fc410",[],"Although it is over 36 years since we lived in the same city, our friendship endures. I remember with pleasure visits in both directions. Kit and Brigitte staying with Chan and me when we briefly lived in Kenya, his DAT recorder an essential piece of safari equipment, taping everything from the din of tinsmiths in the Jua Kali market to the chirping of crickets in the evening. I remember too our safari together into the Masai Mara and Serengeti National Parks and the baboons which broke into our tent to steal the precious supply of Basler Laeckerli. And also their incomparable hospitality on many occasions when I travelled through Zurich en route to meetings in Geneva (and was introduced to the wonderful sculptures of Giacometti, Luginbuehl and Tinguely in the Zurich Kunsthaus) and again when Chan and I visited them in Eglisau on our trip round the world in 2000 (and a bottle of ancient ‘sipping rum’ magically disappeared!). We have enjoyed too, their infrequent and all too brief visits to us in New Zealand, usually coinciding with performances of Kit's music.",[],{"_key":45715,"_type":9,"children":45716,"image":4,"markDefs":45721,"style":634},"908af1ef73d7",[45717],{"_key":45718,"_type":13,"marks":45719,"text":45720},"8171142316760",[],"Kit's friendship has enriched my life in many ways. I am a particularly bad correspondent and I am grateful for Kit's perseverance, that gentle stubbornness with which he has insisted on our keeping in touch and keeping the friendship active, however far apart we might be living. Now that he has reached the grand age of 75 we might not go on tent safaris any more (though the Powell tent is still in our garage in New Zealand) but there are many adventures of the mind and the eye and ear to come, and I hope more bottles of wine to share.",[],{"_key":45723,"_type":9,"children":45724,"image":4,"markDefs":45729,"style":634},"5847bc8c4e3a",[45725],{"_key":45726,"_type":13,"marks":45727,"text":45728},"2197b327dc170",[],"Philip Woollaston, Nelson New Zealand",[],{"_key":45731,"_type":9,"children":45732,"image":4,"markDefs":45736,"style":18},"afacfbc3b9be",[45733],{"_key":45734,"_type":13,"marks":45735,"text":25},"eac345deb453",[],[],[45738],{"caption":45666,"id":45668,"meta":45739,"parentID":11484,"parentType":326,"url":45673},{"_type":506,"aspectRatio":45670,"height":45671,"width":45672},"Philip is a multi-talented friend who has a wide interest in all the arts especially the visual arts. His father, Toss Woollaston, was one of New Zealand's most famous artists and Philip actually trained as a restorer in order to be able to rescue works of his father's. That was just one of his many trainings. He studied physics and in that capacity came to Linwood High School, where we first met. In order to build a house (out of rammed earth bricks) he was confronted with building regulations and so entered local politics (Collingwood). Shortly after we left New Zealand he entered national politics and rose from rank and file to Minister of the Environment in the Labour Government and then became the New Zealand representative at the United Nations in Nairobi (where we met again for an unforgettable holiday with safari). When his term finished he returned to Nelson, New Zealand, became mayor, and bought land for wine production, something which he did very successfully until his retirement.\n\nI first met Kit Powell over 40 years ago when, as a trainee physics teacher, I joined the high school where he taught in Christchurch, NZ. At first sight I was intimidated by his size and strength (Kit was probably the tallest person I had met at that time) but when he spoke I was surprised by his light voice and gentle manner. And I soon found that, rather than the brash rugby player or basketballer I had assumed at first sight, Kit is one of the most cultured and sensitive people I know. It soon became apparent that his love of the humanities exceeded that of many who were teaching them alongside us.\n\nAs our friendship grew I found in him more surprising contradictions. An obvious one was that, though employed principally as a mathematics teacher, Kit's contribution to the school was far greater in the areas of music and drama. With several other talented teachers he inspired students to write, produce and perform an annual musical drama of a scale and standard unheard of at secondary school level. Under Kit's leadership students composed and performed the music (and sometimes invented unconventional ‘instruments’ for the purpose).\n\nI think all Kit's friends are aware of his perseverance - sometimes to the point of stubbornness. One of his stubbornly held beliefs is that everyone is capable of musical expression at some level. He applied this belief to me, despite my accounts of regular rejection by music teachers and choirmasters as being unmusical beyond any redemption. To my delight and pride he eventually had me perform (not well, but without totally disgracing myself) in a small choir of students and staff which he assembled to sing excerpts from his opera The Fisherman and his Wife, though after one brief ‘season’ involving two or three performances we both felt the point had been adequately made! That he managed to make me sing in tune at all is a testament to his great talent as a teacher.”\n\nAnother of Kit's unusual qualities is that, despite his passionate support for many causes connected with the arts and the environment, he rarely raises his voice in argument, preferring gentler (and usually more effective) forms of persuasion. Indeed, I can recall seeing him give way to anger in a conventional way only once. Arriving at school one day (late as was often the case) he found that a favourite tree had been cut down, without warning, by contractors hired to extend a building. Kit burst into the staff room red-faced and angry, interrupted the principal's staff meeting without apology and demanded to know who was responsible. No amount of explanation or excuse from the principal could placate him. It was a complete victory for Kit - apart from the unfortunate fact that the tree had already been felled.\n\nAlthough it is over 36 years since we lived in the same city, our friendship endures. I remember with pleasure visits in both directions. Kit and Brigitte staying with Chan and me when we briefly lived in Kenya, his DAT recorder an essential piece of safari equipment, taping everything from the din of tinsmiths in the Jua Kali market to the chirping of crickets in the evening. I remember too our safari together into the Masai Mara and Serengeti National Parks and the baboons which broke into our tent to steal the precious supply of Basler Laeckerli. And also their incomparable hospitality on many occasions when I travelled through Zurich en route to meetings in Geneva (and was introduced to the wonderful sculptures of Giacometti, Luginbuehl and Tinguely in the Zurich Kunsthaus) and again when Chan and I visited them in Eglisau on our trip round the world in 2000 (and a bottle of ancient ‘sipping rum’ magically disappeared!). We have enjoyed too, their infrequent and all too brief visits to us in New Zealand, usually coinciding with performances of Kit's music.\n\nKit's friendship has enriched my life in many ways. I am a particularly bad correspondent and I am grateful for Kit's perseverance, that gentle stubbornness with which he has insisted on our keeping in touch and keeping the friendship active, however far apart we might be living. Now that he has reached the grand age of 75 we might not go on tent safaris any more (though the Powell tent is still in our garage in New Zealand) but there are many adventures of the mind and the eye and ear to come, and I hope more bottles of wine to share.\n\nPhilip Woollaston, Nelson New Zealand\n\n",{"_type":375,"current":11485},{"_id":3290,"chapters":45743,"content":45744,"images":46061,"rawText":46068,"slug":46069,"title":3276},[],[45745,45753,45760,45767,45775,45782,45801,45808,45836,45844,45851,45859,45866,45874,45881,45889,45896,45914,45927,45934,45941,45948,45956,45963,45972,45979,45987,45994,46004,46014,46024,46034,46054],{"_key":45746,"_type":9,"children":45747,"image":4,"markDefs":45752,"style":18},"b114cb909489",[45748],{"_key":45749,"_type":13,"marks":45750,"text":45751},"fb67f5f881c20",[],"When I joined the maths department of Linwood High School in 1962 Rod had been there (also teaching maths) for 2 years. In the four years I spent there before leaving for Europe we got to know each other well both professionally and socially (Friday evenings at the Lancaster Park Pub) and I realised he was a man of extremely wide interests: He was extraordinarily well read and could make appropriate or amusing comments to most things which we discussed in the staffroom. He also coached a hockey team in winter and managed the sailing club in summer, he was a keen tramper and had a hut in the mountains near Arthur’s Pass at Bealey, he had an intimate knowledge of church history and the liturgy in general, he played the recorder and was in charge of the lighting for all school productions. Our musical interests were, however, slightly different: he maintained (and enjoyed the provocation!) that music died in 1750 with the death of Johann Sebastian Bach.",[],{"_key":45754,"_type":9,"children":45755,"image":4,"markDefs":45759,"style":18},"2244bc02518b",[45756],{"_key":45757,"_type":13,"marks":45758,"text":25},"f03c9bba394b0",[],[],{"_key":45761,"_type":9,"children":45762,"image":4,"markDefs":45766,"style":18},"1a37640fa0bc",[45763],{"_key":45764,"_type":13,"marks":45765,"text":25},"eb8ee3a1a4b10",[],[],{"_key":45768,"_type":500,"caption":45769,"image":45770,"markDefs":4},"ccd5c320378f","Lester Davison (left) and Rod Harries hard at work in the Linwood lighting box",{"caption":4,"id":45771,"meta":45772,"parentID":4,"parentType":326,"url":45774},"dbc3f1891c3a4ff413478d98121b5220c78dcda1",{"_type":506,"aspectRatio":45773,"height":2702,"width":45286},1.1081081081081081,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fdbc3f1891c3a4ff413478d98121b5220c78dcda1-533x481.jpg",{"_key":45776,"_type":9,"children":45777,"image":4,"markDefs":45781,"style":18},"9363f83af172",[45778],{"_key":45779,"_type":13,"marks":45780,"text":25},"83ad8b2d639c0",[],[],{"_key":45783,"_type":9,"children":45784,"image":4,"markDefs":45798,"style":18},"1f644e7c3059",[45785,45789,45794],{"_key":45786,"_type":13,"marks":45787,"text":45788},"4b72333a48950",[],"Promotion in the secondary service was impossible in those days without spending a couple of years in a country school and so in 1965 Rod left Linwood to do country service at Methven High School. This was a marvellous opportunity to visit him for a ",{"_key":45790,"_type":13,"marks":45791,"text":45793},"023ce0305607",[45792],"31f004f0bd62","Hāngi",{"_key":45795,"_type":13,"marks":45796,"text":45797},"51916acd4b74",[]," or even for a “field trip” for the Linwood senior maths classes.",[45799],{"_key":45792,"_type":316,"href":45800},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FH%C4%81ng%C4%AB",{"_key":45802,"_type":9,"children":45803,"image":4,"markDefs":45807,"style":18},"4fad22c8af3a",[45804],{"_key":45805,"_type":13,"marks":45806,"text":25},"b7f8ae4e16eb0",[],[],{"_key":45809,"_type":9,"children":45810,"image":4,"markDefs":45831,"style":18},"3908e170a6a9",[45811,45815,45819,45823,45827],{"_key":45812,"_type":13,"marks":45813,"text":45814},"c3e4a4fcf5ec0",[],"He returned to in 1967 and I (now married to Brigitte) a year later to a changed school. There was a new Headmaster (Jim Orman) and several of my friends from earlier were no longer there (",{"_key":45816,"_type":13,"marks":45817,"text":1814},"1426c08f9784",[45818],"4fc4ca99cde5",{"_key":45820,"_type":13,"marks":45821,"text":45822},"3902adf6b71c",[]," and Michael Eaton had left to teach at the Teachers College and ",{"_key":45824,"_type":13,"marks":45825,"text":2924},"9b7b29f3cc42",[45826],"f8804ec2ae7d",{"_key":45828,"_type":13,"marks":45829,"text":45830},"0ed9c0619604",[]," for a music job in Perth). Rod became the head of the maths department and an erstwhile pupil of Rod’s, Lester Davison, had also joined the maths department. The story of how Lester and I became involved with the school music I have mentioned under Linwood High School. Rod also played a central role in the establishing of a choir.",[45832,45834],{"_key":45818,"_type":321,"reference":45833,"slug":1834,"type":326},{"_ref":1833,"_type":324},{"_key":45826,"_type":321,"reference":45835,"slug":2970,"type":510},{"_ref":2831,"_type":324},{"_key":45837,"_type":9,"children":45838,"image":4,"markDefs":45843,"style":18},"3bcc34d360cf",[45839],{"_key":45840,"_type":13,"marks":45841,"text":45842},"e1f9f9b39c800",[],"By this time both Rod and Lester were responsible for the school timetable, a huge undertaking that had to be accomplished every year in the last weeks of the summer holidays in order to be ready for the ca. 1400 pupils and their teachers in the first week of February. Whether it was planning on their part or just a happy accident, I do not know, but there was a time when each of us had senior classes in maths or additional maths or physics. 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The strength of the group was added to, when the coach of the school’s first fifteen said, that it was compulsory for all rugby players to join the choir!",[],{"_key":45845,"_type":9,"children":45846,"image":4,"markDefs":45850,"style":18},"125334cc89e4",[45847],{"_key":45848,"_type":13,"marks":45849,"text":25},"8d75550f89d90",[],[],{"_key":45852,"_type":9,"children":45853,"image":4,"markDefs":45858,"style":18},"214f3510e437",[45854],{"_key":45855,"_type":13,"marks":45856,"text":45857},"da7380078c740",[],"This was also the beginning of a much closer friendship with Rod. He bought himself an oboe and a bassoon to play in the school orchestra and when nobody was playing the school’s tuba he played this in the Brass Band, which Lester had started. He visited me at our house in Mathesons Road to plan a new School Song Book, which was used every day for morning assemblies when the choir and orchestra or brass band took part.",[],{"_key":45860,"_type":9,"children":45861,"image":4,"markDefs":45865,"style":18},"ff41e0f906e5",[45862],{"_key":45863,"_type":13,"marks":45864,"text":25},"267ae197e3eb0",[],[],{"_key":45867,"_type":9,"children":45868,"image":4,"markDefs":45873,"style":18},"73c4cf329705",[45869],{"_key":45870,"_type":13,"marks":45871,"text":45872},"a47153aece480",[],"Although the choir, orchestra and band were indispensible for the total theatre works which followed, they were started because we felt they were essential components of what we considered was a healthy cultural atmosphere. In the first year therefore, we performed works, which we thought were good and possible for young people. Among those were Handel choruses, parts of Carmina Burana (both using choir and orchestra and brass instruments borrowed from the band) and the Finale from Stravinsky’s “Firebird Suite” (orchestra alone). On one memorable occasion the choir was invited to a rehearsal of one of the big Christchurch choirs, which was hoping to recruit younger singers. We took our music for “Unto us a Child is born” and the “Halleluiah Chorus”. The school choir had hardly started when the members of the adult choir (who knew both works by heart) joined in making for an overwhelming experience. Somewhat later, perhaps inspired by this, Rod and I decided to join the Royal Christchurch Musical Society where we spent several happy years singing second tenor.",[],{"_key":45875,"_type":9,"children":45876,"image":4,"markDefs":45880,"style":18},"17905eaedb6e",[45877],{"_key":45878,"_type":13,"marks":45879,"text":25},"8edd4adfc6da0",[],[],{"_key":45882,"_type":9,"children":45883,"image":4,"markDefs":45888,"style":18},"ce8d7074cc27",[45884],{"_key":45885,"_type":13,"marks":45886,"text":45887},"f56c68559b180",[],"Rod was passionately interested in computers. The first ones appeared in the 70s and, compared with present day computers, were rather primitive instruments. He organised a first computer course for anyone on the staff at Linwood, to which Brigitte also took part. They were, however, still very expensive machines and it was not until after we reached Switzerland (in the late 80s) that we could afford one. By this time he too left the school to take up a job at the Canterbury University Department of Computer Science, where he stayed until the end of his working life.",[],{"_key":45890,"_type":9,"children":45891,"image":4,"markDefs":45895,"style":18},"7a0db9048615",[45892],{"_key":45893,"_type":13,"marks":45894,"text":25},"e1958985e492",[],[],{"_key":45897,"_type":9,"children":45898,"image":4,"markDefs":45911,"style":18},"4f967291deb7",[45899,45903,45907],{"_key":45900,"_type":13,"marks":45901,"text":45902},"1a1f38c8bf83",[],"When I decided to write my ",{"_key":45904,"_type":13,"marks":45905,"text":2262},"abe94d04c6e2",[45906],"b84715bbdb94",{"_key":45908,"_type":13,"marks":45909,"text":45910},"64e6caded07a",[],", Rod was the ideal person to ask for help with the computing. This resulted in an intensive correspondence between us over several months, and the results of this cooperative work are recorded in",[45912],{"_key":45906,"_type":321,"reference":45913,"slug":22409,"type":510},{"_ref":22296,"_type":324},{"_key":45915,"_type":9,"children":45916,"image":4,"markDefs":45924,"style":18},"c309f97d4ae0",[45917,45921],{"_key":45918,"_type":13,"marks":45919,"text":35924},"51a646f88669",[45920],"6affc840d502",{"_key":45922,"_type":13,"marks":45923,"text":2020},"d075ba68b81f",[],[45925],{"_key":45920,"_type":321,"reference":45926,"slug":22318,"type":528},{"_ref":22317,"_type":324},{"_key":45928,"_type":9,"children":45929,"image":4,"markDefs":45933,"style":18},"9d4134af0f81",[45930],{"_key":45931,"_type":13,"marks":45932,"text":25},"012ce64f6bee",[],[],{"_key":45935,"_type":500,"caption":45936,"image":45937,"markDefs":4},"b20f36b6f491","Rod (wearing traditional Japanese dress) at a seminar in Hitachi, Japan, where he spent several months in his role as computer scientist.",{"caption":4,"id":45938,"meta":45939,"parentID":4,"parentType":326,"url":45940},"998846178666e27a234e3c75d075c7bcaf92202d",{"_type":506,"aspectRatio":33040,"height":23664,"width":2095},"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F998846178666e27a234e3c75d075c7bcaf92202d-640x420.jpg",{"_key":45942,"_type":9,"children":45943,"image":4,"markDefs":45947,"style":18},"f5f9d3a30dcb",[45944],{"_key":45945,"_type":13,"marks":45946,"text":25},"adedbb78f2b80",[],[],{"_key":45949,"_type":9,"children":45950,"image":4,"markDefs":45955,"style":18},"c36f2c2fd576",[45951],{"_key":45952,"_type":13,"marks":45953,"text":45954},"1bed97459d7e0",[],"Since retirement he has worked on his invented language: Ðola",[],{"_key":45957,"_type":9,"children":45958,"image":4,"markDefs":45962,"style":18},"6ab88324ccff",[45959],{"_key":45960,"_type":13,"marks":45961,"text":25},"cf443c5fa3f00",[],[],{"_key":45964,"_type":500,"caption":45965,"image":45966,"markDefs":4},"4d855f526005","An extract from Rod's Ðola-Guide, showing the letters his language uses, how the words are pronounced and an English 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Harries:",[],{"_key":45988,"_type":9,"children":45989,"image":4,"markDefs":45993,"style":18},"932eb18bc9ba",[45990],{"_key":45991,"_type":13,"marks":45992,"text":25},"0640dd8146e50",[],[],{"_key":45995,"_type":9,"children":45996,"image":4,"level":382,"listItem":2078,"markDefs":46001,"style":18},"38143489a1ba",[45997],{"_key":45998,"_type":13,"marks":45999,"text":1852},"8d2bc64d7d6f",[46000],"621faa0d8fcf",[46002],{"_key":46000,"_type":321,"reference":46003,"slug":1970,"type":510},{"_ref":1800,"_type":324},{"_key":46005,"_type":9,"children":46006,"image":4,"level":382,"listItem":2078,"markDefs":46011,"style":18},"3e2266d7b33b",[46007],{"_key":46008,"_type":13,"marks":46009,"text":2016},"40fff52e13f8",[46010],"28df2c455570",[46012],{"_key":46010,"_type":321,"reference":46013,"slug":2227,"type":510},{"_ref":1977,"_type":324},{"_key":46015,"_type":9,"children":46016,"image":4,"level":382,"listItem":2078,"markDefs":46021,"style":18},"d9d3c68e94c6",[46017],{"_key":46018,"_type":13,"marks":46019,"text":2637},"cabd4d957c73",[46020],"ad0d6ecb5636",[46022],{"_key":46020,"_type":321,"reference":46023,"slug":2826,"type":510},{"_ref":2575,"_type":324},{"_key":46025,"_type":9,"children":46026,"image":4,"level":382,"listItem":2078,"markDefs":46031,"style":18},"1bf5ecd700ef",[46027],{"_key":46028,"_type":13,"marks":46029,"text":4313},"47f66013d6a1",[46030],"6d4687dc41f1",[46032],{"_key":46030,"_type":321,"reference":46033,"slug":4361,"type":510},{"_ref":4174,"_type":324},{"_key":46035,"_type":9,"children":46036,"image":4,"level":382,"listItem":2078,"markDefs":46049,"style":18},"6dd3a9c98c57",[46037,46041,46045],{"_key":46038,"_type":13,"marks":46039,"text":2262},"3311afdcd26e",[46040],"ef50eaeb7eca",{"_key":46042,"_type":13,"marks":46043,"text":46044},"6a52e223e7fd",[]," see also ",{"_key":46046,"_type":13,"marks":46047,"text":35924},"191512d95448",[46048],"d729fa70c9d4",[46050,46052],{"_key":46040,"_type":321,"reference":46051,"slug":22409,"type":510},{"_ref":22296,"_type":324},{"_key":46048,"_type":321,"reference":46053,"slug":22318,"type":528},{"_ref":22317,"_type":324},{"_key":46055,"_type":9,"children":46056,"image":4,"markDefs":46060,"style":18},"bf53e5e32850",[46057],{"_key":46058,"_type":13,"marks":46059,"text":25},"a034fc48a9c60",[],[],[46062,46064,46066],{"caption":45769,"id":45771,"meta":46063,"parentID":3290,"parentType":326,"url":45774},{"_type":506,"aspectRatio":45773,"height":2702,"width":45286},{"caption":45936,"id":45938,"meta":46065,"parentID":3290,"parentType":326,"url":45940},{"_type":506,"aspectRatio":33040,"height":23664,"width":2095},{"caption":45965,"id":45967,"meta":46067,"parentID":3290,"parentType":326,"url":45971},{"_type":506,"aspectRatio":45969,"height":45970,"width":17896},"When I joined the maths department of Linwood High School in 1962 Rod had been there (also teaching maths) for 2 years. In the four years I spent there before leaving for Europe we got to know each other well both professionally and socially (Friday evenings at the Lancaster Park Pub) and I realised he was a man of extremely wide interests: He was extraordinarily well read and could make appropriate or amusing comments to most things which we discussed in the staffroom. He also coached a hockey team in winter and managed the sailing club in summer, he was a keen tramper and had a hut in the mountains near Arthur’s Pass at Bealey, he had an intimate knowledge of church history and the liturgy in general, he played the recorder and was in charge of the lighting for all school productions. Our musical interests were, however, slightly different: he maintained (and enjoyed the provocation!) that music died in 1750 with the death of Johann Sebastian Bach.\n\n\n\n\n\n\n\nPromotion in the secondary service was impossible in those days without spending a couple of years in a country school and so in 1965 Rod left Linwood to do country service at Methven High School. This was a marvellous opportunity to visit him for a Hāngi or even for a “field trip” for the Linwood senior maths classes.\n\n\n\nHe returned to in 1967 and I (now married to Brigitte) a year later to a changed school. There was a new Headmaster (Jim Orman) and several of my friends from earlier were no longer there (Don McAra and Michael Eaton had left to teach at the Teachers College and Brian Barrett for a music job in Perth). Rod became the head of the maths department and an erstwhile pupil of Rod’s, Lester Davison, had also joined the maths department. The story of how Lester and I became involved with the school music I have mentioned under Linwood High School. Rod also played a central role in the establishing of a choir.\n\nBy this time both Rod and Lester were responsible for the school timetable, a huge undertaking that had to be accomplished every year in the last weeks of the summer holidays in order to be ready for the ca. 1400 pupils and their teachers in the first week of February. Whether it was planning on their part or just a happy accident, I do not know, but there was a time when each of us had senior classes in maths or additional maths or physics. We arranged that we would bring our classes to the hall and that we would teach them to sing the Bach chorale: “O Haupt voll Blut und Wunden”. Although these classes were predominantly male, there were sufficient female voices to make a four part choir. I had written out the vocal parts for four instruments, so that we divided the three classes into four voices (S, A, T, B) and sent them with their instrument to the four corners of the hall to learn their parts. In a relatively short time we came together to sing in 4-part harmony and the sound was remarkably good. Most astonished of all were the pupils themselves, who had had no idea what they had been about to produce. In fact most of them agreed that it would be good to do more singing like this and so from that day on, we had a school choir. The strength of the group was added to, when the coach of the school’s first fifteen said, that it was compulsory for all rugby players to join the choir!\n\n\n\nThis was also the beginning of a much closer friendship with Rod. He bought himself an oboe and a bassoon to play in the school orchestra and when nobody was playing the school’s tuba he played this in the Brass Band, which Lester had started. He visited me at our house in Mathesons Road to plan a new School Song Book, which was used every day for morning assemblies when the choir and orchestra or brass band took part.\n\n\n\nAlthough the choir, orchestra and band were indispensible for the total theatre works which followed, they were started because we felt they were essential components of what we considered was a healthy cultural atmosphere. In the first year therefore, we performed works, which we thought were good and possible for young people. Among those were Handel choruses, parts of Carmina Burana (both using choir and orchestra and brass instruments borrowed from the band) and the Finale from Stravinsky’s “Firebird Suite” (orchestra alone). On one memorable occasion the choir was invited to a rehearsal of one of the big Christchurch choirs, which was hoping to recruit younger singers. We took our music for “Unto us a Child is born” and the “Halleluiah Chorus”. The school choir had hardly started when the members of the adult choir (who knew both works by heart) joined in making for an overwhelming experience. Somewhat later, perhaps inspired by this, Rod and I decided to join the Royal Christchurch Musical Society where we spent several happy years singing second tenor.\n\n\n\nRod was passionately interested in computers. The first ones appeared in the 70s and, compared with present day computers, were rather primitive instruments. He organised a first computer course for anyone on the staff at Linwood, to which Brigitte also took part. They were, however, still very expensive machines and it was not until after we reached Switzerland (in the late 80s) that we could afford one. By this time he too left the school to take up a job at the Canterbury University Department of Computer Science, where he stayed until the end of his working life.\n\n\n\nWhen I decided to write my String Quartet, Rod was the ideal person to ask for help with the computing. This resulted in an intensive correspondence between us over several months, and the results of this cooperative work are recorded in\n\nChance for String Quartet.\n\n\n\n\n\nSince retirement he has worked on his invented language: Ðola\n\n\n\n\n\nWorks influenced by Rod Harries:\n\n\n\nThe Odyssey\n\nHarold and William\n\nAkhnaton\n\nNow I Joseph was walking\n\nString Quartet see also Chance for String Quartet\n\n",{"_type":375,"current":3291},{"_id":19121,"chapters":46071,"content":46072,"images":46244,"rawText":46251,"slug":46252,"title":41020},[],[46073,46081,46100,46108,46126,46141,46155,46165,46179,46193,46207,46216,46235],{"_key":46074,"_type":500,"image":46075,"markDefs":4},"39a62cdbc7fd",{"caption":4,"id":46076,"meta":46077,"parentID":4,"parentType":326,"url":46080},"ccd8cd0b0b54ac6af42c0b1801bcf44586e63160",{"_type":506,"aspectRatio":46078,"height":4714,"width":46079},1.3925,557,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fccd8cd0b0b54ac6af42c0b1801bcf44586e63160-557x400.jpg",{"_key":46082,"_type":9,"children":46083,"image":4,"markDefs":46097,"style":18},"51c1ae210207",[46084,46088,46093],{"_key":46085,"_type":13,"marks":46086,"text":46087},"e61f8b693980",[],"Roger is an ",{"_key":46089,"_type":13,"marks":46090,"text":46092},"73b17d1c47fc",[46091],"54499d7107ce","architect",{"_key":46094,"_type":13,"marks":46095,"text":46096},"feec87180eed",[]," and is our son in law.",[46098],{"_key":46091,"_type":316,"href":46099},"https:\u002F\u002Fwww.boltshauser.info",{"_key":46101,"_type":9,"children":46102,"image":4,"markDefs":46107,"style":18},"3215856a347f",[46103],{"_key":46104,"_type":13,"marks":46105,"text":46106},"5f78cdfc0cb80",[],"I have two important contributions to my musical life to thank him for:",[],{"_key":46109,"_type":9,"children":46110,"image":4,"markDefs":46125,"style":18},"9d63336c25db",[46111,46115,46119,46122],{"_key":46112,"_type":13,"marks":46113,"text":46114},"6d54bddfe31c0",[],"1. The organisation for my ",{"_key":46116,"_type":13,"marks":46117,"text":46118},"6d54bddfe31c1",[15],"75th Birthday Concert",{"_key":46120,"_type":13,"marks":46121,"text":43212},"6d54bddfe31c2",[],{"_key":46123,"_type":13,"marks":46124,"text":17298},"6d54bddfe31c3",[73],[],{"_key":46127,"_type":9,"children":46128,"image":4,"level":485,"listItem":2078,"markDefs":46138,"style":18},"fc5e99d7dd88",[46129,46134],{"_key":46130,"_type":13,"marks":46131,"text":46133},"319cf0f9f4050",[46132],"499efc070259","Sextett",{"_key":46135,"_type":13,"marks":46136,"text":46137},"304da9fe3862",[]," für Flöte, Bassklarinette (B), Violine, Cello, Klavier und Perkussion",[46139],{"_key":46132,"_type":321,"reference":46140,"slug":16909,"type":510},{"_ref":16838,"_type":324},{"_key":46142,"_type":9,"children":46143,"image":4,"level":485,"listItem":2078,"markDefs":46152,"style":18},"513eb9cdb88a",[46144,46148],{"_key":46145,"_type":13,"marks":46146,"text":20131},"c563de61ee410",[46147],"94aa22f8244b",{"_key":46149,"_type":13,"marks":46150,"text":46151},"f1f140ea1de9",[]," für Sopran und Klavier (für Brigitte)",[46153],{"_key":46147,"_type":321,"reference":46154,"slug":20202,"type":510},{"_ref":20057,"_type":324},{"_key":46156,"_type":9,"children":46157,"image":4,"level":485,"listItem":2078,"markDefs":46162,"style":18},"cd53ca685861",[46158],{"_key":46159,"_type":13,"marks":46160,"text":19644},"bb40c0260c190",[46161],"e7979e17b2bd",[46163],{"_key":46161,"_type":321,"reference":46164,"slug":19661,"type":510},{"_ref":19618,"_type":324},{"_key":46166,"_type":9,"children":46167,"image":4,"level":485,"listItem":2078,"markDefs":46176,"style":18},"20306dc6b493",[46168,46172],{"_key":46169,"_type":13,"marks":46170,"text":19047},"6b3e0c65dde90",[46171],"fc8cbe41e506",{"_key":46173,"_type":13,"marks":46174,"text":46175},"8629ea0c6891",[]," für Klavier",[46177],{"_key":46171,"_type":321,"reference":46178,"slug":19078,"type":510},{"_ref":18878,"_type":324},{"_key":46180,"_type":9,"children":46181,"image":4,"level":485,"listItem":2078,"markDefs":46190,"style":18},"87d1fcac396d",[46182,46186],{"_key":46183,"_type":13,"marks":46184,"text":20216},"7dff9ad291ec0",[46185],"d157b5805db9",{"_key":46187,"_type":13,"marks":46188,"text":46189},"1d917ec1c656",[]," für Bariton und Ensemble (Querflöte, Klarinette, Posaune, Perkussion, Klavier, Violine und Cello)",[46191],{"_key":46185,"_type":321,"reference":46192,"slug":20407,"type":510},{"_ref":20207,"_type":324},{"_key":46194,"_type":9,"children":46195,"image":4,"markDefs":46204,"style":18},"c24b0543b202",[46196,46200],{"_key":46197,"_type":13,"marks":46198,"text":46199},"06aafea366de0",[],"2. The publication of my book ",{"_key":46201,"_type":13,"marks":46202,"text":44646},"bef9cfce2f60",[46203],"0e5f11e2ce77",[46205],{"_key":46203,"_type":321,"reference":46206,"slug":7522,"type":3456},{"_ref":7521,"_type":324},{"_key":46208,"_type":500,"image":46209,"markDefs":4,"size":3496},"72095374ca44",{"caption":4,"id":46210,"meta":46211,"parentID":4,"parentType":326,"url":46215},"0f68bcbb468011d87c5110cd275ebb36034862a4",{"_type":506,"aspectRatio":46212,"height":46213,"width":46214},0.6934144991698948,1807,1253,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F0f68bcbb468011d87c5110cd275ebb36034862a4-1253x1807.jpg",{"_key":46217,"_type":9,"children":46218,"image":4,"markDefs":46232,"style":18},"6839a39ec068",[46219,46223,46228],{"_key":46220,"_type":13,"marks":46221,"text":46222},"5b532be43ae60",[],"Work on the book started in the summer of 2011 when Roger arranged for me to meet with the editor and the book designer. We had meetings every few months over the next year. The editor lady made contact with ",{"_key":46224,"_type":13,"marks":46225,"text":46227},"5b532be43ae61",[46226],"ad65080ae13b","Pfau Verlag",{"_key":46229,"_type":13,"marks":46230,"text":46231},"5b532be43ae62",[]," who were prepared to include it in their books for publication but insisted that it be a dual language book: English \u002F German. This meant a much longer preparation time, working together with Brigitte and Fiona who took charge of the translation. A big advantage of this was that passages which were difficult translate often proved to be so because the English was not clear. Although this led to a general improvement in clarity for the whole book it took much more time than it had taken to write the book in the beginning and because of this delay, it was not ready for sale at the time of the birthday concert (9. 12. 2012).",[46233],{"_key":46226,"_type":316,"href":46234},"http:\u002F\u002Fwww.pfau-verlag.de\u002F",{"_key":46236,"_type":500,"image":46237,"markDefs":4},"7a41df1486fa",{"caption":4,"id":46238,"meta":46239,"parentID":4,"parentType":326,"url":46243},"696a8ec067ec6956cfbce713c37874b3ba48de83",{"_type":506,"aspectRatio":46240,"height":46241,"width":46242},1.4197530864197532,405,575,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F696a8ec067ec6956cfbce713c37874b3ba48de83-575x405.jpg",[46245,46247,46249],{"caption":4,"id":46076,"meta":46246,"parentID":19121,"parentType":326,"url":46080},{"_type":506,"aspectRatio":46078,"height":4714,"width":46079},{"caption":4,"id":46210,"meta":46248,"parentID":19121,"parentType":326,"url":46215},{"_type":506,"aspectRatio":46212,"height":46213,"width":46214},{"caption":4,"id":46238,"meta":46250,"parentID":19121,"parentType":326,"url":46243},{"_type":506,"aspectRatio":46240,"height":46241,"width":46242},"Roger is an architect and is our son in law.\n\nI have two important contributions to my musical life to thank him for:\n\n1. The organisation for my 75th Birthday Concert with the ensemble neue musik zürich\n\nSextett für Flöte, Bassklarinette (B), Violine, Cello, Klavier und Perkussion\n\nWas Liebe ist für Sopran und Klavier (für Brigitte)\n\nChance Piece for Flute and Tape\n\nKapiti für Klavier\n\nMicrozoic Piano Suite für Bariton und Ensemble (Querflöte, Klarinette, Posaune, Perkussion, Klavier, Violine und Cello)\n\n2. The publication of my book Quite by Chance \u002F Wie durch Zufall\n\nWork on the book started in the summer of 2011 when Roger arranged for me to meet with the editor and the book designer. We had meetings every few months over the next year. The editor lady made contact with Pfau Verlag who were prepared to include it in their books for publication but insisted that it be a dual language book: English \u002F German. This meant a much longer preparation time, working together with Brigitte and Fiona who took charge of the translation. A big advantage of this was that passages which were difficult translate often proved to be so because the English was not clear. Although this led to a general improvement in clarity for the whole book it took much more time than it had taken to write the book in the beginning and because of this delay, it was not ready for sale at the time of the birthday concert (9. 12. 2012).",{"_type":375,"current":19122},{"_id":9516,"chapters":46254,"content":46255,"images":46329,"rawText":46336,"slug":46337,"title":9477},[],[46256,46265,46276,46284,46289,46297,46302,46309,46319],{"_key":46257,"_type":500,"alt":46258,"caption":46258,"image":46259,"markDefs":4,"size":3496},"780d81255282","Yuri and Kit in Pushkin 1996",{"caption":4,"id":46260,"meta":46261,"parentID":4,"parentType":326,"url":46264},"480cfd1bd1a2a1ca18e5d4f6ff859efaa99a974d",{"_type":506,"aspectRatio":46262,"height":46263,"width":40965},0.6850393700787402,1016,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F480cfd1bd1a2a1ca18e5d4f6ff859efaa99a974d-696x1016.jpg",{"_key":46266,"_type":9,"children":46267,"image":4,"markDefs":46275,"style":18},"f80f2ddf34da",[46268,46271],{"_key":46269,"_type":13,"marks":46270,"text":9477},"aa6823346d6d0",[15],{"_key":46272,"_type":13,"marks":46273,"text":46274},"cd0e63360513",[]," (1928-2002)",[],{"_key":46277,"_type":9,"children":46278,"image":4,"markDefs":46283,"style":18},"c9954660a93e",[46279],{"_key":46280,"_type":13,"marks":46281,"text":46282},"43306fef4a84",[],"Yuri and I met when he was already approaching the end of his life. He had spent it as an underground artist in communist Russia and only as the Gorbachev era began could he exhibit his work freely. He came to Switzerland almost every summer during the last years of his life and we often sat outside and talked about our artistic problems.",[],{"_key":46285,"_type":500,"caption":46286,"image":46287,"markDefs":4},"1f5cb68712ae","Yuri and his wife Galia on a visit to us in the 90s at Nigelstrasse, Eglisau",{"caption":4,"id":10570,"meta":46288,"parentID":4,"parentType":326,"url":10573},{"_type":506,"aspectRatio":10572,"height":6227,"width":5890},{"_key":46290,"_type":9,"children":46291,"image":4,"markDefs":46296,"style":18},"0479a0384f29",[46292],{"_key":46293,"_type":13,"marks":46294,"text":46295},"e979b9794a610",[],"From him I have inherited the concept of kitsch and how it is in large doses fatal but in micro-measures can have a salubrious effect, especially on a work that is in danger of becoming too heavy, or too heady. His picture of Don Giovanni is a good example of how he put this micro-kitsch into practice: The two mythical copulating figures placed on a very formal cross shape (also of copulating figures) works much too formal for a figure who was (for Yuri) a tragic sensualist, someone to be pitied but also to be amused by. The teddy bear figures, although also placed formally, are quite ridiculous and definitely kitschy and so supply the necessary levity in the composition and save the work from excessive seriousness.",[],{"_key":46298,"_type":500,"alt":46299,"caption":46299,"image":46300,"markDefs":4,"size":3496},"9c64081f0043","Don Giovanni by Yuri Sobolev (1928 - 2002)",{"caption":4,"id":10466,"meta":46301,"parentID":4,"parentType":326,"url":10471},{"_type":506,"aspectRatio":10468,"height":10469,"width":10470},{"_key":46303,"_type":9,"children":46304,"image":4,"markDefs":46308,"style":18},"c7b0028755fc",[46305],{"_key":46306,"_type":13,"marks":46307,"text":44902},"aaff0b471b5c0",[],[],{"_key":46310,"_type":9,"children":46311,"image":4,"level":382,"listItem":2078,"markDefs":46316,"style":18},"7dd802f0a5e3",[46312],{"_key":46313,"_type":13,"marks":46314,"text":10509},"0bdb9e00a7870",[46315],"62d17c8c4695",[46317],{"_key":46315,"_type":321,"reference":46318,"slug":10628,"type":510},{"_ref":10500,"_type":324},{"_key":46320,"_type":9,"children":46321,"image":4,"level":382,"listItem":2078,"markDefs":46326,"style":18},"2e2530d2051d",[46322],{"_key":46323,"_type":13,"marks":46324,"text":10713},"39b1a853faa10",[46325],"c36d84028361",[46327],{"_key":46325,"_type":321,"reference":46328,"slug":10851,"type":510},{"_ref":10634,"_type":324},[46330,46332,46334],{"caption":46258,"id":46260,"meta":46331,"parentID":9516,"parentType":326,"url":46264},{"_type":506,"aspectRatio":46262,"height":46263,"width":40965},{"caption":46286,"id":10570,"meta":46333,"parentID":9516,"parentType":326,"url":10573},{"_type":506,"aspectRatio":10572,"height":6227,"width":5890},{"caption":46299,"id":10466,"meta":46335,"parentID":9516,"parentType":326,"url":10471},{"_type":506,"aspectRatio":10468,"height":10469,"width":10470},"Yuri Sobolev (1928-2002)\n\nYuri and I met when he was already approaching the end of his life. He had spent it as an underground artist in communist Russia and only as the Gorbachev era began could he exhibit his work freely. He came to Switzerland almost every summer during the last years of his life and we often sat outside and talked about our artistic problems.\n\nFrom him I have inherited the concept of kitsch and how it is in large doses fatal but in micro-measures can have a salubrious effect, especially on a work that is in danger of becoming too heavy, or too heady. His picture of Don Giovanni is a good example of how he put this micro-kitsch into practice: The two mythical copulating figures placed on a very formal cross shape (also of copulating figures) works much too formal for a figure who was (for Yuri) a tragic sensualist, someone to be pitied but also to be amused by. The teddy bear figures, although also placed formally, are quite ridiculous and definitely kitschy and so supply the necessary levity in the composition and save the work from excessive seriousness.\n\nWorks inspired by Yuri include:\n\nLemon Music\n\nEncounter with Don Giovanni",{"_type":375,"current":9517},[46339,47053,47167,47674,47946,48370],{"_id":46340,"chapters":46341,"content":46342,"images":47013,"rawText":47050,"slug":47051,"title":10877},"8131432e-42a0-4594-b5c6-4ac1d86129fd",[],[46343,46350,46360,46367,46375,46384,46392,46400,46408,46416,46426,46434,46442,46450,46458,46467,46475,46482,46491,46499,46507,46515,46523,46533,46541,46550,46558,46566,46574,46584,46592,46599,46609,46617,46627,46635,46643,46651,46658,46666,46674,46682,46690,46697,46706,46714,46722,46730,46738,46746,46754,46762,46770,46780,46788,46796,46804,46812,46820,46828,46837,46845,46853,46861,46869,46877,46885,46893,46902,46910,46917,46925,46937,46945,46952,46960,46968,46976,46983,46991,46998,47005],{"_key":46344,"_type":9,"children":46345,"image":4,"markDefs":46349,"style":18},"0c3bcdbf7ed8",[46346],{"_key":46347,"_type":13,"marks":46348,"text":25},"3e0bfb0b2cb40",[],[],{"_key":46351,"_type":500,"caption":46352,"image":46353,"markDefs":4},"1c3931e741e4","Eglisau \"Altstadt\" in winter",{"caption":4,"id":46354,"meta":46355,"parentID":4,"parentType":968,"url":46359},"e9f7227f2374b39549ec06aebff2cc05891885ae",{"_type":506,"aspectRatio":46356,"height":46357,"width":46358},1.6812144212523719,1054,1772,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fe9f7227f2374b39549ec06aebff2cc05891885ae-1772x1054.jpg",{"_key":46361,"_type":9,"children":46362,"image":4,"markDefs":46366,"style":18},"2247c27a2e31",[46363],{"_key":46364,"_type":13,"marks":46365,"text":25},"4f9b201161fe",[],[],{"_key":46368,"_type":9,"children":46369,"image":4,"markDefs":46374,"style":634},"102116de5c69",[46370],{"_key":46371,"_type":13,"marks":46372,"text":46373},"cc7eb30b4a4f",[],"In the early years of the 21. century, when Brigitte worked voluntarily at the local Eglisau Museum, I prepared these notes for a guided tour we were asked to give in English.",[],{"_key":46376,"_type":500,"caption":46377,"image":46378,"markDefs":4},"a9da719f529e","Etching of Eglisau showing the castle in the right-foreground connected by the wooden bridge to the old church (with pointed steeple) on the north side of the river. The other pointed tower on the left side of the town is the ”Törli”.",{"caption":4,"id":46379,"meta":46380,"parentID":4,"parentType":968,"url":46383},"3b182d665a6cedaa7947f98322590a79d0e16e65",{"_type":506,"aspectRatio":46381,"height":46382,"width":46358},1.5598591549295775,1136,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F3b182d665a6cedaa7947f98322590a79d0e16e65-1772x1136.jpg",{"_key":46385,"_type":9,"children":46386,"image":4,"markDefs":46391,"style":18},"ce9bd5b2a546",[46387],{"_key":46388,"_type":13,"marks":46389,"text":46390},"213bea23ea410",[],"Eglisau is a tiny town, a “Städtli”, on the Rhine midway between Zurich and Schaffhausen. It lies on two important communication routes: the river which connects the Lake of Constance in the east with Basel in the west and the road joining Schaffhausen and the bigger German towns in the north with Zurich and the Gotthard in the south. Up until 100 years ago, the Rhine was central to the lives of all the citizens of Eglisau. They made a living as fishermen or they transported merchandise on the Rhine or they served the many travellers and merchants and carters who wanted to cross it or to stay overnight in their hotels before continuing their trip. Even the winegrowers were successful thanks to the river which had cut out a valley ideal for grape growing.",[],{"_key":46393,"_type":9,"children":46394,"image":4,"markDefs":46399,"style":18},"b669c661fc9c",[46395],{"_key":46396,"_type":13,"marks":46397,"text":46398},"280f9c8924540",[],"If one visits the Eglisau Museum one will see objects and models and pictures of Eglisau as it was. Because it was such an important place to cross the river there are pictures and models of the bridges that were built here. For the same reason that it was an important and strategic crossroads it was made one of six seats of local governors (Landvögte) who ruled the provinces around Zurich. The Eglisau governors were here for three hundred years (ca. 1500-1800) and before them it was ruled by the Barons of Tengen, German nobility who were also present for about three hundred years (ca. 1200-1500). These last built a castle on the south side of the river opposite the church, a castle that was used later by the local governors and finally pulled down in the 19th century.",[],{"_key":46401,"_type":9,"children":46402,"image":4,"markDefs":46407,"style":18},"ff8e2d99e52c",[46403],{"_key":46404,"_type":13,"marks":46405,"text":46406},"462bfaa3dee80",[15],"The Castle",[],{"_key":46409,"_type":9,"children":46410,"image":4,"markDefs":46415,"style":18},"8033587c39fa",[46411],{"_key":46412,"_type":13,"marks":46413,"text":46414},"a986e3d04e390",[],"Eglisau was first mentioned in 892 when the abbot Gozbert bequeathed “Zeglins Owa” (the au or meadow opposite where the Eglisau church now stands) to the cloister in Rheinau. In the 12th century it fell into the hands of the Barons of Tengen who built a castle on the au and also started the settlement on the north side of the river. A Romanesque church was built on the site of the present church and it was connected to the castle by a covered wooden bridge. The castle had a tower tall enough to look out over the plain to the south. All traffic crossing the bridge had to pass through the castle. In the time of the Landvögte (300 years later) this was still the case. The bridge was a toll bridge and the money paid in here was sent to Zurich where it represented a substantial amount of the total revenue of the city.",[],{"_key":46417,"_type":500,"caption":46418,"image":46419,"markDefs":4},"d100bda96514","Pen drawing of the Eglisau Castle as seen from the north-west side. Artist unknown, 18th century.",{"caption":4,"id":46420,"meta":46421,"parentID":4,"parentType":968,"url":46425},"84f764c7b3c4ee487d029aa6540e591361e316fa",{"_type":506,"aspectRatio":46422,"height":46423,"width":46424},1.329004329004329,1155,1535,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F84f764c7b3c4ee487d029aa6540e591361e316fa-1535x1155.jpg",{"_key":46427,"_type":9,"children":46428,"image":4,"markDefs":46433,"style":18},"9c9bcbc54fd9",[46429],{"_key":46430,"_type":13,"marks":46431,"text":46432},"7b41e800a9890",[],"During the French invasion of 1798 the castle suffered under the barrages of French and Russian cannons – the Russians, worried by Napoleon’s plans for expansion had sent an army out to stop him. When the French seemed to have the upper hand the Russians retreated over the Rhine burning the Eglisau wooden bridge behind them.",[],{"_key":46435,"_type":9,"children":46436,"image":4,"markDefs":46441,"style":18},"e1e98394410a",[46437],{"_key":46438,"_type":13,"marks":46439,"text":46440},"ac7c8a43098f0",[],"Napoleon imposed a “modern” French type of centralized government on Switzerland which was a death-blow to the Landvogtei (local governor system) and so the castle (the governor’s residence) was no longer needed. In 1811 the whole of the eastern part of the castle was torn down to make a more convenient approach to the new wooden bridge, and thirty years later (1841) the tower and the manor house suffered the same fate because of the building of the more practical road along the Rhine.",[],{"_key":46443,"_type":9,"children":46444,"image":4,"markDefs":46449,"style":18},"3616d656d8c7",[46445],{"_key":46446,"_type":13,"marks":46447,"text":46448},"f30daea89fc40",[15],"The Town",[],{"_key":46451,"_type":9,"children":46452,"image":4,"markDefs":46457,"style":18},"e346a52a41fc",[46453],{"_key":46454,"_type":13,"marks":46455,"text":46456},"7d5bd12b67440",[],"The town was surrounded by deep trenches on three sides and by the river on the other. It had three gates: The Wiler-Gate between the church and the town hall (today the school) on the east side; the Rhine-Gate at the north end of the bridge, and the biggest one, the Törli (= the little gate!) or Obertor, stood near where the present council building is. The two gates east and west of the town were also equipped with draw-bridges.",[],{"_key":46459,"_type":500,"caption":46460,"image":46461,"markDefs":4},"df09214e5a08","Plan of Eglisau with the modern buildings finely drawn and the older ones shown with darker dotted lines.",{"caption":4,"id":46462,"meta":46463,"parentID":4,"parentType":968,"url":46466},"669bc7317f75e6fa71670c3f634c9dc1c1d2532d",{"_type":506,"aspectRatio":46464,"height":19213,"width":46465},1.5173288250211328,1795,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F669bc7317f75e6fa71670c3f634c9dc1c1d2532d-1795x1183.jpg",{"_key":46468,"_type":9,"children":46469,"image":4,"markDefs":46474,"style":18},"46d8d82f61b3",[46470],{"_key":46471,"_type":13,"marks":46472,"text":46473},"9c1467e489380",[],"Traffic which came from the south would cross the river and enter the town at the north end of the bridge, climb up the steep Untergass to the Törli and on up the hill to the plain. ",[],{"_key":46476,"_type":9,"children":46477,"image":4,"markDefs":46481,"style":18},"b41cbd1cadc4",[46478],{"_key":46479,"_type":13,"marks":46480,"text":25},"fdaa6ecacd6f",[],[],{"_key":46483,"_type":500,"caption":46484,"image":46485,"markDefs":4},"85f324c413f5","Church and Vicarage seen from the steep \"Untergass\", the road that led from the north side of the old wooden bridge up through the town and on to the German border.",{"caption":4,"id":46486,"meta":46487,"parentID":4,"parentType":968,"url":46490},"81f46ab91bb35103fe28b2f4d570cdeaf53c1926",{"_type":506,"aspectRatio":46488,"height":46489,"width":17434},0.7519466073414905,899,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F81f46ab91bb35103fe28b2f4d570cdeaf53c1926-676x899.jpg",{"_key":46492,"_type":9,"children":46493,"image":4,"markDefs":46498,"style":18},"79e9340269ed",[46494],{"_key":46495,"_type":13,"marks":46496,"text":46497},"14e9c4b8b1fa",[],"The steep sides of the Rhine meant that most horse transport needed extra help to pull their loads up these roads and so an important business in Eglisau was the so-called Vorspann or extra horses that were used for this purpose. Other related jobs were blacksmiths, leather-workers and cart and wheelwrights for repairs to all horse and cart gear and the hotels for the travellers who stayed overnight before continuing their journeys.",[],{"_key":46500,"_type":9,"children":46501,"image":4,"markDefs":46506,"style":18},"6e6bc13c0166",[46502],{"_key":46503,"_type":13,"marks":46504,"text":46505},"f4b97801083d0",[15],"The Bridges",[],{"_key":46508,"_type":9,"children":46509,"image":4,"markDefs":46514,"style":18},"a2f740b1203b",[46510],{"_key":46511,"_type":13,"marks":46512,"text":46513},"0d012db962ee0",[],"Already the ancient Romans probably crossed the Rhine from the meadow of Seglingen (site of the old castle). In 1249 a bridge was mentioned for the first time. In 1549 a new one was built which was destroyed in 1799 as mentioned above during the French invasion. ",[],{"_key":46516,"_type":9,"children":46517,"image":4,"markDefs":46522,"style":18},"da3baa2142ae",[46518],{"_key":46519,"_type":13,"marks":46520,"text":46521},"6ca78256f56d",[],"Between 1895 and 1897 the spectacular rail viaduct over the Rhine was built allowing a regular service between Zurich and Schaffhausen, indeed connecting Germany with Italy:",[],{"_key":46524,"_type":500,"caption":46525,"image":46526,"markDefs":4},"a8498ecc1092","Eglisau Rail Viaduct",{"caption":4,"id":46527,"meta":46528,"parentID":4,"parentType":968,"url":46532},"72f42d8b0454fd5de2d0c4f8310218cdd2ae8388",{"_type":506,"aspectRatio":46529,"height":46530,"width":46531},2.003727865796831,1073,2150,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F72f42d8b0454fd5de2d0c4f8310218cdd2ae8388-2150x1073.jpg",{"_key":46534,"_type":9,"children":46535,"image":4,"markDefs":46540,"style":18},"17d9b8eec6a3",[46536],{"_key":46537,"_type":13,"marks":46538,"text":46539},"ddddb42fbc3b",[]," In 1811 the master builder Stadler constructed a new wooden bridge which performed its duty until the flooding caused by the Rhine dam in 1919, when it was replaced by the present stone road bridge. ",[],{"_key":46542,"_type":500,"caption":46543,"image":46544,"markDefs":4},"a7123ddf532c","The road bridge built built after the Rhine dam (at Zweidlen) raised the level of the river about 6-7 metres.",{"caption":4,"id":46545,"meta":46546,"parentID":4,"parentType":968,"url":46549},"804b02dacddd30480ba3bea0a72191a057c31f76",{"_type":506,"aspectRatio":46547,"height":17896,"width":46548},1.7854938271604939,1157,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F804b02dacddd30480ba3bea0a72191a057c31f76-1157x648.jpg",{"_key":46551,"_type":9,"children":46552,"image":4,"markDefs":46557,"style":18},"bfab395c74df",[46553],{"_key":46554,"_type":13,"marks":46555,"text":46556},"aa5ac35fd81e",[],"Because of the resulting high water level the houses on the Rheingasse and the hamlet Oberriet also disappeared.",[],{"_key":46559,"_type":9,"children":46560,"image":4,"markDefs":46565,"style":18},"b0e988e0a1b5",[46561],{"_key":46562,"_type":13,"marks":46563,"text":46564},"7387aa83d7cb0",[15],"The Church",[],{"_key":46567,"_type":9,"children":46568,"image":4,"markDefs":46573,"style":18},"da471a90e4d1",[46569],{"_key":46570,"_type":13,"marks":46571,"text":46572},"ba5580a581ca0",[],"In the 14th century the Romanesque church which had been built by the Barons of Tengen was enlarged and given a Gothic choir. In 1464 the baron Bernhard Gradner from Steyrmark (Austria) bought the right to rule Eglisau. He enlarged the castle and also the church increasing its length by 3 metres and giving it a choir and a tower covered with a pointed spire. In the choir he had a series of frescoes painted which were partly destroyed and then plastered over during the Reformation in 1523. These pictures were found again in 1960 when the plaster was removed. Also still visible today in the choir of the church is the memorial slab with a sculpture of Bernhard Gradner shown in full armour.",[],{"_key":46575,"_type":500,"caption":46576,"image":46577,"markDefs":4},"5f024f92ca14","Bernhard Gradner (died 1489) – sculpture on the grave slab in the Protestant Church, Eglisau",{"caption":4,"id":46578,"meta":46579,"parentID":4,"parentType":968,"url":46583},"077c5c72ecd8b2e45348061d408bc6b39092fd98",{"_type":506,"aspectRatio":46580,"height":46581,"width":46582},0.49587301587301585,1575,781,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F077c5c72ecd8b2e45348061d408bc6b39092fd98-781x1575.jpg",{"_key":46585,"_type":9,"children":46586,"image":4,"markDefs":46591,"style":18},"b23ba4b8d827",[46587],{"_key":46588,"_type":13,"marks":46589,"text":46590},"55482062ea3f0",[],"Gradner was responsible for many other artistic works in the church which however did not survive the destructive zeal of the Reformation. In 1716 the church was dismantled and rebuilt in the style of St. Peter’s in Zurich with a tower of tuff stone and an onion dome. ",[],{"_key":46593,"_type":9,"children":46594,"image":4,"markDefs":46598,"style":18},"3f443e655be1",[46595],{"_key":46596,"_type":13,"marks":46597,"text":25},"2aa599236666",[],[],{"_key":46600,"_type":500,"caption":46601,"image":46602,"markDefs":4},"22a54bd37ce7","The \"new\" church with \"old\" choir (right — under the tower) and vicarage (half timbered building left)",{"caption":4,"id":46603,"meta":46604,"parentID":4,"parentType":968,"url":46608},"6abef6e90a1808ef403382b913063927796e8e44",{"_type":506,"aspectRatio":46605,"height":46606,"width":46607},1.3972286374133949,866,1210,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F6abef6e90a1808ef403382b913063927796e8e44-1210x866.jpg",{"_key":46610,"_type":9,"children":46611,"image":4,"markDefs":46616,"style":18},"510aa8ab16e8",[46612],{"_key":46613,"_type":13,"marks":46614,"text":46615},"dbe75a79a6da",[],"Fortunately the old choir remained with its magnificent 15th century frescoes which were to be rediscovered two and a half centuries later.",[],{"_key":46618,"_type":500,"caption":46619,"image":46620,"markDefs":4},"ce56fbd685dc","Adoration of the Magi – Protestant Church, Eglisau – one of a cycle of frescoes depicting the life of Mary commissioned by Bernhard Gradner",{"caption":4,"id":46621,"meta":46622,"parentID":4,"parentType":968,"url":46626},"461153b7cf1babeb5796ea48895fd35a2e8a6cc8",{"_type":506,"aspectRatio":46623,"height":46624,"width":46625},1.4674329501915708,1044,1532,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F461153b7cf1babeb5796ea48895fd35a2e8a6cc8-1532x1044.jpg",{"_key":46628,"_type":9,"children":46629,"image":4,"markDefs":46634,"style":18},"3652907d94f9",[46630],{"_key":46631,"_type":13,"marks":46632,"text":46633},"62f077127df20",[15],"Weierbach House – Local Museum Eglisau",[],{"_key":46636,"_type":500,"caption":46637,"image":46638,"markDefs":4},"8ab3dab3e8d7","Weiher = pond, Bach = stream (There was a pond in front of the house, where the old people’s home now is, but which stream gave the house its name is unclear. What is clear is that a tiny stream has always flowed through the house! See the channel nearest the road in the wine cellar (the present party room).",{"caption":4,"id":46639,"meta":46640,"parentID":4,"parentType":968,"url":46642},"c11260ba570391e8bd5c61d73c49eb5b9df64faa",{"_type":506,"aspectRatio":19722,"height":46641,"width":46358},1329,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fc11260ba570391e8bd5c61d73c49eb5b9df64faa-1772x1329.jpg",{"_key":46644,"_type":9,"children":46645,"image":4,"markDefs":46650,"style":18},"2e5b27e9b443",[46646],{"_key":46647,"_type":13,"marks":46648,"text":46649},"540d0f6092fd0",[],"Built in 1670 it is a typical baroque construction of the region in the 17th century: large, solid, half-timbered, steep gabled roof, decorated eaves (here painted like the night sky), Zürivieri = Zurich-4 (often seen in the corners of the eaves in houses of this period – see picture below), painted lines parallel to the timbers give the impression of solid stone blocks (imitation of city houses). ",[],{"_key":46652,"_type":500,"caption":46653,"image":46654,"markDefs":4},"20177e5197e2","Züri-4",{"caption":4,"id":46655,"meta":46656,"parentID":4,"parentType":968,"url":46657},"fc8a1c2329ba5fd614036b11579b66ba6b9d05f5",{"_type":506,"aspectRatio":19722,"height":29218,"width":22628},"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Ffc8a1c2329ba5fd614036b11579b66ba6b9d05f5-900x675.jpg",{"_key":46659,"_type":9,"children":46660,"image":4,"markDefs":46665,"style":18},"64b949a79812",[46661],{"_key":46662,"_type":13,"marks":46663,"text":46664},"479d6091cd55",[],"It was built as a vintner’s house, with a wine pressing room with ventilation holes in the walls and a wine cellar with a double arched ceiling. The living rooms were quite luxurious for the time indicating that the first owner was probably fairly rich, although much later inhabitants were simple people including coopers (barrel makers), a grave digger and Italian seasonal workers. A part of the house was possibly used during the time of the local governors for administration of the castle. It is a mystery how such a splendid house came to be built outside the protection of the Eglisau town walls.",[],{"_key":46667,"_type":9,"children":46668,"image":4,"markDefs":46673,"style":18},"80556d9225b2",[46669],{"_key":46670,"_type":13,"marks":46671,"text":46672},"a46a3daaf6b70",[],"In 1965 it was bought by the local council, renovated in 1976\u002F77 at a cost of 1’250’000 francs and is today used as a museum:",[],{"_key":46675,"_type":9,"children":46676,"image":4,"markDefs":46681,"style":18},"0318ce74be2e",[46677],{"_key":46678,"_type":13,"marks":46679,"text":46680},"6d07b548510d",[],"\nFirst floor: Living rooms and special exhibitions",[],{"_key":46683,"_type":9,"children":46684,"image":4,"markDefs":46689,"style":18},"a50e573e76ee",[46685],{"_key":46686,"_type":13,"marks":46687,"text":46688},"c66444589979",[],"Second and Third floors are the main display rooms of the museum plus the caretaker’s flat. In the Bürgerstube (Citizen’s Room) on the 2nd floor one can see the internal decoration as it probably was at the time when the house was built: Tiled oven for heating, wooden panelled ceiling, a sideboard from the Pulverturm (a doctor’s house near the Törli) and windows with tiny circular “bull’s eye” panes. On one of the latter is a copy of a stained glass coat of arms made in 1554 (original in the Landesmuseum, Zurich) which shows in the outer circle shields from seven castles in the Landvogtei Eglisau.",[],{"_key":46691,"_type":9,"children":46692,"image":4,"markDefs":46696,"style":18},"0d941278b3b8",[46693],{"_key":46694,"_type":13,"marks":46695,"text":25},"cc1c1c17de990",[],[],{"_key":46698,"_type":500,"caption":46699,"image":46700,"markDefs":4},"65c0afcfd5e4","Stained glass coat of arms disk in the Eglisau museum",{"caption":4,"id":46701,"meta":46702,"parentID":4,"parentType":968,"url":46705},"5ebd417798697b21f3a9cdc8b7415321f9d0edae",{"_type":506,"aspectRatio":46703,"height":46704,"width":1313},1.3109489051094891,685,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F5ebd417798697b21f3a9cdc8b7415321f9d0edae-898x685.jpg",{"_key":46707,"_type":9,"children":46708,"image":4,"markDefs":46713,"style":18},"b1357d77955b",[46709],{"_key":46710,"_type":13,"marks":46711,"text":46712},"3c4502c34b0d0",[15],"Pictures",[],{"_key":46715,"_type":9,"children":46716,"image":4,"markDefs":46721,"style":18},"e30b33d1873d",[46717],{"_key":46718,"_type":13,"marks":46719,"text":46720},"816a53856af80",[],"All the pictures on the walls of the Bürgerstube are paintings by or of Salomon Landolt (1741-1818). Salomon Landolt was the last governor (1795-98) before the French occupation, who later became famous through Gottfried Keller’s delightful short story Der Landvogt von Greifensee. (He was Governor in the Landvogtei Greifensee before coming to Eglisau). He was appreciated by his subjects as a wise and fair ruler and as a competent farmer and military leader as well as a gifted painter.",[],{"_key":46723,"_type":9,"children":46724,"image":4,"markDefs":46729,"style":18},"3492a69e9311",[46725],{"_key":46726,"_type":13,"marks":46727,"text":46728},"aaf5b9795b690",[15],"Models Room",[],{"_key":46731,"_type":9,"children":46732,"image":4,"markDefs":46737,"style":18},"93247f82fc58",[46733],{"_key":46734,"_type":13,"marks":46735,"text":46736},"078695d6f70f0",[],"Glass doors lead from the Bürgerstube to the Models Room which displays models of Eglisau as it was, the castle, the Törli and a large model of the last wooden bridge built in 1810.",[],{"_key":46739,"_type":9,"children":46740,"image":4,"markDefs":46745,"style":18},"212f9a7cae91",[46741],{"_key":46742,"_type":13,"marks":46743,"text":46744},"d937fc6e232d0",[],"Reading clockwise round the walls is an overview of the main events in Eglisau’s history, illustrated by many pictures and objects of the time.",[],{"_key":46747,"_type":9,"children":46748,"image":4,"markDefs":46753,"style":18},"60a0d46b0bc1",[46749],{"_key":46750,"_type":13,"marks":46751,"text":46752},"c3d44b9f5c670",[15],"Fishing and Transport",[],{"_key":46755,"_type":9,"children":46756,"image":4,"markDefs":46761,"style":18},"126d8ba2e7e0",[46757],{"_key":46758,"_type":13,"marks":46759,"text":46760},"d3be8ae2247c0",[],"The upper floor is dedicated to two of the most important themes of the museum: fishing and transport on the river. Up until the beginning of the 20th century the river was a breeding ground for salmon. This very large and tasty fish started its life at the foot of the Rhine Falls just below Schaffhausen. The young fish swam downstream to the ocean where they spent 3 or 4 years growing in the salt water. When they were sexually mature they returned to their place of birth to spawn and so to create the next generation of salmon. This return swim up the Rhine was fraught with difficulties, not the least of which were the many fishermen who were waiting all along the way with sophisticated traps and nets and forks. Once in fresh water these large fat fish stopped feeding (which meant that normal baits on hooks were of no use to catch them). The further upstream they came the thinner they got and at the same time their skin colour changed to indicate their intention of mating and creating thousands of off-spring. This change in appearance is so dramatic that German has a special name for the sexually active adult fish: Lachs. So fish that entered the Rhine as Salmon had by the time they reached Eglisau become Lachs. The flesh of the Lachs was not as delicate as that of the Salmon but it was nevertheless a very important part of the diet of all the inhabitants of the towns that lined this very long river. At the beginning of the 20th century, however, a series of hydroelectric power stations were built which stopped the Lachs from reaching their spawning ground and therefore killed the fishing industry.",[],{"_key":46763,"_type":9,"children":46764,"image":4,"markDefs":46769,"style":18},"ad599a14faeb",[46765],{"_key":46766,"_type":13,"marks":46767,"text":46768},"080b7ed976710",[],"Half the exhibition space on the upper floor of the museum is devoted to Lachs fishing. In the middle is a Weidling – the typical boat of this part of the Rhine. These boats are constructed of a flattish bottom curved fore and aft and two flat sides.",[],{"_key":46771,"_type":500,"caption":46772,"image":46773,"markDefs":4},"2b0cd7cab4b4","Weidling builders in the 15th century in Pfäffikon. One can see clearly the angular brackets (see below) for fixing the sides to the bottom boards of the boot",{"caption":4,"id":46774,"meta":46775,"parentID":4,"parentType":968,"url":46779},"b31549568486a89a0a1ae49552994d64044a0501",{"_type":506,"aspectRatio":46776,"height":46777,"width":46778},1.0953870211102423,1279,1401,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fb31549568486a89a0a1ae49552994d64044a0501-1401x1279.jpg",{"_key":46781,"_type":9,"children":46782,"image":4,"markDefs":46787,"style":18},"3bb5f1bdb70b",[46783],{"_key":46784,"_type":13,"marks":46785,"text":46786},"bc5d4b75280d0",[],"The sides are fixed to the bottom with special braces or angular brackets which were cut from the trunk and its connecting branch of a small tree. The boards that make up the bottom and sides of the boat had to be “caulked” to make them water tight. This was done with the leaves of a water reed (reedmace) which were rolled to a long sausage shape, stuffed into the gap between the boards and covered by a long lath with triangular cross-section which was fixed in place by rows of staples. These Weidling are still very commonly seen on the Rhine, but today they are pleasure boats (often equipped with outboard motors), their function as fishing vessels or freight carriers (propelled by an oarsman standing at the rear of the boat) has been lost. The Weidling exhibited in the Eglisau Museum was used here for many years as a fishing boat. A crane on the street lifted it up to the third floor where the central window post between the double windows had to be removed in order to bring it inside. Alongside the boat is a row of objects (nets, baskets, traps, forks and spears) used by the Eglisau fishermen. There are also models of some of the more refined fishing devices and pictures illustrating their use. In the north west corner of the room is a very interesting video showing footage made around the 1930s of fishing practice on the Rhine near Basel.",[],{"_key":46789,"_type":9,"children":46790,"image":4,"markDefs":46795,"style":18},"09d3e0c287f1",[46791],{"_key":46792,"_type":13,"marks":46793,"text":46794},"b55b45c2d3770",[],"In the days of the Landvögte the fishermen had first to offer their catch to the governor. What he didn’t want could be sold at the market - there were two markets per week - and what was left over was sent to the city of Zurich. One specially tasty fish, the Nase, was only allowed to be caught by the Landvogt (or his servants).",[],{"_key":46797,"_type":9,"children":46798,"image":4,"markDefs":46803,"style":18},"ac6ff66d6b0a",[46799],{"_key":46800,"_type":13,"marks":46801,"text":46802},"dbee375cdf8d0",[],"The Weidling displayed in the Museum has a “Lantern Basket” hanging from its bow. This was used for nocturnal fishing when it was filled with pine wood which was burned to illuminate the water below it. Especially during winter when the Rhine level was low and the water clear, the fish could be seen sitting in holes at the bottom of the river. When the fishermen saw a salmon in the light of the fire they threw down their spears. Later, after 1875, spears were forbidden and were replaced by cover nets (Deckbähren).",[],{"_key":46805,"_type":9,"children":46806,"image":4,"markDefs":46811,"style":18},"0e6f9a022672",[46807],{"_key":46808,"_type":13,"marks":46809,"text":46810},"f1e41b4647370",[15],"Salt Transport",[],{"_key":46813,"_type":9,"children":46814,"image":4,"markDefs":46819,"style":18},"b07edb145236",[46815],{"_key":46816,"_type":13,"marks":46817,"text":46818},"fbbfeb8787060",[],"One of the most import commodities that was transported on the Rhine was salt. It was mined in Austria (near Salzburg) and carted over land to the Lake of Constance, where it was loaded onto Weidlinge, taken to Schaffhausen, where it had to be carried around the Rhine Falls. and then on by boat to Eglisau. The salt was packed in long barrels called Röhrli which were laid crosswise in a Weidling. One has to imagine the Rhine as a fast moving and in places quite dangerous waterway (these days the many power stations along the river have tamed it somewhat). To reduce the danger of rolling over and of losing the precious cargo, it was customary to tie two or three boats side by side together, forming what was known as a Gfährt (see the model of a Gfährt in the gallery above the top floor).",[],{"_key":46821,"_type":9,"children":46822,"image":4,"markDefs":46827,"style":18},"750fe36d9c20",[46823],{"_key":46824,"_type":13,"marks":46825,"text":46826},"39c8f6281b850",[],"In Eglisau just upstream from the church on the shore by the river was the Salt House, a large building for storing and redistributing salt. Salt was an essential mineral for the preservation of food, especially meat. Without it the population could not survive the winter. The average amount of salt used in these pre-refrigerating times was about 13 kg per person per year (these days it is about 8 kg). The cost of salt was considerable: the average man had to work for about two weeks to earn enough for the salt needs of his family for one year. Today he can do this in a matter of hours. The importance of salt transport on the Rhine remained until salt was discovered in Muttenz (near Basel) in the middle of the 19th century. With the advent of the railway (also in the middle of the 19th century) freight transport in general on the Rhine died out.",[],{"_key":46829,"_type":500,"caption":46830,"image":46831,"markDefs":4},"2fc0e36bf134","Salt House (centre), Mill Boat (right) NB: The present level of the Rhine is above the ground floor of all these houses",{"caption":4,"id":46832,"meta":46833,"parentID":4,"parentType":968,"url":46836},"8e18de5648c96121a3114a0a47c4ced11ab72f2a",{"_type":506,"aspectRatio":46834,"height":46835,"width":46358},1.2943754565376187,1369,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002F8e18de5648c96121a3114a0a47c4ced11ab72f2a-1772x1369.jpg",{"_key":46838,"_type":9,"children":46839,"image":4,"markDefs":46844,"style":18},"07f1c3e727b7",[46840],{"_key":46841,"_type":13,"marks":46842,"text":46843},"e262185ff0030",[15],"Mill Boat",[],{"_key":46846,"_type":9,"children":46847,"image":4,"markDefs":46852,"style":18},"0eae1bc5f3d4",[46848],{"_key":46849,"_type":13,"marks":46850,"text":46851},"ab6bb0253f210",[],"Just up stream from the Salt House was a Mill Boat (used for milling grain) anchored in the river. The hull of this boat (which was bigger than the local boat builders could manage) was made in Canton Bern, floated down the Aare and tugged up the Rhine to Eglisau. The mill and mill wheels were made here in Eglisau especially to fit onto this empty hull and it functioned very efficiently since the boat rose and fell with any change in river water level and so the paddle wheels were always at the optimum position in the water. The only problem was that flood waters could prove too much for it and occasionally carried it off down stream.",[],{"_key":46854,"_type":9,"children":46855,"image":4,"markDefs":46860,"style":18},"f9aacf9d7c7e",[46856],{"_key":46857,"_type":13,"marks":46858,"text":46859},"efa78191e5400",[15],"Eglisau Hydro-Electric Power Station",[],{"_key":46862,"_type":9,"children":46863,"image":4,"markDefs":46868,"style":18},"69e715708802",[46864],{"_key":46865,"_type":13,"marks":46866,"text":46867},"b67c06ad8b380",[],"The building of the hydro-electric power stations at the beginning of the 20th century was not only catastrophic for the salmon fishing, but the Eglisau power station (at Rheinsfelden) also had serious consequences for the Städtli. The damming of the river caused a rise in water level of 7 to 8 meters at Eglisau. The once lively torrent became a lazy slow moving river, almost a lake. All the houses that lined the river (see picture above), including the old wooden bridge, had to be pulled down.",[],{"_key":46870,"_type":9,"children":46871,"image":4,"markDefs":46876,"style":18},"08dbdae8c90a",[46872],{"_key":46873,"_type":13,"marks":46874,"text":46875},"e3582a9928290",[15],"Health Resort\u002FMineral Springs",[],{"_key":46878,"_type":9,"children":46879,"image":4,"markDefs":46884,"style":18},"f14230f2079e",[46880],{"_key":46881,"_type":13,"marks":46882,"text":46883},"cae03de5668d0",[],"In 1821\u002F22 attempts were made to find underground salt deposits in Eglisau, first on the left bank near the old castle and then on the right bank, where at a depth of 240 m an artesian spring was found with mineral content (41-42 l\u002Fmin, 14°) but no salt. Six decades long this water flowed unused into the Rhine.",[],{"_key":46886,"_type":9,"children":46887,"image":4,"markDefs":46892,"style":18},"ea5fa462fa72",[46888],{"_key":46889,"_type":13,"marks":46890,"text":46891},"91b4ad010b4a0",[],"In 1879 a health resort near the site of the present road bridge was planned at a cost of 25’000 francs but, due to constant enlargement of the plans it was finished at a cost of 95’000! The risk of the enterprise had become too great for the Eglisau shareholders who sold out to a hotel manager, J.G. Sutter. It was opened with a big celebration in 1880 and was initially a big success, especially due to the health resort doctor, Dr Josef Wiel, who was also author of a diet cookbook (see museum show case top floor) and lecturer in hygiene at the Polytechnicum (ETH) and offered cures for stomach diseases. Unfortunately both Wiel and Sutter died a year after the opening and Sutter’s son, who tried to continue the business was incompetent and it went bankrupt in 1885. After 1991 it continued as a normal hotel until the building was bought by the Hydro-Electric Power Station (NOK) in 1915 and pulled down in 1918 because of the imminent rise of the Rhine water level.",[],{"_key":46894,"_type":500,"caption":46895,"image":46896,"markDefs":4},"9b535b6e10ca","Health Resort Eglisau, built in 1880 and destroyed in 1918 before the raising of the Rhine water level.",{"caption":4,"id":46897,"meta":46898,"parentID":4,"parentType":968,"url":46901},"cda502a5a9741a9418078804236cde9c67fb8d48",{"_type":506,"aspectRatio":46899,"height":46900,"width":22950},1.6568627450980393,816,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fcda502a5a9741a9418078804236cde9c67fb8d48-1352x816.jpg",{"_key":46903,"_type":9,"children":46904,"image":4,"markDefs":46909,"style":18},"4531759f4ad2",[46905],{"_key":46906,"_type":13,"marks":46907,"text":46908},"40b605f72ecd0",[],"The mineral water continued to be sold and in 1924 NOK sold the business to the firm Haller and Voser, who erected a new building on the site of the old health resort and thus started a business which for a while was the biggest mineral water supplier in Switzerland. Most of the water was, however, sold as cordial because the public didn’t appreciate the strong mineral taste.",[],{"_key":46911,"_type":9,"children":46912,"image":4,"markDefs":46916,"style":18},"52f6dfae1b09",[46913],{"_key":46914,"_type":13,"marks":46915,"text":25},"044c9045ee990",[],[],{"_key":46918,"_type":9,"children":46919,"image":4,"markDefs":46924,"style":18},"e16d14ad16e8",[46920],{"_key":46921,"_type":13,"marks":46922,"text":46923},"c8fc8f3316070",[],"The business grew until there was no more room to expand and so a new site was chosen on the opposite side of the river near the railway station where two new springs with almost ten times as much water were found. This new complex of buildings (after many changes of owners) was opened in 1970 and the old building on the Rhine was turned into private flats.",[],{"_key":46926,"_type":9,"children":46927,"image":4,"markDefs":46936,"style":18},"65666ea8ba50",[46928,46932],{"_key":46929,"_type":13,"marks":46930,"text":46931},"b43434ba704b0",[15],"The Eglisau Vineyards ",{"_key":46933,"_type":13,"marks":46934,"text":46935},"7b5e2d9ad8ef",[],"(no display in the Museum so far)",[],{"_key":46938,"_type":9,"children":46939,"image":4,"markDefs":46944,"style":18},"36f0400f856d",[46940],{"_key":46941,"_type":13,"marks":46942,"text":46943},"cca37f5f0f550",[],"Wine has been made in Eglisau for more than 1000 years. At first wine was enjoyed only by the noblemen and the clergy. In the late middle ages, however, it gradually replaced beer as a folk drink. Nevertheless the vineyards in Eglisau were owned by the upper class who rented them out to the winegrowers. These farming people were expected to give as rent half their production to the noble owner of their land. In addition, every 10th barrel had to be given to the state as tax.",[],{"_key":46946,"_type":9,"children":46947,"image":4,"markDefs":46951,"style":18},"4397e9265d31",[46948],{"_key":46949,"_type":13,"marks":46950,"text":25},"e298a66e5d250",[],[],{"_key":46953,"_type":9,"children":46954,"image":4,"markDefs":46959,"style":18},"9292f4795d02",[46955],{"_key":46956,"_type":13,"marks":46957,"text":46958},"c430a28dc3420",[],"Because of its special sunny slopes Eglisau expanded as a wine growing town and as it did, so did the related trades: From 1634 when there were 3 coopers (barrel-makers) it grew to be a centre of barrel making in the 18th century when there were 13 coopers. Another related trade was the selling of wine, where merchants became much richer than the farmers who made it. For a long time it was forbidden to sell foreign wine in Eglisau but, of course, no law against selling “Eglisauer” elsewhere.",[],{"_key":46961,"_type":500,"caption":46962,"image":46963,"markDefs":4},"164249e75060","Eglisau Vineyards in winter. Today 12 of the total of 15 hectares are planted with pinot noir.",{"caption":4,"id":46964,"meta":46965,"parentID":4,"parentType":968,"url":46967},"df0ead085cdfc94009c4eea93f6ae04affe0dd29",{"_type":506,"aspectRatio":46966,"height":12539,"width":5705},1.3329571106094809,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fdf0ead085cdfc94009c4eea93f6ae04affe0dd29-1181x886.jpg",{"_key":46969,"_type":9,"children":46970,"image":4,"markDefs":46975,"style":18},"dde0ef2880f2",[46971],{"_key":46972,"_type":13,"marks":46973,"text":46974},"07c125ea7cb90",[],"The quality was extremely variable depending on the weather conditions and on plant diseases. A good year could mean that the income from the sale of wine was more than the town’s total expenses. A bad year could mean using the sour liquid for making plaster!",[],{"_key":46977,"_type":9,"children":46978,"image":4,"markDefs":46982,"style":18},"41a9be8ed0aa",[46979],{"_key":46980,"_type":13,"marks":46981,"text":25},"046b7936c03e0",[],[],{"_key":46984,"_type":9,"children":46985,"image":4,"markDefs":46990,"style":18},"c26eeb98dae7",[46986],{"_key":46987,"_type":13,"marks":46988,"text":46989},"52cdd5fe1c5e0",[],"In the 19th century the vineyards covered 50 hectares of Eglisau’s slopes. Then came a series of setbacks including the grape louse which arrived from the USA and a decision was made to limit the amount of production, to work in syndicates for spraying, picking, pressing, etc. and the area was reduced to 15 hectares (mostly of pinot noir) to concentrate on quality rather than quantity.",[],{"_key":46992,"_type":9,"children":46993,"image":4,"markDefs":46997,"style":18},"e0a585594e19",[46994],{"_key":46995,"_type":13,"marks":46996,"text":25},"9749262e2c3d",[],[],{"_key":46999,"_type":9,"children":47000,"image":4,"markDefs":47004,"style":18},"c1bf3e979dbd",[47001],{"_key":47002,"_type":13,"marks":47003,"text":25},"8c847ee01e01",[],[],{"_key":47006,"_type":500,"image":47007,"markDefs":4},"8cab102e969c",{"caption":4,"id":47008,"meta":47009,"parentID":4,"parentType":968,"url":47012},"a94eca323783e146f093bdd046aeb73809a739cb",{"_type":506,"aspectRatio":47010,"height":6681,"width":47011},0.6581769436997319,491,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Feyqp364p\u002Fproduction\u002Fa94eca323783e146f093bdd046aeb73809a739cb-491x746.jpg",[47014,47016,47018,47020,47022,47024,47026,47028,47030,47032,47034,47036,47038,47040,47042,47044,47046,47048],{"caption":46352,"id":46354,"meta":47015,"parentID":46340,"parentType":968,"url":46359},{"_type":506,"aspectRatio":46356,"height":46357,"width":46358},{"caption":46377,"id":46379,"meta":47017,"parentID":46340,"parentType":968,"url":46383},{"_type":506,"aspectRatio":46381,"height":46382,"width":46358},{"caption":46418,"id":46420,"meta":47019,"parentID":46340,"parentType":968,"url":46425},{"_type":506,"aspectRatio":46422,"height":46423,"width":46424},{"caption":46460,"id":46462,"meta":47021,"parentID":46340,"parentType":968,"url":46466},{"_type":506,"aspectRatio":46464,"height":19213,"width":46465},{"caption":46484,"id":46486,"meta":47023,"parentID":46340,"parentType":968,"url":46490},{"_type":506,"aspectRatio":46488,"height":46489,"width":17434},{"caption":46525,"id":46527,"meta":47025,"parentID":46340,"parentType":968,"url":46532},{"_type":506,"aspectRatio":46529,"height":46530,"width":46531},{"caption":46543,"id":46545,"meta":47027,"parentID":46340,"parentType":968,"url":46549},{"_type":506,"aspectRatio":46547,"height":17896,"width":46548},{"caption":46576,"id":46578,"meta":47029,"parentID":46340,"parentType":968,"url":46583},{"_type":506,"aspectRatio":46580,"height":46581,"width":46582},{"caption":46601,"id":46603,"meta":47031,"parentID":46340,"parentType":968,"url":46608},{"_type":506,"aspectRatio":46605,"height":46606,"width":46607},{"caption":46619,"id":46621,"meta":47033,"parentID":46340,"parentType":968,"url":46626},{"_type":506,"aspectRatio":46623,"height":46624,"width":46625},{"caption":46637,"id":46639,"meta":47035,"parentID":46340,"parentType":968,"url":46642},{"_type":506,"aspectRatio":19722,"height":46641,"width":46358},{"caption":46653,"id":46655,"meta":47037,"parentID":46340,"parentType":968,"url":46657},{"_type":506,"aspectRatio":19722,"height":29218,"width":22628},{"caption":46699,"id":46701,"meta":47039,"parentID":46340,"parentType":968,"url":46705},{"_type":506,"aspectRatio":46703,"height":46704,"width":1313},{"caption":46772,"id":46774,"meta":47041,"parentID":46340,"parentType":968,"url":46779},{"_type":506,"aspectRatio":46776,"height":46777,"width":46778},{"caption":46830,"id":46832,"meta":47043,"parentID":46340,"parentType":968,"url":46836},{"_type":506,"aspectRatio":46834,"height":46835,"width":46358},{"caption":46895,"id":46897,"meta":47045,"parentID":46340,"parentType":968,"url":46901},{"_type":506,"aspectRatio":46899,"height":46900,"width":22950},{"caption":46962,"id":46964,"meta":47047,"parentID":46340,"parentType":968,"url":46967},{"_type":506,"aspectRatio":46966,"height":12539,"width":5705},{"caption":4,"id":47008,"meta":47049,"parentID":46340,"parentType":968,"url":47012},{"_type":506,"aspectRatio":47010,"height":6681,"width":47011},"\n\n\n\nIn the early years of the 21. century, when Brigitte worked voluntarily at the local Eglisau Museum, I prepared these notes for a guided tour we were asked to give in English.\n\nEglisau is a tiny town, a “Städtli”, on the Rhine midway between Zurich and Schaffhausen. It lies on two important communication routes: the river which connects the Lake of Constance in the east with Basel in the west and the road joining Schaffhausen and the bigger German towns in the north with Zurich and the Gotthard in the south. Up until 100 years ago, the Rhine was central to the lives of all the citizens of Eglisau. They made a living as fishermen or they transported merchandise on the Rhine or they served the many travellers and merchants and carters who wanted to cross it or to stay overnight in their hotels before continuing their trip. Even the winegrowers were successful thanks to the river which had cut out a valley ideal for grape growing.\n\nIf one visits the Eglisau Museum one will see objects and models and pictures of Eglisau as it was. Because it was such an important place to cross the river there are pictures and models of the bridges that were built here. For the same reason that it was an important and strategic crossroads it was made one of six seats of local governors (Landvögte) who ruled the provinces around Zurich. The Eglisau governors were here for three hundred years (ca. 1500-1800) and before them it was ruled by the Barons of Tengen, German nobility who were also present for about three hundred years (ca. 1200-1500). These last built a castle on the south side of the river opposite the church, a castle that was used later by the local governors and finally pulled down in the 19th century.\n\nThe Castle\n\nEglisau was first mentioned in 892 when the abbot Gozbert bequeathed “Zeglins Owa” (the au or meadow opposite where the Eglisau church now stands) to the cloister in Rheinau. In the 12th century it fell into the hands of the Barons of Tengen who built a castle on the au and also started the settlement on the north side of the river. A Romanesque church was built on the site of the present church and it was connected to the castle by a covered wooden bridge. The castle had a tower tall enough to look out over the plain to the south. All traffic crossing the bridge had to pass through the castle. In the time of the Landvögte (300 years later) this was still the case. The bridge was a toll bridge and the money paid in here was sent to Zurich where it represented a substantial amount of the total revenue of the city.\n\nDuring the French invasion of 1798 the castle suffered under the barrages of French and Russian cannons – the Russians, worried by Napoleon’s plans for expansion had sent an army out to stop him. When the French seemed to have the upper hand the Russians retreated over the Rhine burning the Eglisau wooden bridge behind them.\n\nNapoleon imposed a “modern” French type of centralized government on Switzerland which was a death-blow to the Landvogtei (local governor system) and so the castle (the governor’s residence) was no longer needed. In 1811 the whole of the eastern part of the castle was torn down to make a more convenient approach to the new wooden bridge, and thirty years later (1841) the tower and the manor house suffered the same fate because of the building of the more practical road along the Rhine.\n\nThe Town\n\nThe town was surrounded by deep trenches on three sides and by the river on the other. It had three gates: The Wiler-Gate between the church and the town hall (today the school) on the east side; the Rhine-Gate at the north end of the bridge, and the biggest one, the Törli (= the little gate!) or Obertor, stood near where the present council building is. The two gates east and west of the town were also equipped with draw-bridges.\n\nTraffic which came from the south would cross the river and enter the town at the north end of the bridge, climb up the steep Untergass to the Törli and on up the hill to the plain. \n\n\n\nThe steep sides of the Rhine meant that most horse transport needed extra help to pull their loads up these roads and so an important business in Eglisau was the so-called Vorspann or extra horses that were used for this purpose. Other related jobs were blacksmiths, leather-workers and cart and wheelwrights for repairs to all horse and cart gear and the hotels for the travellers who stayed overnight before continuing their journeys.\n\nThe Bridges\n\nAlready the ancient Romans probably crossed the Rhine from the meadow of Seglingen (site of the old castle). In 1249 a bridge was mentioned for the first time. In 1549 a new one was built which was destroyed in 1799 as mentioned above during the French invasion. \n\nBetween 1895 and 1897 the spectacular rail viaduct over the Rhine was built allowing a regular service between Zurich and Schaffhausen, indeed connecting Germany with Italy:\n\n In 1811 the master builder Stadler constructed a new wooden bridge which performed its duty until the flooding caused by the Rhine dam in 1919, when it was replaced by the present stone road bridge. \n\nBecause of the resulting high water level the houses on the Rheingasse and the hamlet Oberriet also disappeared.\n\nThe Church\n\nIn the 14th century the Romanesque church which had been built by the Barons of Tengen was enlarged and given a Gothic choir. In 1464 the baron Bernhard Gradner from Steyrmark (Austria) bought the right to rule Eglisau. He enlarged the castle and also the church increasing its length by 3 metres and giving it a choir and a tower covered with a pointed spire. In the choir he had a series of frescoes painted which were partly destroyed and then plastered over during the Reformation in 1523. These pictures were found again in 1960 when the plaster was removed. Also still visible today in the choir of the church is the memorial slab with a sculpture of Bernhard Gradner shown in full armour.\n\nGradner was responsible for many other artistic works in the church which however did not survive the destructive zeal of the Reformation. In 1716 the church was dismantled and rebuilt in the style of St. Peter’s in Zurich with a tower of tuff stone and an onion dome. \n\n\n\nFortunately the old choir remained with its magnificent 15th century frescoes which were to be rediscovered two and a half centuries later.\n\nWeierbach House – Local Museum Eglisau\n\nBuilt in 1670 it is a typical baroque construction of the region in the 17th century: large, solid, half-timbered, steep gabled roof, decorated eaves (here painted like the night sky), Zürivieri = Zurich-4 (often seen in the corners of the eaves in houses of this period – see picture below), painted lines parallel to the timbers give the impression of solid stone blocks (imitation of city houses). \n\nIt was built as a vintner’s house, with a wine pressing room with ventilation holes in the walls and a wine cellar with a double arched ceiling. The living rooms were quite luxurious for the time indicating that the first owner was probably fairly rich, although much later inhabitants were simple people including coopers (barrel makers), a grave digger and Italian seasonal workers. A part of the house was possibly used during the time of the local governors for administration of the castle. It is a mystery how such a splendid house came to be built outside the protection of the Eglisau town walls.\n\nIn 1965 it was bought by the local council, renovated in 1976\u002F77 at a cost of 1’250’000 francs and is today used as a museum:\n\n\nFirst floor: Living rooms and special exhibitions\n\nSecond and Third floors are the main display rooms of the museum plus the caretaker’s flat. In the Bürgerstube (Citizen’s Room) on the 2nd floor one can see the internal decoration as it probably was at the time when the house was built: Tiled oven for heating, wooden panelled ceiling, a sideboard from the Pulverturm (a doctor’s house near the Törli) and windows with tiny circular “bull’s eye” panes. On one of the latter is a copy of a stained glass coat of arms made in 1554 (original in the Landesmuseum, Zurich) which shows in the outer circle shields from seven castles in the Landvogtei Eglisau.\n\n\n\nPictures\n\nAll the pictures on the walls of the Bürgerstube are paintings by or of Salomon Landolt (1741-1818). Salomon Landolt was the last governor (1795-98) before the French occupation, who later became famous through Gottfried Keller’s delightful short story Der Landvogt von Greifensee. (He was Governor in the Landvogtei Greifensee before coming to Eglisau). He was appreciated by his subjects as a wise and fair ruler and as a competent farmer and military leader as well as a gifted painter.\n\nModels Room\n\nGlass doors lead from the Bürgerstube to the Models Room which displays models of Eglisau as it was, the castle, the Törli and a large model of the last wooden bridge built in 1810.\n\nReading clockwise round the walls is an overview of the main events in Eglisau’s history, illustrated by many pictures and objects of the time.\n\nFishing and Transport\n\nThe upper floor is dedicated to two of the most important themes of the museum: fishing and transport on the river. Up until the beginning of the 20th century the river was a breeding ground for salmon. This very large and tasty fish started its life at the foot of the Rhine Falls just below Schaffhausen. The young fish swam downstream to the ocean where they spent 3 or 4 years growing in the salt water. When they were sexually mature they returned to their place of birth to spawn and so to create the next generation of salmon. This return swim up the Rhine was fraught with difficulties, not the least of which were the many fishermen who were waiting all along the way with sophisticated traps and nets and forks. Once in fresh water these large fat fish stopped feeding (which meant that normal baits on hooks were of no use to catch them). The further upstream they came the thinner they got and at the same time their skin colour changed to indicate their intention of mating and creating thousands of off-spring. This change in appearance is so dramatic that German has a special name for the sexually active adult fish: Lachs. So fish that entered the Rhine as Salmon had by the time they reached Eglisau become Lachs. The flesh of the Lachs was not as delicate as that of the Salmon but it was nevertheless a very important part of the diet of all the inhabitants of the towns that lined this very long river. At the beginning of the 20th century, however, a series of hydroelectric power stations were built which stopped the Lachs from reaching their spawning ground and therefore killed the fishing industry.\n\nHalf the exhibition space on the upper floor of the museum is devoted to Lachs fishing. In the middle is a Weidling – the typical boat of this part of the Rhine. These boats are constructed of a flattish bottom curved fore and aft and two flat sides.\n\nThe sides are fixed to the bottom with special braces or angular brackets which were cut from the trunk and its connecting branch of a small tree. The boards that make up the bottom and sides of the boat had to be “caulked” to make them water tight. This was done with the leaves of a water reed (reedmace) which were rolled to a long sausage shape, stuffed into the gap between the boards and covered by a long lath with triangular cross-section which was fixed in place by rows of staples. These Weidling are still very commonly seen on the Rhine, but today they are pleasure boats (often equipped with outboard motors), their function as fishing vessels or freight carriers (propelled by an oarsman standing at the rear of the boat) has been lost. The Weidling exhibited in the Eglisau Museum was used here for many years as a fishing boat. A crane on the street lifted it up to the third floor where the central window post between the double windows had to be removed in order to bring it inside. Alongside the boat is a row of objects (nets, baskets, traps, forks and spears) used by the Eglisau fishermen. There are also models of some of the more refined fishing devices and pictures illustrating their use. In the north west corner of the room is a very interesting video showing footage made around the 1930s of fishing practice on the Rhine near Basel.\n\nIn the days of the Landvögte the fishermen had first to offer their catch to the governor. What he didn’t want could be sold at the market - there were two markets per week - and what was left over was sent to the city of Zurich. One specially tasty fish, the Nase, was only allowed to be caught by the Landvogt (or his servants).\n\nThe Weidling displayed in the Museum has a “Lantern Basket” hanging from its bow. This was used for nocturnal fishing when it was filled with pine wood which was burned to illuminate the water below it. Especially during winter when the Rhine level was low and the water clear, the fish could be seen sitting in holes at the bottom of the river. When the fishermen saw a salmon in the light of the fire they threw down their spears. Later, after 1875, spears were forbidden and were replaced by cover nets (Deckbähren).\n\nSalt Transport\n\nOne of the most import commodities that was transported on the Rhine was salt. It was mined in Austria (near Salzburg) and carted over land to the Lake of Constance, where it was loaded onto Weidlinge, taken to Schaffhausen, where it had to be carried around the Rhine Falls. and then on by boat to Eglisau. The salt was packed in long barrels called Röhrli which were laid crosswise in a Weidling. One has to imagine the Rhine as a fast moving and in places quite dangerous waterway (these days the many power stations along the river have tamed it somewhat). To reduce the danger of rolling over and of losing the precious cargo, it was customary to tie two or three boats side by side together, forming what was known as a Gfährt (see the model of a Gfährt in the gallery above the top floor).\n\nIn Eglisau just upstream from the church on the shore by the river was the Salt House, a large building for storing and redistributing salt. Salt was an essential mineral for the preservation of food, especially meat. Without it the population could not survive the winter. The average amount of salt used in these pre-refrigerating times was about 13 kg per person per year (these days it is about 8 kg). The cost of salt was considerable: the average man had to work for about two weeks to earn enough for the salt needs of his family for one year. Today he can do this in a matter of hours. The importance of salt transport on the Rhine remained until salt was discovered in Muttenz (near Basel) in the middle of the 19th century. With the advent of the railway (also in the middle of the 19th century) freight transport in general on the Rhine died out.\n\nMill Boat\n\nJust up stream from the Salt House was a Mill Boat (used for milling grain) anchored in the river. The hull of this boat (which was bigger than the local boat builders could manage) was made in Canton Bern, floated down the Aare and tugged up the Rhine to Eglisau. The mill and mill wheels were made here in Eglisau especially to fit onto this empty hull and it functioned very efficiently since the boat rose and fell with any change in river water level and so the paddle wheels were always at the optimum position in the water. The only problem was that flood waters could prove too much for it and occasionally carried it off down stream.\n\nEglisau Hydro-Electric Power Station\n\nThe building of the hydro-electric power stations at the beginning of the 20th century was not only catastrophic for the salmon fishing, but the Eglisau power station (at Rheinsfelden) also had serious consequences for the Städtli. The damming of the river caused a rise in water level of 7 to 8 meters at Eglisau. The once lively torrent became a lazy slow moving river, almost a lake. All the houses that lined the river (see picture above), including the old wooden bridge, had to be pulled down.\n\nHealth Resort\u002FMineral Springs\n\nIn 1821\u002F22 attempts were made to find underground salt deposits in Eglisau, first on the left bank near the old castle and then on the right bank, where at a depth of 240 m an artesian spring was found with mineral content (41-42 l\u002Fmin, 14°) but no salt. Six decades long this water flowed unused into the Rhine.\n\nIn 1879 a health resort near the site of the present road bridge was planned at a cost of 25’000 francs but, due to constant enlargement of the plans it was finished at a cost of 95’000! The risk of the enterprise had become too great for the Eglisau shareholders who sold out to a hotel manager, J.G. Sutter. It was opened with a big celebration in 1880 and was initially a big success, especially due to the health resort doctor, Dr Josef Wiel, who was also author of a diet cookbook (see museum show case top floor) and lecturer in hygiene at the Polytechnicum (ETH) and offered cures for stomach diseases. Unfortunately both Wiel and Sutter died a year after the opening and Sutter’s son, who tried to continue the business was incompetent and it went bankrupt in 1885. After 1991 it continued as a normal hotel until the building was bought by the Hydro-Electric Power Station (NOK) in 1915 and pulled down in 1918 because of the imminent rise of the Rhine water level.\n\nThe mineral water continued to be sold and in 1924 NOK sold the business to the firm Haller and Voser, who erected a new building on the site of the old health resort and thus started a business which for a while was the biggest mineral water supplier in Switzerland. Most of the water was, however, sold as cordial because the public didn’t appreciate the strong mineral taste.\n\n\n\nThe business grew until there was no more room to expand and so a new site was chosen on the opposite side of the river near the railway station where two new springs with almost ten times as much water were found. This new complex of buildings (after many changes of owners) was opened in 1970 and the old building on the Rhine was turned into private flats.\n\nThe Eglisau Vineyards (no display in the Museum so far)\n\nWine has been made in Eglisau for more than 1000 years. At first wine was enjoyed only by the noblemen and the clergy. In the late middle ages, however, it gradually replaced beer as a folk drink. Nevertheless the vineyards in Eglisau were owned by the upper class who rented them out to the winegrowers. These farming people were expected to give as rent half their production to the noble owner of their land. In addition, every 10th barrel had to be given to the state as tax.\n\n\n\nBecause of its special sunny slopes Eglisau expanded as a wine growing town and as it did, so did the related trades: From 1634 when there were 3 coopers (barrel-makers) it grew to be a centre of barrel making in the 18th century when there were 13 coopers. Another related trade was the selling of wine, where merchants became much richer than the farmers who made it. For a long time it was forbidden to sell foreign wine in Eglisau but, of course, no law against selling “Eglisauer” elsewhere.\n\nThe quality was extremely variable depending on the weather conditions and on plant diseases. A good year could mean that the income from the sale of wine was more than the town’s total expenses. A bad year could mean using the sour liquid for making plaster!\n\n\n\nIn the 19th century the vineyards covered 50 hectares of Eglisau’s slopes. Then came a series of setbacks including the grape louse which arrived from the USA and a decision was made to limit the amount of production, to work in syndicates for spraying, picking, pressing, etc. and the area was reduced to 15 hectares (mostly of pinot noir) to concentrate on quality rather than quantity.\n\n\n\n",{"_type":375,"current":47052},"Eglisau-Ortsmuseum",{"_id":2877,"chapters":47054,"content":47055,"images":47164,"rawText":47165,"slug":47166,"title":1034},[],[47056,47083,47091,47137],{"_key":47057,"_type":9,"children":47058,"image":4,"markDefs":47078,"style":18},"9d6567b892aa",[47059,47063,47067,47070,47074],{"_key":47060,"_type":13,"marks":47061,"text":47062},"636afc97109c",[],"I was here from 1962-65 and from 1968-75. At the beginning I met ",{"_key":47064,"_type":13,"marks":47065,"text":1814},"53f8705093bc",[47066],"d5cef3ea9a3c",{"_key":47068,"_type":13,"marks":47069,"text":2617},"8630071f4c38",[],{"_key":47071,"_type":13,"marks":47072,"text":3276},"85db17f7d0be",[47073],"e7944c7095e7",{"_key":47075,"_type":13,"marks":47076,"text":47077},"907d1a7b0cd4",[],", and Ian Bamford, people who are still very important friends. During the first period the music in the school was managed exclusively by Brian Barrett, a brilliant pianist, singer, conductor, timpanist - in short a very sensitive and capable all round musician. Although one had the feeling he would have been much more at home at the university, he never found a place there, and he never complained about having to teach class music - something which would have driven me mad. Occasionally I visited his classes with my clarinet and he also performed my setting of Psalm 8 with his University Singers. During my two years in Europe 1966 \u002F 67 he left Linwood for a job in Perth. I was never to see him again—he was there for only a short time before he died of cancer and his wife, Mary, and three children had to return to Christchurch without him.",[47079,47081],{"_key":47066,"_type":321,"reference":47080,"slug":1834,"type":326},{"_ref":1833,"_type":324},{"_key":47073,"_type":321,"reference":47082,"slug":3291,"type":326},{"_ref":3290,"_type":324},{"_key":47084,"_type":9,"children":47085,"image":4,"markDefs":47090,"style":18},"3c4c93429898",[47086],{"_key":47087,"_type":13,"marks":47088,"text":47089},"fba17ac736340",[],"When I returned to Linwood in 1968 a young lady teacher had been appointed to replace Brian. Suddenly those of us who knew anything about music realised what an impossible job Brian had been expected to do. Because he had been such a formidable musician nobody would ever have dared offering to help him. But with this new lady we had no inhibitions. I offered to form a choir, Lester Davison a brass band and Rod Harries and I planned a new Hymn book which would be used in the assemblies. Don McAra had left to join the Teachers College and had been replaced by John Kim, a theatre man whose business had gone bankrupt. There was also a clever new art teacher, Gavin Bishop, and so with all these new strengths we planned our version of Total Theatre.",[],{"_key":47092,"_type":9,"children":47093,"image":4,"markDefs":47128,"style":18},"5c7e8bd237d2",[47094,47097,47101,47105,47109,47113,47117,47121,47125],{"_key":47095,"_type":13,"marks":47096,"text":1848},"a62b0fe4941a0",[],{"_key":47098,"_type":13,"marks":47099,"text":1852},"a62b0fe4941a1",[73,47100],"17e46ef44143",{"_key":47102,"_type":13,"marks":47103,"text":47104},"a62b0fe4941a2",[],", a two hour long work in which all the wanderings of Odysseus were shown in a 40 minute mime sequence to the accompaniment of orchestra choir and soloists. The next year we read the Anglo-Saxon Chronicle, studied the Bayeux Tapestry and created a piece around the events of 1066: ",{"_key":47106,"_type":13,"marks":47107,"text":2016},"3c67b42ab0eb",[47108],"9fc340c22dd1",{"_key":47110,"_type":13,"marks":47111,"text":47112},"03f1c4296235",[],". The following year the team was enlarged by the arrival of Graeme Tetley who suggested a setting of Grimmelshausen’s ",{"_key":47114,"_type":13,"marks":47115,"text":2283},"a45959730980",[47116],"6765682f77ab",{"_key":47118,"_type":13,"marks":47119,"text":47120},"303f7fbd3073",[],". Here I tried involving the pupils with writing some of the music, something which was even more time-consuming than writing it myself. However I was to learn a lot in the process: Norrie Gibson, a student, had the job of writing a piece for Simplicius’ awakening after he’d been sewn into a fool’s costume. His piece was for girls’ chorus and it required them to sing clusters. We talked about giving each of the girls a chime bar with their note (each girl sang only one note in the whole piece—but a different one from all the others) but finished up giving them tuned pipes—off-cuts of plastic down-pipe which resonated with their note. I later used similar pipes for the Royal Chch Musical Society in my ",{"_key":47122,"_type":13,"marks":47123,"text":2334},"eb8241b80976",[47124],"492b0e3f7223",{"_key":47126,"_type":13,"marks":47127,"text":2338},"9e2631ad82cf",[],[47129,47131,47133,47135],{"_key":47100,"_type":321,"reference":47130,"slug":1970,"type":510},{"_ref":1800,"_type":324},{"_key":47124,"_type":321,"reference":47132,"slug":2343,"type":510},{"_ref":2342,"_type":324},{"_key":47108,"_type":321,"reference":47134,"slug":2227,"type":510},{"_ref":1977,"_type":324},{"_key":47116,"_type":321,"reference":47136,"slug":2361,"type":510},{"_ref":2269,"_type":324},{"_key":47138,"_type":9,"children":47139,"image":4,"markDefs":47159,"style":18},"f1acbf21826a",[47140,47144,47148,47152,47156],{"_key":47141,"_type":13,"marks":47142,"text":47143},"9ffab94f39b40",[],"The next big total theatre piece was ",{"_key":47145,"_type":13,"marks":47146,"text":2637},"c9d3b75c454c",[47147],"cd1ee74ea24b",{"_key":47149,"_type":13,"marks":47150,"text":47151},"0bba8c18aab0",[],". The basic idea came from Rod Harries who had been studying comparative religion and was fascinated by this first attempt at monotheism in ancient Egypt. Helping behind the scenes of this production was a new science teacher: ",{"_key":47153,"_type":13,"marks":47154,"text":11468},"5e4bcf59646f",[47155],"f17a6dd0ad03",{"_key":47157,"_type":13,"marks":47158,"text":2020},"675fceea80e5",[],[47160,47162],{"_key":47147,"_type":321,"reference":47161,"slug":2826,"type":510},{"_ref":2575,"_type":324},{"_key":47155,"_type":321,"reference":47163,"slug":11485,"type":326},{"_ref":11484,"_type":324},[],"I was here from 1962-65 and from 1968-75. At the beginning I met Don McAra, Rod Harries, and Ian Bamford, people who are still very important friends. During the first period the music in the school was managed exclusively by Brian Barrett, a brilliant pianist, singer, conductor, timpanist - in short a very sensitive and capable all round musician. Although one had the feeling he would have been much more at home at the university, he never found a place there, and he never complained about having to teach class music - something which would have driven me mad. Occasionally I visited his classes with my clarinet and he also performed my setting of Psalm 8 with his University Singers. During my two years in Europe 1966 \u002F 67 he left Linwood for a job in Perth. I was never to see him again—he was there for only a short time before he died of cancer and his wife, Mary, and three children had to return to Christchurch without him.\n\nWhen I returned to Linwood in 1968 a young lady teacher had been appointed to replace Brian. Suddenly those of us who knew anything about music realised what an impossible job Brian had been expected to do. Because he had been such a formidable musician nobody would ever have dared offering to help him. But with this new lady we had no inhibitions. I offered to form a choir, Lester Davison a brass band and Rod Harries and I planned a new Hymn book which would be used in the assemblies. Don McAra had left to join the Teachers College and had been replaced by John Kim, a theatre man whose business had gone bankrupt. There was also a clever new art teacher, Gavin Bishop, and so with all these new strengths we planned our version of Total Theatre.\n\nThese were very busy and intensive years for me writing music for total theatre. The first was The Odyssey, a two hour long work in which all the wanderings of Odysseus were shown in a 40 minute mime sequence to the accompaniment of orchestra choir and soloists. The next year we read the Anglo-Saxon Chronicle, studied the Bayeux Tapestry and created a piece around the events of 1066: Harold and William. The following year the team was enlarged by the arrival of Graeme Tetley who suggested a setting of Grimmelshausen’s Simplicius Simplicissimus. Here I tried involving the pupils with writing some of the music, something which was even more time-consuming than writing it myself. However I was to learn a lot in the process: Norrie Gibson, a student, had the job of writing a piece for Simplicius’ awakening after he’d been sewn into a fool’s costume. His piece was for girls’ chorus and it required them to sing clusters. We talked about giving each of the girls a chime bar with their note (each girl sang only one note in the whole piece—but a different one from all the others) but finished up giving them tuned pipes—off-cuts of plastic down-pipe which resonated with their note. I later used similar pipes for the Royal Chch Musical Society in my Ever-Circling Light. Without Norrie's influence this work would have been quite different and not as good.\n\nThe next big total theatre piece was Akhnaton. The basic idea came from Rod Harries who had been studying comparative religion and was fascinated by this first attempt at monotheism in ancient Egypt. Helping behind the scenes of this production was a new science teacher: Philip Woollaston.",{"_type":375,"current":2878},{"_id":47168,"chapters":47169,"content":47185,"images":47585,"rawText":47670,"slug":47671,"title":47673},"c227acd7-5278-4b12-b8df-e9acd0ef47ed",[47170,47173,47176,47179,47182],{"_key":47171,"text":47172},"e5fe8ebefd9b","1. O God our help in ages past",{"_key":47174,"text":47175},"8957c1fbf91a","2. O Worship the King",{"_key":47177,"text":47178},"3a4660da3a03","3. Praise, my soul, the King of heaven",{"_key":47180,"text":47181},"7a9bb87440b8","4. Praise to the Holiest in the height",{"_key":47183,"text":47184},"78b70af42203","5. Turn back, O man",[47186,47194,47201,47208,47214,47221,47227,47235,47241,47249,47255,47264,47271,47277,47285,47293,47302,47310,47319,47327,47335,47342,47351,47360,47369,47377,47385,47393,47401,47409,47417,47424,47432,47440,47448,47456,47463,47472,47480,47489,47497,47506,47514,47521,47529,47537,47545,47552,47560,47569,47577],{"_key":47187,"_type":9,"children":47188,"image":4,"markDefs":47193,"style":18},"1280fac18b96",[47189],{"_key":47190,"_type":13,"marks":47191,"text":47192},"99106996b232",[],"When I returned to LHS in 1968 three maths teachers, Rod Harries, Lester Davison and I, decided we needed a school choir and we formed this at first from our senior maths students. Since the main purpose of this choir would be to sing hymns at assamblyI wrote descants for many of the hymns which we sang at morning assembly. These were published internally for the choir in the “Choir Book” which also contained a collection of rounds. The rounds are shown separately on this site. The music in the “Choir Book”  was  collected by Rod Harries and myself and the singing was led by the choir and accompanied by the School Orchestra or by the Brass Band. 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Ambisonics originally captured spatial information about the sounds recorded, but by using the technique for playback instead of recording, position and movement of sound in three-dimensional space could be simulated.",[],{"_key":48336,"_type":9,"children":48337,"image":4,"markDefs":48342,"style":18},"6755e8092d5e",[48338],{"_key":48339,"_type":13,"marks":48340,"text":48341},"bddf8c96dc280",[],"The Swiss Center had been asked to give a concert to inaugurate the new millennium, and since the concert was to be in Ambisonics, I had to make a plan of movements for all the individual fragments of sound in my piece and bring sounds and plan to the studio so that the Ambisonics program could prepare the tape for the concert. This was a highly complicated process, and even when the program was working optimally (it was still in the experimental stage), it sometimes produced quite surprising results, and one had to start all over again. 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After a few seconds, everyone spontaneously cheered, so beautiful was the sound, so dramatic the moving masses of sound above us, so extraordinary and new the experience of sound in three-dimensional space. How did Kit ever learn to do so masterfully what no-one had done before? ",[],{"_key":48360,"_type":9,"children":48361,"image":4,"markDefs":48365,"style":634},"ef8205c374da",[48362],{"_key":48363,"_type":13,"marks":48364,"text":5833},"70d44d2f2660",[],[],[],"Electroacoustic Works\n\nKrähenalles for flute (or clarinet) and tape\n\nStonepoem for clarinet and tape\n\nNelson Songs for baritone and tape\n\nFlötenspieler und Fledermäuse for flute and tape\n\nChinese Songs for soprano and tape\n\nFather's Telescope for baritone, speaker and tape\n\nWHALE for trombone and tape\n\nInnere Stimmen Robert Schumanns\n\nClara Schumann for soprano, piano and tape\n\nDapple Metal for tape alone\n\nCredo for organ and tape (from missa digitalis)\n\nDie Poppa for baritone and tape\n\nContrasts for tape alone\n\nCredo in unam Naturam for tape alone\n\nChance Piece for oboe (or saxophone or flute) and tape\n\nSoon after our arrival in Switzerland in 1984 I made contact again with Gerald Bennett. He was in the process of establishing a Centre for Computer Music together with Bruno Spoerri in Oetwil am See (Canton Zurich) and with Rainer Bösch in Geneva. I was able to attend a number of courses in Computer Music which the Centre offered. I always went with a clear idea of what I wanted to compose and so during these courses I wrote two works both of which were performed several times in concerts of the Computer Music Centre: Nelson Songs and Chinese Songs.\n\nIn those early days the computers were very large and (compared to modern machines) very slow. It was normal when creating a sound file to leave the computer working over night, only to find the next day that a mistake had occurred and one had to start all over again. At this time I bought my first private computer, an Atari, which had to have a special sound streamer to be able to play sound files. 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Ambisonics originally captured spatial information about the sounds recorded, but by using the technique for playback instead of recording, position and movement of sound in three-dimensional space could be simulated.\n\nThe Swiss Center had been asked to give a concert to inaugurate the new millennium, and since the concert was to be in Ambisonics, I had to make a plan of movements for all the individual fragments of sound in my piece and bring sounds and plan to the studio so that the Ambisonics program could prepare the tape for the concert. This was a highly complicated process, and even when the program was working optimally (it was still in the experimental stage), it sometimes produced quite surprising results, and one had to start all over again. 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My main trainees were those who chose music as their “second major”. At the same time I had good contact with the first majors and it was often with these people that I was able to carry out special projects: The players for ",{"_key":48474,"_type":13,"marks":48475,"text":32586},"72dccfd30e4f",[48476],"6492eab29b1d",{"_key":48478,"_type":13,"marks":48479,"text":2617},"32d9e6d6fa5f",[],{"_key":48481,"_type":13,"marks":48482,"text":4687},"1d66a4a30ef7",[48483],"aa691bbe3b6f",{"_key":48485,"_type":13,"marks":48486,"text":2617},"ab3908a6d31b",[],{"_key":48488,"_type":13,"marks":48489,"text":5759},"4bf3a8f9a191",[48490],"15ebe435b123",{"_key":48492,"_type":13,"marks":48493,"text":2617},"725c90acb705",[],{"_key":48495,"_type":13,"marks":48496,"text":3662},"b4c5a327bcfc",[48497],"b46528257ea4",{"_key":48499,"_type":13,"marks":48500,"text":48501},"bd3ab04869fb",[]," and for the ",{"_key":48503,"_type":13,"marks":48504,"text":48505},"e386d5f54d099",[73],"Metal Orchestra",{"_key":48507,"_type":13,"marks":48508,"text":48509},"e386d5f54d0910",[]," (a project for the Ilam University). This last was a suggestion of the then student, ",{"_key":48511,"_type":13,"marks":48512,"text":41675},"e386d5f54d0911",[48513],"87b3d04198ab",{"_key":48515,"_type":13,"marks":48516,"text":48517},"e386d5f54d0912",[],", that I should create an orchestra out of found metal objects and together with a few students perform an improvised piece at the ",{"_key":48519,"_type":13,"marks":48520,"text":48522},"e386d5f54d0913",[48521],"827736e0343c","Ilam University",{"_key":48524,"_type":13,"marks":48525,"text":48526},"e386d5f54d0914",[]," on “open day”. The day itself was terrible although the 10 minute piece we played was very good, but we had to play it just once every hour on the hour and in between the hoards of visiters who streamed through were allowed to beat hell out of our wonderful instruments. Out of this metal collection (which came from the railway workshops) grew my interest in music from found objects. By this time I was involved with the creative music group for the Primary Schools’ Music Festival. The metal orchestra became a sort of Gamalan for a piece the children made to shadow puppets created and performed by Don McAra’s students. Each year after this I used a different set of found objects with the children for the festival: wood, glass, stones. . . and each year I was helped by my “old” Linwood Colleague, Lester Davison.",[48528,48529,48531,48533,48535,48537],{"_key":48513,"_type":316,"href":41682},{"_key":48521,"_type":316,"href":48530},"http:\u002F\u002Fwww.canterbury.ac.nz\u002F",{"_key":48476,"_type":321,"reference":48532,"slug":2343,"type":510},{"_ref":2342,"_type":324},{"_key":48483,"_type":321,"reference":48534,"slug":4904,"type":510},{"_ref":4640,"_type":324},{"_key":48490,"_type":321,"reference":48536,"slug":5874,"type":510},{"_ref":5740,"_type":324},{"_key":48497,"_type":321,"reference":48538,"slug":4007,"type":510},{"_ref":3617,"_type":324},[],"The last theatre piece that I worked on at Linwood was my comic opera The Fisherman and his Wife (Grimm: Von dem Fischer un syner Fru). The text was written by Graeme Tetley and it could well have been produced at Linwood had it not been for the piss pot, the word used by the wife, Ilsebill, for their hovel. This was not Graeme’s invention, it was taken from the original Grimm’s text. But it didn’t please Jim Orman, the headmaster, and so the work was put on ice. In the mean time Jim had decided (not because of the piss pot I think––he actually seemed to like me) that it would be better for my development as a teacher if I were transferred to the Teachers College. So it was that I finished the comic opera in my first few months at this new institution (where I had very little else to do!) and the production was helped by lots of old and new friends, notably Don McAra as producer, Michael Harlow in the chorus, Rod Harries in the lighting box, and my new music colleague, Frank Dennis, who helped train the choir.\n\nI was a lecturer in the music department for training secondary school teachers—i.e. for training young people to be class music teachers, something that I had never done myself! My main trainees were those who chose music as their “second major”. At the same time I had good contact with the first majors and it was often with these people that I was able to carry out special projects: The players for The Ever-circling Light, Devotion to the Small, Piece of 4, Texts for Composition and for the Metal Orchestra (a project for the Ilam University). This last was a suggestion of the then student, Philip Norman, that I should create an orchestra out of found metal objects and together with a few students perform an improvised piece at the Ilam University on “open day”. The day itself was terrible although the 10 minute piece we played was very good, but we had to play it just once every hour on the hour and in between the hoards of visiters who streamed through were allowed to beat hell out of our wonderful instruments. Out of this metal collection (which came from the railway workshops) grew my interest in music from found objects. By this time I was involved with the creative music group for the Primary Schools’ Music Festival. The metal orchestra became a sort of Gamalan for a piece the children made to shadow puppets created and performed by Don McAra’s students. Each year after this I used a different set of found objects with the children for the festival: wood, glass, stones. . . and each year I was helped by my “old” Linwood Colleague, Lester Davison.",{"_type":375,"current":3287},1775221743082]