13.11.2012 Aufrufe

HANS WERNER HENZE - Schott Music

HANS WERNER HENZE - Schott Music

HANS WERNER HENZE - Schott Music

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dead, but at this moment he is just being led to his<br />

execution as a deserter. A military band signals the<br />

arrival of the new Governor.<br />

5. The Governor – ceremonial stand<br />

During the military parade the Governor observes that<br />

the General, tormented by the scenes he has just witnessed,<br />

turns away and leaves the parade.<br />

6. On the battlefield<br />

He is followed to the battlefield; here the General has<br />

re-encountered the young woman and advises her to<br />

entrust her child to the older woman. The Governor<br />

orders the young woman to be shot for looting. The<br />

General who pleads for mercy on her part is arrested<br />

and taken to a mental asylum.<br />

7. The river<br />

The old woman attempts to cross the river with the<br />

child. The General who is just being led past them<br />

is forced to witness the shooting of the woman and<br />

child by the soldiers without being able to intervene.<br />

8. Garden in the mental asylum<br />

The General sits amongst lunatics who relate terrible<br />

tales from legends and historical events; they<br />

are building an imaginary boat which will take them<br />

across an imaginary river to freedom. The 2 nd soldier<br />

utilises a trick to gain access to the asylum in civilian<br />

clothes; he pleads to the General to lead a revolt<br />

against the Emperor. He is however forced to leave<br />

without having achieved anything, as subsequently<br />

also the Governor who brings the greetings of the<br />

Emperor and his plea for support from the General in<br />

the civil war which has just broken out. The General<br />

protests against further bloodshed.<br />

9. The murder – government office, gateway outside<br />

the conference room, room in the slums<br />

The Governor reports to the ministry of his fruitless<br />

visit of the General. When he leaves the conference<br />

room, he is shot by the 2nd soldier who has been<br />

waiting for him at the gateway. The soldier subsequently<br />

walks home and encounters his frightened<br />

wife.<br />

10. The emperor’s court<br />

Picnic on the river bank. The Emperor has been informed<br />

that the Governor had been shot by the 2nd<br />

soldier who had previously visited the General. He<br />

orders the General to be blinded.<br />

11. Mental asylum<br />

The Doctor reports to the General that the 2nd soldier<br />

has killed the Governor and then killed himself and<br />

the members of his family before the followers of the<br />

Emperor were able to seize them. In reaction to these<br />

new terrible events, the General wants to blind himself,<br />

but is tied up in a straitjacket. He is blinded by<br />

two murderers sent by the Emperor. Now the General<br />

sees in his inward eye all the victims of war who stand<br />

and accuse him. The lunatics are afraid of the disfigured<br />

General; they consider him to be a spy who is a<br />

danger to themselves and their boat and the island to<br />

which they intend to flee. They smother him under<br />

large sheets, imagining that these represent the water<br />

of the river.<br />

“<br />

My compositional activity during the tenyear<br />

span between the Bassarids and We<br />

come to the River has been a continual process,<br />

away from the hedonistic world of the Bacchae and<br />

Maenades and towards the contemporary figures,<br />

murderers and victims of the new work. This was a<br />

path strewn with obstacles, both artistic and moralistic.<br />

It was for me a time of study and practising and<br />

works such as El Cimarrón, Natascha Ungeheuer and<br />

La Cubana must be regarded as preparatory stages.<br />

During this period, my music gained in clarity and<br />

assertiveness and became more the receptacle for<br />

messages and precisely defined content. […] The<br />

composition of the texts and scenes of We come to<br />

the River represented a learning process and in fact<br />

the essence of composition is always a process of<br />

learning: realisation, comprehension, and examination.<br />

The description of this particular learning<br />

process however must inevitably also focus on the<br />

powerful forces existing in our world: the moral<br />

conflicts of individuals and of the suffering and destitution<br />

of the suppressed and exploited. The figures<br />

of power, the militia and purveyors of violence are<br />

the people we meet on the street, in hotel lobbies<br />

and watch on TV news reports. The violability and<br />

vulnerability of the weak and poor will be transformed<br />

into strength to form a new power which<br />

will change the world.<br />

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