Alphabet Iv-V
Danish poet Inger Christensen was concerned with two things while writing her book of poetry Alfabet: alliteration and the Fibonacci Sequence. The volume contains poems of increasing length, from a single line to over twenty pages, which delight in the sound of words. In my setting of Susanna Nied’s English translation of these poems, I sought to do something similar. I structured the musical materials from pitches to durations, even the length of the two movements, on Fibonacci proportions, and I delighted in the sibilant sounds the instruments can make. The mercurial onset of attack in a high clarinet part; the blurring of pitch and noise in double bass multiphonics; the gradations between speaking and singing.
Danish poet Inger Christensen was concerned with two things while writing her book of poetry Alfabet: alliteration and the Fibonacci Sequence. The volume contains poems of increasing length, from a single line to over twenty pages, which delight in the sound of words.
In my setting of Susanna Nied’s English translation of these poems, I sought to do something similar. I structured the musical materials from pitches to durations, even the length of the two movements, on Fibonacci proportions, and I delighted in the sibilant sounds the instruments can make. The mercurial onset of attack in a high clarinet part; the blurring of pitch and noise in double bass multiphonics; the gradations between speaking and singing.
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accel.<br />
<strong>Alphabet</strong>: IV & V<br />
a tempo<br />
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oaks, elms, jun - i - pers, same - ness lone - li - ness ex - ist,<br />
3<br />
9<br />
B Cl.<br />
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D.B.<br />
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B Cl.<br />
D.B.<br />
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47<br />
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accel.<br />
a tempo<br />
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3<br />
ei - der ducks, spi-ders and vin - e - gar ex - ist; and the fut - ure,<br />
the fut-ure<br />
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