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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