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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<strong>Alphabet</strong>: IV & V<br />
7<br />
B Clarinet<br />
Double Bass<br />
S.<br />
A<br />
33<br />
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Still, dry, with restrained emotions<br />
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sempre<br />
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sempre<br />
sempre<br />
whispered around pitch<br />
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IV: Early Fall Exists<br />
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Early fall ex-ists, af - ter - taste<br />
af - ter-touch<br />
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B Cl.<br />
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D.B.<br />
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B<br />
36<br />
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se-clu-sion<br />
se - clu - sion - and an- gels ex-ist;<br />
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3<br />
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B Cl.<br />
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D.B.<br />
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II<br />
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III<br />
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III (<br />
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0 <br />
3 3 let ring<br />
Allow open string III to sound occasionally
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