Description

Besetzung/Scoring: Großes Orchester: 32 Stimmen
Flöte 1-3, Oboe, E-Horn, Klarinette 1 und 2, Bassklarinette, Fagott, Piccolo-Trompete in C, Oboe 1 und 2, Horn 1 und 2, Trompete 1 und 2, Piccolo Tompete, Posaune 1 und 2, Tuba, Pauken, Schlagwerk, Marimba, Gong, Pauken, Harfe, Glockenspiel (Röhrenglocken), Violine 1 und 2, Viola, Cello, Kontrabass

Sound Research of Women Composers: Contemporary Music (C 593)

What are crystals and fire like? Ice and fire. Brilliant, cold and hot. Captured fleetingness, on a knife‘s edge. Fragile and yet cast in notes. Feminine, bright and tenderly expressed pain and joie de vivre, new music in bright timbres. I hear colors. Green-silver. White. Gold. I also paint them. Compositions emerge from my improvisations. Orchestral works emerge from the organ works. They reflect feeling and colors, this is what makes their form.
I like to work with adjectives. Flickering means: diffuse. Sensation and drama in a feminine, impulsive, bright ductus, bright voices, high dissonances and spice, because the organ, despite being the queen of instruments, is often dark-voiced. A music behind the mirror, like Alice in Wonderland – daring the childlike, innocent, pure, emotional feeling, a new form of female childishness, free, diverse and expressive, without being masculine or aggressive.
Touching and sounding the untouched, the unprinted. Leaving the imitation and ending in the amen and breathing. Presenting a music primal in our time in the sense of wild, without being threatening, emotionally affirming. In the classical music, in the art music the female being comes in far too short. It is defined masculinely what and how form, structure, construction technique are and have to be, how it is desired and good, expected and tolerated.
The point is to depict the complete of life, not just the male part, but to be open to the new. Tides and waves of compositions.
„Extraordinary musical language: few composers created sensitive poetic like her: Woman with creatively fragrant soul with dramatic flair for the organ thought dead because of „inflexibility“: works of new organ art full of sensitivity and finezza, the gifted, well-known multi-talent (I was inclined to write somewhat carelessly but aptly genius) as pianist/composer/organist enriches the meager scene of a rare genre of organ music for the needed rehumanization of the art, especially among all too well-behaved organists.“
Wolf-Günter Leidel