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SONGS OF WARS I HAVE SEEN
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V sklopu Evropskega kariernega centra za umetnike in izobraževalnih programov, ki jih v Kulturnem društvu BSA delamo za mlade profesionalce, smo letos gostili zvezdo sodobne glasbene in gledališke scene, nemškega skladatelja in režiserja Heinerja Goebbelsa ter v sklopu Ljubljana Festivalu izvedli njegovo delo:
SONGS OF WARS I HAVE SEEN
Uprizoritveni koncert z glasbo na tekste Gertrude Stein
Režiser in skladatelj: Heiner Goebbels
Izvajalci: Mednarodni orkester Ljubljana
Dirigentka: Živa Ploj Peršu
Izvajalci:
Ashley Tong, violina – Kata Stojanović, violina – Nora Romanoff-Schwarzberg, viola – Vita Peterlin, violončelo – Ana Zvicer, kontrabas – Barbara Spital, flavta – Seung-Eun Lee, oboa
Domen Marn, klarinet – Arpad Balazs Piri, fagot – Sarah Akif, rog – Noémi Makkos, trobenta – Urban Turjak, pozavna – Jože Bogolin, tolkala – Petra Vidmar, tolkala – Danaja Habjanič, teorba
Tadeja Kralj, harfa – Kayoko Ikeda, klavir in čembalo – Marjan Peternel, sintetizator in sampli
Heiner Goebbels, skladatelj, režija, scena in luči
Pieter Nys, zvok
Varja Antić Balžalorsky, prevod tekstov
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Heiner Goebbels
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skladatelj in režiser, je eden najvznemirljivejših ustvarjalcev na področju sodobnega gledališča in glasbe našega časa. V širšem kontekstu sodobne umetnosti je ustvaril veliko del. Na Documenti X v Kasslu je sodeloval z glasbeno gledališko skico, imenovano Landscape with Man being killed by a snake (1997), produciral je zvočne instalacije Timeios in Fin de Soleil za Center Pompidou v Parizu (2000) in ustvaril performativno instalacijo Stifters Dinge, njegovo prvo gledališko delo brez izvajalcev ali glasbenikov (2007). Poleg tega je Heiner Goebbels od leta 1988 ustvarjal komorno glasbo za Ansambel Modern in Ensemble Intercontemporain, dvakrat pa je bil nominiran za nagrado Grammy, najprej leta 2001 in nato leta 2004. Je tudi avtor knjige Komposition als Inszenierung. (2002). V njegovem opusu so tudi opere in druga kompleksna glasbena dela.
Spodbuda za izvajanje skladbe Songs of wars I have seen (2007) je najprej misel skladatelja Heinerja Goebbelsa o zamisli in kreiranju te kompozicije na tekste Gertrude Stein, kakor jo je podal v enem izmed intervjujev: “(Gertrude Stein) v svoji knjigi govori kot sosedje o vseh in o vsem, ter to kombinira s svojimi osebnimi komentarji o hrani, psu, vremenu in s svojimi osebnimi političnimi pogledi o Američanih, Francozih, ujetnikih v Nemčiji. Če berete njeno knjigo, je najboljša stvar pri tem ta, da se v (kon)tekstu ni odločila za vas ali namesto vas, kaj je pomembno ali kaj ni.”
Goebbels želi v svojo kompozicijo prenesti hkratno prekrivanje različnih sklopov časa in perspektiv, zato jo dopolnjuje z glasbo iz Anglije 17. stoletja skladatelja Matthewa Lockeja.
Namesto, da bi tekst Steinove predstavili igralci ali pevci, Goebbels tega posreduje preko posameznih glasbenic. Posledično se tipična anonimnost igranja v večjem ansamblu razpusti.
“Še bolje, slišal sem drugačen Goebbelsov monument in znova domov odšel omamljen. Le upamo lahko, da bodo ta njegova dela prišla kmalu v New York.”
James R. Oestreich
NY Times (ZDA)
“Heiner Goebbels in njegove Pesmi o vojnah povezujejo različe medije in material: glasbo in gledališče, zapiske in tekste, glasbene vložke iz 17. stoletja (Matthew Locke) in tehno nianse 21. stoletja. Rdeča nit so vsekakor trpki teksti iz spominov Gertrude Stein iz leta 1945. Rezultat? Triumf.”
Geoff Brown
The Times (VB)
“
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