AIMIDE

für Klavier (1987/2001/02)

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Aimide

für Klavier (1987/2001/02)

 

Aimide_Score_Complete

 

Amicitias immortales, mortales inimicitias debere esse.“ (Livius)

(Friendship should be imperishable, enmity should be perishable.)

By attempting to communicate a thought of Livius idea, AIMIDE aims counterbalance a fatal development in recent political discourse – the idea that the enemy must be demonized. One might consider the enemy, instead, as a reality to be approached with foresight and without distortion. Ennemies have always things in common, and these need to be searched out and seen. These have to be found and seen with clear vision.

Prolog: 

Daimon

I
Cura

Cura means concern. This movement is written as a musical diary between the 12th of September 2001 and the end of the year. It is centered around the protest song „We shall overcome“ but also includes everyday moments of inspiration into its stream of consciousness.

II
Fuga

The third movement is a strict combinatorial processing of one pseudo-tonal melody (of twelve tones) through all 12 inversions retrogrades and retrograde-inversions. It’s static structure is a contrast to the virtuosic flow of the second movement, and it reminds us of two things: 1) we are all products of our cages 2) that there is no flight (Fuga) out of our own consciousness

III
Svara

Finally Svara is a transcription of Brahman chant-particles and a combination of two independent strata of these particles. suggests a fourth world (next to „Prelude“, „Toccata“, „Fugue“) the „Recitative“. Recitation is an ancient type of cultural expression, bridging wide cultural gaps and enhancing friendship.

Epilog:
Synastria

This movement is an ascetic reduction of the musical material to three pitches e – eflat – bflat, distributed throughout the registers of the piano in artistic velocity. The b-flat, sustained by use of the third pedal, is a common reference, like the common star of two dissonantly related pitches (the interval of a minor second between e and e flat). This serves as an analogy that ennemies share common denominators. It also trusts in an ancient thought that a philosophical idea can be expressed through music.


for Herbert Henck (I&II) & Thomas Schultz (III&IV)
commissioned by the Stanford University (Smith Piano Fund)