Mogens Winkel Holm: Tarantel (1975)

Mogens Winkel Holm Tarantel (1975) Tarantella for recorder, oboe, horn, piano & tape Dur. 19′

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Mogens Winkel Holm Tarantel (1975) Tarantella for recorder, oboe, horn, piano & tape Dur. 19′

PERFORMANCE NOTES

OPFØRELSESNOTER

This chamber piece, for a dancer, three musicians, and tape was completed in the summer of ‘75, and was choreographed and directed by the composer, in cooperation with Inge Jensen from the Royal Danish Theater. The dance was performed by Annemarie Dybdal.

Dette kammerværk for en danser, tre musikere og lydbånd blev til i sommeren ‘75 med koreografi og iscenesættelse af komponisten i samarbejde med Inge Jensen fra Det kgl. Teater.

Annemarie Dybdal dansede.

The piece is based on the “Tarantella”, a southern Italian dance form, which is used in, for example, Bournonville’s ballet “Napoli”. The history of this dance form, which has been known since the Middle Ages, has actually serious implications for both social- and other kinds of poverty. lf one was bitten by the poisonous tarantula spider, one could choose between dying a terrifying death, or dancing.

This is why music was summoned, and the afflicted person, with a great amount of abandon, danced himself “well”. As late as the 19th century, desperate people believed that they had to dance the tarantella, which can be regarded as a sensual and very ecstatic prayer, to be set free.

The dance was euphoric, a ritual - and with certain, quite serious, “rules of play” (mirrors, shiny objects, red colors, swords, knives, water, earth) - and it is this ritualism and these rules of play which the composer experienced as being central, and which are reflected in the series and patterns in the music.

Den bygger på den syditalienske dans Tarantellen, som bl.a. kendes fra Bournonvilles ballet “Napoli”. Men historien bag denne danseaktivitet, som kendes siden middelalderen, har i virkeligheden dybt alvorlige slagskygger af social og anden elendighed. Blev man bidt af den giftige edderkop, Tarántelen, havde man valget mellem at dø en forfærdende død - eller at danse.

Derfor kaldte man musikken til og lod den angrebne, med megen vildskab, danse sig til en helbredelse. Helt op i det 19. årh. troede fortvivlede mennesker at måtte danse Tarantéllen, som man kan opfatte som en sanselig og meget ekstatisk bøn om at blive udfriet, om at undslippe.

Dansen var en rus, et ritual - og med ganske bestemte og dødsensalvorlige spilleregler (spejle, blanke ting, røde farver, sværd, knive, vand, jord) - og det er den indfaldsvinkel og de spilleregler som komponisten har oplevet som noget centralt, og som afspejles i musikkens serier og mønstre.

lt is most practical if the oboe and recorder parts can be played by the same musician. A microphone amplification is necessary for the recorders. As to the other instruments, amplification can be experimented with, the most important factor being that the live music balances correctly with the tape.

The tape (which can be acquired through the publisher) is recorded in 4 channels and is meant to be played through at least two speakers on either side of the audience. For concert performance one can start at the 3rd signal (after approx. 1 min. and 25 sec.)

Mest praktisk er det hvis én og samme musiker kan stå for både blokfløjte- og obospil. Til blokfløjterne kræves mikrofonforstærkning. Hvad angår de øvrige instrumenter kan man osse der eksperimentere med forstærkning - det er vigtigt at live-musikken kommer i rigtig balance med båndmusikken.

Båndet er indspillet i 4 kanaler (kan erhverves gennem forlaget) og tænkes udsendt over minimum 2 højttalere på hver side af publikum. Ved koncert opførelse kan man begynde ved det 3. signal (ca. 1 min. og 25 sek. inde).

To Rie

Til Rie

INSTRUMENTATION Recorder (soprano & alto) Oboe Horn (in C) Piano Tape

TARANTEL (Comp.1975)

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