POPPE: SPEICHER

Page 1

SPEICHER I-VI separately. The total duration of the piece is 80 minutes with the word Speicher directly translating to ‘memory’. Everything is related in exactly the same way, in all dimensions: the first viola notes are juxtaposed (as ‘developing variation’) in exactly the same way as the smaller, medium-sized and large formal sections. Besides variety, in order for a piece to keep moving and remain interesting, it is important above all that something can be recognised. Anything can be recognisable – a single sound or an entire formal part. Therefore, constantly throwing new ideas into a piece is less important than inventing an unforeseeable network of derivations. This enables you to predict what will happen next, producing an active listening experience. Incidentally, the proportions for everything, in the micro, as well as the macro-range, are 8–3–4–6–2–12. Two interlocked processes, of which one is shorter (8, 4, 2), the other longer (3, 6, 12). But those are real durations: whether something is long or short depends on the content and the effect.

Music is something living. Rules and laws are there to be reviewed, revised, replaced or abolished. That begins as early as the definition of our smallest building brick: the note. How much pitch fluctuation can a note have, with vibrato, and still be a single note? There is a continuum of occurrences between vibrato, portamento, glissando and microtonal deviations, none of which is covered by our music theory. In addition, an under-researched connection between timbre and intonation exists, about which musicians intuitively know more than composers, with their desire for classification. The Speicher project is a complex structure made up of variations and repetitions. It consists of six parts which follow one another without a break, although each part can also be performed

This sounds abstract, as so often when music is being discussed. The musical phenomena are never abstract, however. In this piece, I am trying to discover something about dimensions. What do ideas achieve if they are stretched over an hour? The listener should not be stretched; instead, in a large-format score I can and must reflect quite differently on my ideas. In this way, the plan for Speicher is in no way to prolong everything, but rather to maintain the intensity, to seek the extremes: the extreme density, thinning out, acceleration, broadening. It cannot be the aim for an 80 minute piece to produce a summary of contents or a list of ideas. Instead, I must always remain awake so that I can observe durations and how the forces in the music move and shift. In a memory, everything becomes disordered anyway. © Enno Poppe, translated by Glyn Thomas


Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.