SANDKORN AM AUGE PROFESSIONAL

Spend the day composing for BCMG's amazing professional musicians guided by composer David Horne.Īs we celebrate Paul Celan, read about the life and work of this extraordinary poet All welcome, whether you play a musical instrument or not.Ĭomposing workshop for young people aged 14-18. Which makes you fledged, when the soil’s glowing of death,įree, creative and fun music workshop for young people aged 8–11. Until under everybody’s eyes a grain of sand glimmers for you, ( From Threshold to Threshold) Gedichte.ĭraping you into the brown of my softest sentence Und hüllt dich ins Braun meines leisesten Spruchsīis unter allen den Augen ein Sandkorn dir aufglimmt,ĭie dich flügge macht, wenn der Boden von Tod glüht,įrom Von Schwelle zu Schwelle. I tried to translate this connection in music and give the audience the chance to feel the journey from suffering through hope. Even though these poems have been written in a very different period, they still have some connections. the tree, the leaf, the wind, the earth). Moreover, different elements appear in both poems and have the same role (e.g. This lied follows, almost exactly, the same dramatic structure of Celan’s poem. The material is partially taken by a Schubert’s lied Letzte Hoffnung, from Die Winterreise. In the music I tried to incorporate this union by using ambiguous harmonies, extraneous sounds, and conflicting sections, without being descriptive. The feat of the night is to dominate not only the personal past, but all the terrible legacy of his generation. The night, seat of the shadows, sanctioned this union. Pain, despair, hope and love cohabit in this poem, united. She is probably Ein Vogel (the bird) who saved Celan from the Boden von Tod (the bottom of death). She was a Yiddish actress, probably his first love, who helped him to escape from the Nazi deportation. Since this collection ( Von Schwelle zu Schwelle) gathers poems written between 19 (his absconding period) he might be talking about Ruth Lackner. In all his poems this refers to an amorous setting and suggest that Celan is most likely talking about a person he loved. The middle part of the poem introduces a marine scenery. It just took other shapes: a tree, a bird, a grain of sand. It is the nostalgic remembrance of the first Threshold, the shade of the tough past. The stone is an element that occurs in other poems ( Ich hörte sagen, In Gestalt eines Ebers…) and is a metaphor of the petrified world of the 'submerged'. Ein Körnchen Sands starts with the word Stein. One of the main features of his poetry, especially in the first period (1948-1955, year when he moved to Paris), is the usage of recurrent themes or sceneries. These connections can be spotted in both, between collections and among poems of the same collection. Most of his works are related and connected to each other. It is arduous to describe a single poem by Paul Celan without including his whole opera.

Sandkorn am auge