BOOK OF BODIES (2017/2020)
BOOK OF BODIES (KNJIGA TELES, 2017)
for soprano and chamber string orchestra
Based on poems by Aleš Šteger
voice: S
ensemble: strings 4.3.2.2.1
duration: 15 min
première: January 30, 2018, National Gallery of Slovenia, Ljubljana, Slovenia
The Slovenian Philharmonic String Chamber Orchestra, Nika Gorič – soprano
Conducted by Vito Žuraj
Commissioned by the Slovene Philharmonic String Chamber Orchestra, funded by the Ernst von Siemens Music Foundation.
BOOK OF BODIES (BUCH DER KÖRPER, 2017/2020)
for soprano and ensemble
Based on poems by Aleš Šteger/ translated by Matthias Göritz
voice: S
ensemble: 1*.1.1*.1*/1.1.1.0/perc/arp/1.1.1.1.1
duration: 15 min
première: July 26, 2021, Münchner Opernfestspiele, Cuvilliés-Theater München, Germany
Orchesterakademie des Bayerischen Staatsorchesters
Commissioned by Freunde und Förderer der Musikalischen Akademie des Bayerischen Staatsorchesters e.V.
BOOK OF BODIES
score preview
BOOK OF BODIES (KNJIGA TELES)
(excerpt)
The Slovenian Philharmonic String Chamber Orchestra
Nika Gorič – soprano, Conducted by Vito Žuraj
Production by RTV Slovenia
Additional performances
The Slovenian Philharmonic String Chamber Orchestra
Nika Gorič – soprano
Conducted by Vito Žuraj
The Slovenian Philharmonic String Chamber Orchestra
Nika Gorič – soprano
Conducted by Vito Žuraj
VIDEO
The Slovenian Philharmonic String Chamber Orchestra
Nika Gorič – soprano
Conducted by Vito Žuraj
Produced by RTV Slovenia
Directed by Urša Menart
©2018 by RTV Slovenia
The Slovenian Philharmonic String Chamber Orchestra
Nika Gorič – soprano
Conducted by Vito Žuraj
Produced by RTV Slovenia
Directed by Urša Menart
©2018 by RTV Slovenia
ABOUT
BOOK OF BODIES (“Knjiga teles”) is a series of five monologues for soprano accompanied by twelve solo strings. The strings are generally treated as a single mass, providing accents, varied textures or concerted gestures in which tightly woven bundles of similar but distinct lines or percussive notes generate the impression of a viscous mass, or a cascade of droplets. Variations in texture and perspective are achieved by varying the number of instruments playing at any given time, often thinning the ensemble down to just two instruments, frequently in extreme registers, so that a sort of searching, ponderous counterpoint suddenly emerges from the prevailing collective texture.
The vocal part is dominated by sung declamation in wide intervals, at times lapsing into speech or the even percussive effect of single consonants, with occasional rapid arabesques in cascading legato semiquavers. For much of the fifth and final piece, the prevailing convoluted textures of the strings give way to synchronised figures, rushing upwards and downwards in rapid, driving rhythms.
Alwyn Tomas Westbrooke