{"id":6400,"date":"2026-02-12T14:25:57","date_gmt":"2026-02-12T13:25:57","guid":{"rendered":"https:\/\/www.mdw.ac.at\/mdwpress\/?p=6400"},"modified":"2026-02-24T11:07:15","modified_gmt":"2026-02-24T10:07:15","slug":"mdwp004-009","status":"publish","type":"post","link":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-009\/","title":{"rendered":"Related Sounds"},"content":{"rendered":"<h2 class=\"subtitle\">Adriana H\u00f6lszky\u2019s <em>Roses of Shadow<\/em> and <em>Deep Field<\/em> in\u00a0Martin\u00a0Schl\u00e4pfer\u2019s\u00a0Choreography<\/h2>\n<h3 class=\"author\"><em>Barbara Dobretsberger<\/em> <a href=\"https:\/\/orcid.org\/0000-0001-9725-6333\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-600\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/orcid.png\" alt=\"orcid\" width=\"19\" height=\"19\" \/><\/a><\/h3>\n<p>&nbsp;<br \/>\n<head><\/p>\n<style>\n        .tsquotation strong {\n            font-weight: bold;\n        }\n     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ZP_ATTR\">%7B%22status%22%3A%22success%22%2C%22updateneeded%22%3Afalse%2C%22instance%22%3Afalse%2C%22meta%22%3A%7B%22request_last%22%3A0%2C%22request_next%22%3A0%2C%22used_cache%22%3Atrue%7D%2C%22data%22%3A%5B%7B%22key%22%3A%22VNQJQ4ED%22%2C%22library%22%3A%7B%22id%22%3A4511395%7D%2C%22meta%22%3A%7B%22creatorSummary%22%3A%22Dobretsberger%22%2C%22parsedDate%22%3A%222026%22%2C%22numChildren%22%3A0%7D%2C%22bib%22%3A%22%26lt%3Bdiv%20class%3D%26quot%3Bcsl-bib-body%26quot%3B%20style%3D%26quot%3Bline-height%3A%201.35%3B%20padding-left%3A%201em%3B%20text-indent%3A-1em%3B%26quot%3B%26gt%3B%5Cn%20%20%26lt%3Bdiv%20class%3D%26quot%3Bcsl-entry%26quot%3B%26gt%3BDobretsberger%2C%20Barbara.%202026.%20%26%23x201C%3BRelated%20Sounds%3A%20Adriana%20H%26%23xF6%3Blszky%26%23x2019%3Bs%20Roses%20of%20Shadow%20and%20Deep%20Field%20in%20Martin%20Schl%26%23xE4%3Bpfer%26%23x2019%3Bs%20Choreography.%26%23x201D%3B%20In%20%26lt%3Bi%26gt%3BMusic%20and%20Motion%20%26%23x2013%3B%20Interweaving%20Artistic%20Practice%20and%20Theory%20in%20Dance%20and%20Beyond%26lt%3B%5C%2Fi%26gt%3B%2C%20edited%20by%20Stephanie%20Schroedter.%20Vienna%20and%20Bielefeld.%20%26lt%3Ba%20title%3D%26%23039%3BCite%20in%20RIS%20Format%26%23039%3B%20class%3D%26%23039%3Bzp-CiteRIS%26%23039%3B%20data-zp-cite%3D%26%23039%3Bapi_user_id%3D4511395%26amp%3Bitem_key%3DVNQJQ4ED%26%23039%3B%20href%3D%26%23039%3Bjavascript%3Avoid%280%29%3B%26%23039%3B%26gt%3BCite%26lt%3B%5C%2Fa%26gt%3B%20%26lt%3B%5C%2Fdiv%26gt%3B%5Cn%26lt%3B%5C%2Fdiv%26gt%3B%22%2C%22data%22%3A%7B%22itemType%22%3A%22bookSection%22%2C%22title%22%3A%22Related%20Sounds%3A%20Adriana%20H%5Cu00f6lszky%5Cu2019s%20Roses%20of%20Shadow%20and%20Deep%20Field%20in%20Martin%20Schl%5Cu00e4pfer%5Cu2019s%20Choreography%22%2C%22creators%22%3A%5B%7B%22creatorType%22%3A%22editor%22%2C%22firstName%22%3A%22Stephanie%22%2C%22lastName%22%3A%22Schroedter%22%7D%2C%7B%22creatorType%22%3A%22author%22%2C%22firstName%22%3A%22Barbara%22%2C%22lastName%22%3A%22Dobretsberger%22%7D%5D%2C%22abstractNote%22%3A%22%22%2C%22bookTitle%22%3A%22Music%20and%20Motion%20%5Cu2013%20Interweaving%20Artistic%20Practice%20and%20Theory%20in%20Dance%20and%20Beyond%22%2C%22date%22%3A%222026%22%2C%22originalDate%22%3A%22%22%2C%22originalPublisher%22%3A%22%22%2C%22originalPlace%22%3A%22%22%2C%22format%22%3A%22%22%2C%22ISBN%22%3A%22978-3-8376-5611-4%22%2C%22DOI%22%3A%22%22%2C%22citationKey%22%3A%22%22%2C%22url%22%3A%22%22%2C%22ISSN%22%3A%22%22%2C%22language%22%3A%22en%22%2C%22collections%22%3A%5B%22C96IEEWM%22%5D%2C%22dateModified%22%3A%222026-02-09T09%3A42%3A19Z%22%7D%7D%5D%7D<\/span>\n\n\t\t\t\t<div id=\"zp-ID-6400-4511395-VNQJQ4ED\" data-zp-author-date='Dobretsberger-2026' data-zp-date-author='2026-Dobretsberger' data-zp-date='2026' data-zp-year='2026' data-zp-itemtype='bookSection' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">Dobretsberger, Barbara. 2026. \u201cRelated Sounds: Adriana H\u00f6lszky\u2019s Roses of Shadow and Deep Field in Martin Schl\u00e4pfer\u2019s Choreography.\u201d In <i>Music and Motion \u2013 Interweaving Artistic Practice and Theory in Dance and Beyond<\/i>, edited by Stephanie Schroedter. Vienna and Bielefeld. <a title='Cite in RIS Format' class='zp-CiteRIS' data-zp-cite='api_user_id=4511395&item_key=VNQJQ4ED' href='javascript:void(0);'>Cite<\/a> <\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\n\t\t\t<\/div><!-- .zp-zp-SEO-Content -->\n\t\t<\/div><!-- .zp-List -->\n\t<\/div><!--.zp-Zotpress-->\n\n\n<\/p><\/div><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">Abstract<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">Abstract<\/span><\/h4><div class=\"toggle-content\"><p>\nOn the basis of an in-depth study of the score and the video material provided by the D\u00fcsseldorf Opera, the interplay of music and movement is explored. The independence of the creative processes always emphasized in statements by Adriana H\u00f6lszky and Martin Schl\u00e4pfer\u2014the putting down on paper of the sounds and the dance staging took place practically without prior consultation between composer and choreographer\u2014could lead one to expect a looseness, perhaps even non-commitment between music and ballet. However, the analytical findings of both the music and the choreography point to a number of associative interconnections. Understanding H\u00f6lszky\u2019s music as moving sounds and Schl\u00e4pfer\u2019s choreography as musicalized movement is favored by related procedures such as repetition, variation, motif development or mirroring. Despite this structural proximity and despite a certain affinity of H\u00f6lszky and Schl\u00e4pfer to a \u201ccosmic world view,\u201d music and choreography drift apart repeatedly and cause irritations in the perception of Roses of Shadow and Deep Field.<br \/>\n<\/p><\/div><\/div>\n<hr>\n<p><!-- \n\n<p style=\"text-align: right;\">[btn btnlink=\"\" btnsize=\"medium\" bgcolor=\"#b2b2b2\" txtcolor=\"#000000\" btnnewt=\"1\" nofollow=\"1\"]CHAPTER PDF <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/download-1459070_1280.png\" style=\"vertical-align: middle\" alt=\"Download-Logo\" width=\"17\" height=\"17\">[\/btn]\n\n --><\/p>\n<p>With <em>Roses of Shadow<\/em>, Adriana H\u00f6lszky has presented what she describes in the subtitle of the work as a sound choreography for soprano and eight instrumentalists. Although the work was commissioned in 2016\/17 for a D\u00fcsseldorf choreography by Martin Schl\u00e4pfer, the composer refrains from designating it as a ballet genre\u2014unlike <em>Deep Field<\/em>, a ballet also choreographed by Schl\u00e4pfer in 2013. This may be sufficient for an analysis that initially focuses on the functionality and meaningfulness of the composition as a \u201cwork as such.\u201d \u201cThere [will be] no mutual visualization [&#8230;]; it is more like Martin Schl\u00e4pfer and I encircle each other\u2014and we sometimes lose sight and sound of each other in the process,\u201d<a href=\"#fn1\" class=\"footnote-ref\" id=\"fnref1\" role=\"doc-noteref\"><sup>1<\/sup><\/a> the composer says about the process of creation, thus emphasizing the autonomy of the musical work. Adriana H\u00f6lszky is still not entirely satisfied with the subtitle \u201csound choreography\u201d; with \u201csound space transformation, spatial sound transformation, sound image, complimentary transformation, sonnets of no return, like a sonnet of no return\u201d<a href=\"#fn2\" class=\"footnote-ref\" id=\"fnref2\" role=\"doc-noteref\"><sup>2<\/sup><\/a> she circles around the most diverse terms that were considered and discarded again in the search for a subtitle.<\/p>\n<p>The subtitle acts as a program, so to speak\u2014<em>Roses of Shadow<\/em> is a choreography of sounds, a spatial composition or staging of spatial sound. This reads more freely, more independently, perhaps also more reflectively than the simply functional reference to \u201cballet music\u201d in the subtitle of <em>Deep Field<\/em>.<a href=\"#fn3\" class=\"footnote-ref\" id=\"fnref3\" role=\"doc-noteref\"><sup>3<\/sup><\/a> Nevertheless, the same principle applies to both works in the creative process, namely a focus on the musical composition per se, which Adriana H\u00f6lszky calls \u201cabsolute music.\u201d<a href=\"#fn4\" class=\"footnote-ref\" id=\"fnref4\" role=\"doc-noteref\"><sup>4<\/sup><\/a> The choreographic design, the pictorial, dance, and rhythmic realization was as little \u201cprepared\u201d by her in <em>Deep Field<\/em> as in <em>Roses of Shadow<\/em>, and in this aspect was consciously left entirely to her colleague.<\/p>\n<p>This radical compositional attitude\u2014an analogy would be the composition of an opera without a rudimentary idea about the visualization of the scenes\u2014is based on the one hand on the composer\u2019s own working method of doing her creative work in voluntary self-isolation. On the other hand, it is based on the new territory that the composer entered when she started writing ballets. On the genesis of <em>Deep Field<\/em>, the ballet written three years before <em>Roses of Shadow<\/em>, she notes: \u201cI\u2019ve never had the desire to work with or rather for dance before.\u201d<a href=\"#fn5\" class=\"footnote-ref\" id=\"fnref5\" role=\"doc-noteref\"><sup>5<\/sup><\/a> Her novitiate as a ballet composer may have triggered an impulse in 2013 to compose something \u201cuseful\u201d for ballet. This would explain the somewhat stronger orientation towards the \u201cballetic\u201d (more on this in the second part of this essay dedicated to <em>Deep Field<\/em>). Indeed, no other work for dance was composed in the creative period between the two ballets discussed here. But even before and after that, one searches in vain for a ballet composition in H\u00f6lszky\u2019s \u0153uvre. It is a genre that probably fundamentally has a rather limited appeal for her, apart from Stravinsky\u2019s ballets, in which \u201cthe music actually has an independent rank, is independent of a choreography.\u201d<a href=\"#fn6\" class=\"footnote-ref\" id=\"fnref6\" role=\"doc-noteref\"><sup>6<\/sup><\/a><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/07_Dobretsberger_Fig_01_Weigelt_heller-scaled.jpg\" alt=\"Three male dancers are kneeling onstage, each carrying a female dancer draped over their shoulders. The background is dark.\" width=\"2560\" height=\"2008\" class=\"alignnone size-full wp-image-6417\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Fig_01_Weigelt_heller-scaled.jpg 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Fig_01_Weigelt_heller-300x235.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Fig_01_Weigelt_heller-1024x803.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Fig_01_Weigelt_heller-150x118.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Fig_01_Weigelt_heller-768x602.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Fig_01_Weigelt_heller-1536x1205.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Fig_01_Weigelt_heller-2048x1607.jpg 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Fig_01_Weigelt_heller-94x74.jpg 94w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Fig_01_Weigelt_heller-626x491.jpg 626w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Fig_01_Weigelt_heller-688x540.jpg 688w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Fig_01_Weigelt_heller-280x220.jpg 280w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Fig_01_Weigelt_heller-309x242.jpg 309w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Fig_01_Weigelt_heller-850x667.jpg 850w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Fig_01_Weigelt_heller-625x490.jpg 625w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Fig_01_Weigelt_heller-311x244.jpg 311w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Fig_01_Weigelt_heller-331x260.jpg 331w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><strong>Figure 1:<\/strong> Scene from <em>Roses of Shadow.<\/em> \u00a9\u00a0Gert Weigelt<\/span><\/p>\n<p>One could interpret this as a sign of mature sovereignty, but also of the composer\u2019s confidence that the choreography would not merely be adequate (in the true sense of the word, an \u201cegalitarianism\u201d on Martin Schl\u00e4pfer\u2019s part would have been neither desirable nor appropriate). Rather, the fact that there was the chance of an artistically independent, fascinating dance composition coming to light,<a href=\"#fn7\" class=\"footnote-ref\" id=\"fnref7\" role=\"doc-noteref\"><sup>7<\/sup><\/a> which the choreographer had shied away from, may have contributed to the conception of <em>Roses of Shadow<\/em> as a \u201csound choreography\u201d and to the rejection of an intentional, \u201cballet-suitable\u201d composition.<\/p>\n<p>The basis of this approach to <em>Roses of Shadow<\/em> is a video production made available by the D\u00fcsseldorf Opera. Leaving aside the admission that \u201cwith <em>Roses of Shadow<\/em> a score [emerged] on whose basic coordinates the composer and choreographer intensively agreed, but with whose elaboration Adriana H\u00f6lszky then withdrew in order to finally hand over a finished work to Martin Schl\u00e4pfer and more: to leave the score to him full of trust and freedom,\u201d<a href=\"#fn8\" class=\"footnote-ref\" id=\"fnref8\" role=\"doc-noteref\"><sup>8<\/sup><\/a> the analytical approach to the work (in the sense of the \u201ccomplete\u201d choreographed work) followed the chronology of the ballet\u2019s genesis. When asked about the \u201cbasic coordinates\u201d that were set out in advance, the composer explains that it was Schl\u00e4pfer\u2019s wish to use only a few musicians live, a maximum of nine, in order to facilitate the financing of tours. Due to the planned use of a voice, or rather a text, there was some skepticism on the part of the choreographer at first, but this was able to be resolved. Apart from these two agreements, there were no discussions beforehand.<a href=\"#fn9\" class=\"footnote-ref\" id=\"fnref9\" role=\"doc-noteref\"><sup>9<\/sup><\/a><\/p>\n<p>Following this genesis, the approach to <em>Roses of Shadow<\/em> presented here began with the study of the score and the analysis of the music; this was followed by an examination of the choreography based on the available video material.<a href=\"#fn10\" class=\"footnote-ref\" id=\"fnref10\" role=\"doc-noteref\"><sup>10<\/sup><\/a> Similarly to the musical investigation, where special attention was paid to aspects of form, structure, motifs, density, and color of soundscapes, the examination of the choreography focused on the recognition of connections (e.g. through repetition, mirroring, variation, or motif development), on as\u00adso\u00adcia\u00adtive interweavings with the music (especially in the text-bound parts) and finally on the question of a dramaturgy. It should be added that neither a comprehensive systematic choreographic analysis nor a complete musical analysis is presented here, but rather individual aspects of music and cho\u00adre\u00ado\u00adgra\u00adphy are singled out in order to contribute to an interdisciplinary exchange.<\/p>\n<p>Nine centers of sound\u2014from voice to wind instruments, strings, koto, accordion and piano to percussion\u2014form the starting point of <em>Roses of Shadow<\/em>. The palette of timbres is expanded by additional instruments such as alphorn, euphonium, and harmonica (in a wide variety of tunings) as well as by the use of lip sounds, mutes, mallets, plastic cards, oil barrels, and iron ball marbles. Thus, H\u00f6lszky overturns Martin Schl\u00e4pfer\u2019s stipulation of limiting the number of musicians to nine. With regard to the text on which the sound choreography is based, it is relevant that the speaking, creaking, and whispering voices performed by the instrumentalists, which complement the soprano\u2014despite all kinds of sound alienations quite plainly referred to as \u201cvoice\u201d \u2014are described by the composer as a \u201c\u2018shadow\u2019 ensemble or as \u2018ghost voices.\u2019\u201d<a href=\"#fn11\" class=\"footnote-ref\" id=\"fnref11\" role=\"doc-noteref\"><sup>11<\/sup><\/a><\/p>\n<p>K\u00e4the Recheis and Georg Bydlinski translated texts and poems by North American Indians into German<a href=\"#fn12\" class=\"footnote-ref\" id=\"fnref12\" role=\"doc-noteref\"><sup>12<\/sup><\/a> which acted as an \u201c\u2018ignition\u2019, [as] the starting point for intensive compositional work.\u201d<a href=\"#fn13\" class=\"footnote-ref\" id=\"fnref13\" role=\"doc-noteref\"><sup>13<\/sup><\/a> A second inspiration, though more due to the \u201caura\u201d<a href=\"#fn14\" class=\"footnote-ref\" id=\"fnref14\" role=\"doc-noteref\"><sup>14<\/sup><\/a> than to a direct setting of text excerpts, comes from Shakespeare\u2019s Sonnet 67. A look at this poem may be permitted with due brevity; after all, the title of the work originates from this poem, and the composer quotes the central line on the back cover of the score: \u201cWhy should poor beauty indirectly seek Roses of shadow, since his rose is true?\u201d Without even being able to comment here on the numerous subtleties and thus possibilities of interpretation inherent in Shakespeare\u2019s text, it is at any rate permissible to describe this sonnet, however much abbreviated, as a lament about the abuse and exploitation of natural beauty. Why should a second-rate beauty invent shadow roses by dubious means, when nature holds the true rose in her possession? In terms of content, this consideration closes a circle to the fragments that H\u00f6lszky extracts from the texts of the Native Americans.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_1-scaled.jpg\" alt=\"Calligraphic notation.\" width=\"2399\" height=\"2560\" class=\"alignnone size-full wp-image-6411\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_1-scaled.jpg 2399w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_1-281x300.jpg 281w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_1-960x1024.jpg 960w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_1-141x150.jpg 141w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_1-768x819.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_1-1439x1536.jpg 1439w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_1-1919x2048.jpg 1919w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_1-69x74.jpg 69w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_1-460x491.jpg 460w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_1-506x540.jpg 506w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_1-206x220.jpg 206w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_1-309x330.jpg 309w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_1-850x907.jpg 850w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_1-459x490.jpg 459w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_1-229x244.jpg 229w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_1-244x260.jpg 244w\" sizes=\"auto, (max-width: 2399px) 100vw, 2399px\" \/><br \/>\n<span class=\"caption-text\"><strong>Music example 1:<\/strong> <em>Roses of Shadow<\/em>, p. 33, mm. 77-81. \u00a9\u00a02017 by Breitkopf &amp; H\u00e4rtel, Wiesbaden<\/span><\/p>\n<p>The inclusion of text and voice, since it is not customary in the context of \u201cballet music,\u201d is certainly remarkable and has an impact on the choreography. A dramatic ballet with a concrete narrative style could not be created on the basis of the text fragments; this would require a plot to be forcibly superimposed. Martin Schl\u00e4pfer chooses a path that does justice to the composition\u2019s looseness\u2014especially on the text level\u2014and its tendency towards the merely suggestive and associative, and yet does not lose itself in arbitrariness. The renunciation of a concrete story, already manifest in the composition, means a special challenge for the choreographer in creating a dramaturgy, which he cannot do without in the forty-minute <em>Roses of Shadow<\/em> any more than in the full-length <em>Deep Field<\/em>. Specific examples from the choreography of <em>Roses of Shadow<\/em> will be given to illustrate Schl\u00e4pfer\u2019s associative approach to translating sounds into movement:<\/p>\n<p>Phase I, mm.\u00a052ff. (\u201cI cry with thirst.\u201d<a href=\"#fn15\" class=\"footnote-ref\" id=\"fnref15\" role=\"doc-noteref\"><sup>15<\/sup><\/a>; minute 5:18): Three dancers remain frozen, listening to the words, four female dancers fall to the floor, as if exhausted.<\/p>\n<p>Phase\u00a0I, mm.\u00a078ff. (\u201cI am born free, free like the eagle soaring over the great blue sky.\u201d<a href=\"#fn16\" class=\"footnote-ref\" id=\"fnref16\" role=\"doc-noteref\"><sup>16<\/sup><\/a>; minute 7:09-9:24): The lying dancers rise collectively; from m.\u00a079 the limbs begin to loosen, the vertical, upright position stabilizes, the wings and the eagle\u2019s eye are symbolized by illustrative gestures. At the same time, however, part of the ensemble performs \u201chopping\u201d movements that are bizarrely reminiscent of eaglets still unable to fly, hopping around in their eyrie waiting for food. Whether these figures, or rather their gestures, are to be guilelessly acknowledged with a smirk, or are instead meant to represent an ironic, subtle commentary\u2014a counter-position to the powerful, seemingly invincible eagle that has matured into an adult bird\u2014remains open. In any case, this interpretation as a metamorphosis motif would correspond with H\u00f6lszky\u2019s subtle irony. The latter is already revealed in the preparatory, detailed study of the score: the soprano voice begins with the clearly articulated text (\u201cI am born free, free like the eagle soaring over the great blue sky.\u201d<a href=\"#fn17\" class=\"footnote-ref\" id=\"fnref17\" role=\"doc-noteref\"><sup>17<\/sup><\/a>), moves into a \u201ctrumpet\u201d articulation (m.\u00a087), to phonemes in chains of trills (mm.\u00a089-90) and finally to bright, accentuated, bird-like but miserably choppy R sounds (m.\u00a094).<\/p>\n<p>Phase\u00a0III, m.\u00a010 (\u201cthe trees\u201d<a href=\"#fn18\" class=\"footnote-ref\" id=\"fnref18\" role=\"doc-noteref\"><sup>18<\/sup><\/a>; minute 20:03): The abruptly assumed posture with asymmetrically \u201cgnarled,\u201d tree-top-shaped, branch-shaped, or root-stick-like arranged limbs seems like a sculpture of the text fragment placed in space. The second compositional parallel passage which immediately follows in m.\u00a015 (\u201cthe stones\u201d<a href=\"#fn19\" class=\"footnote-ref\" id=\"fnref19\" role=\"doc-noteref\"><sup>19<\/sup><\/a>; minute 20:30) releases part of the ensemble from its stiffness and prompts more sweeping, round movements illustrating \u201crolling\u201d pebbles with some imagination. The choreography in the third parallel passage in m.\u00a020 (\u201cthe earth\u201d<a href=\"#fn20\" class=\"footnote-ref\" id=\"fnref20\" role=\"doc-noteref\"><sup>20<\/sup><\/a>; minute 20:42) with the dancers\u2019 bodies sinking to the ground is semantically easy to interpret.<\/p>\n<p>Phase\u00a0VII, mm.\u00a01ff. (\u201cYou spread death, you buy and sell death, but you deny it, you do not want to look it in the face. Poor white man, in your rage, in your glamour, in all your prosperity, you have lost your heritage [&#8230;].\u201d<a href=\"#fn21\" class=\"footnote-ref\" id=\"fnref21\" role=\"doc-noteref\"><sup>21<\/sup><\/a>; minute 38:30-40:20): Here the narrative proximity between music, or rather text, and choreography is equally clear and, because it is maintained over a longer period of time, most detailed. A female soloist, the only one dancing on pointe, performs a kind of dance of death that torments the other members of the ensemble and ultimately drives them to their knees. This archaic image is heightened by the rhythm of the music, which is for once, at least in parts, accentuated in the prima ballerina\u2019s dance. This is a striking procedure because there is little congruence between dance and compositional rhythm in Martin Schl\u00e4pfer\u2019s choreography. This performance is also noticeable because normally the tutti, also split into smaller groups, is given preference over solos.<\/p>\n<p>Despite this \u201cparallelism\u201d between music, or rather word\/voice, and dance shown here in the examples, H\u00f6lszky\u2019s statement quoted at the beginning\u2014\u201cthere will be no mutual imaging\u201d<a href=\"#fn22\" class=\"footnote-ref\" id=\"fnref22\" role=\"doc-noteref\"><sup>22<\/sup><\/a>\u2014is valid. Apart from those few passages where, in intensive and synchronous study with one eye on the score and the other eye following the choreography, a conspicuous interweaving can be discovered on a rhythmic and gestural level; music and dance move in their own spheres that cannot be semantically pinpointed, but nevertheless appear coherent in their independence.<\/p>\n<p>For the composition itself, H\u00f6lszky notes \u201cwave-like discharges of powerful sound energies\u201d<a href=\"#fn23\" class=\"footnote-ref\" id=\"fnref23\" role=\"doc-noteref\"><sup>23<\/sup><\/a> and a \u201ccompactness and menace of sound\u201d<a href=\"#fn24\" class=\"footnote-ref\" id=\"fnref24\" role=\"doc-noteref\"><sup>24<\/sup><\/a> that increase until the end of the work. Both are also visible in Schl\u00e4pfer\u2019s choreography, on the one hand through the dancers, who often perform in tutti rather than as soloists, and who as a collective seem to overrun the stage at times with a massive energy of movement. On the other hand, gestures associated with the search for protection increase towards the end of the ballet, which correlate with the increasing \u201cmenace of sound\u201d<a href=\"#fn25\" class=\"footnote-ref\" id=\"fnref25\" role=\"doc-noteref\"><sup>25<\/sup><\/a> described by H\u00f6lszky.<\/p>\n<p>Schl\u00e4pfer composes his choreography from a series of associatively arranged, but often semantically ambiguous images. All the more weight is given to those sections\u2014one could also say \u201cscenes\u201d of the choreography\u2014which leave little or no room for interpretation, that is, which are relatively unambiguous. As an example of the development of a dramaturgy detached from H\u00f6lszky\u2019s composition by means of pictorial associations, the mm.\u00a064ff. (\u201cwhere there is danger or pain\u201d<a href=\"#fn26\" class=\"footnote-ref\" id=\"fnref26\" role=\"doc-noteref\"><sup>26<\/sup><\/a>; minute 30:10) from phase\u00a0IV may be cited here. The tunnel created by the men\u2019s legs closes above the female dancers crawling on the floor in the manner of soldiers; the women are virtually suffocated in the tunnel, which could offer protection, on their \u201cmission.\u201d Towards the end of phase\u00a0VII (m.\u00a037; minute 42:03), the female soloist\u2019s point work gradually dies away, and in a striking contrast to the score, which introduces a homorhythmic fortissimo stretta starting in m.\u00a043 (minute 42:40), the ensemble tips over into strangely lethargic, powerless movements. The fact that the soloist finally withdraws from the ensemble into the background of the stage is reminiscent of an archaic ritual in which death departs silently after the harvest has been completed.<\/p>\n<p>The astronomical analogue of \u201c\u2018sound paths\u2019\u201d<a href=\"#fn27\" class=\"footnote-ref\" id=\"fnref27\" role=\"doc-noteref\"><sup>27<\/sup><\/a> underlying the creative process is poetic and detached from any earthly heaviness. If one continues H\u00f6lszky\u2019s metaphor, one sees a double star (voice\u2014percussion) orbited by seven planets (or instruments). Just as the gravitational forces in our cosmos create cohesion and coherence, the timbres in <em>Roses of Shadow<\/em> are linked to each other by contrasts or similarities\u2014giving each other impulses, cancelling each other out, entering into a dialogue, or merging into a collective event. Thus, after an in-depth analysis of the work (to be understood here in the sense of the combination of composition and choreography), the following question arises: Are Adriana H\u00f6lszky and Martin Schl\u00e4pfer simultaneously conveying a vision and a longing for a redemptive cosmos to the audience? What is the message of the text, which is sometimes semantically unambiguous and \u201cearth-heavy,\u201d sometimes merely reduced to phonemes, and of the sound of the final measures sucked into the abyss? And what is the message conveyed by Schl\u00e4pfer with the apocalyptic, many-limbed, tangled beings that the dance stage gives birth to at the end of his choreography?<\/p>\n<p>The composition is divided into seven sections, which the composer calls phases, ranging from about three to about eleven minutes. As the composer informs us, the number seven has no symbolic meaning; the final number of phases resulted from shifts in the underlying texts and the associated reduction from thirteen to ten and ultimately seven phases at the beginning of the compositional process.<a href=\"#fn28\" class=\"footnote-ref\" id=\"fnref28\" role=\"doc-noteref\"><sup>28<\/sup><\/a> The following indications, which are more exemplary than complete, may serve in future refined analyses as a starting point for recognizing connections within the composition. The focus here is on the material, structural and textual levels, as well as on overarching \u201cshaping principles\u201d and references between the individual phases. In places, reference is made to Martin Schl\u00e4pfer\u2019s choreography.<\/p>\n<p>Phase\u00a0I: \u201cHeaven. A white mountain\u201d<a href=\"#fn29\" class=\"footnote-ref\" id=\"fnref29\" role=\"doc-noteref\"><sup>29<\/sup><\/a> are the first words that could evoke a creation myth. But the already ambiguous mood (\u201cwhite mountain\u201d\u2014idyll or hostile place?) does not last long, for \u201cthe sky begins to shed its tears\u201d<a href=\"#fn30\" class=\"footnote-ref\" id=\"fnref30\" role=\"doc-noteref\"><sup>30<\/sup><\/a> (mm. 37-41). \u201cI cry with thirst\u201d<a href=\"#fn31\" class=\"footnote-ref\" id=\"fnref31\" role=\"doc-noteref\"><sup>31<\/sup><\/a> (mm. 52-53) and another \u201cthe sky begins to shed its tears\u201d (mm.\u00a054-55) confirm that the \u201cvoice,\u201d the carrier of the text, the lyric persona, is not granted a stay in paradise. H\u00f6lszky\u2019s statement that \u201cfrom the beginning to the end of the work [&#8230;] the compactness and menace of the sound increases like a maelstrom\u201d<a href=\"#fn32\" class=\"footnote-ref\" id=\"fnref32\" role=\"doc-noteref\"><sup>32<\/sup><\/a> is already fulfilled at the beginning of the work.<\/p>\n<p>The text \u201cI walk through the high grass\u201d<a href=\"#fn33\" class=\"footnote-ref\" id=\"fnref33\" role=\"doc-noteref\"><sup>33<\/sup><\/a> (from m.\u00a0103) \u201cfar out in the desert mountains\u201d<a href=\"#fn34\" class=\"footnote-ref\" id=\"fnref34\" role=\"doc-noteref\"><sup>34<\/sup><\/a> (mm. 107-108) is a foretelling of freedom, but even more of threat, and ultimately sinks into the \u201cniente\u201d (m.\u00a0110). Schl\u00e4pfer\u2019s interpretation starting in m. 78, which has already been mentioned in more detail above, fits into the dark, questioning atmosphere created by the composer or, even more, complements it with its own images. In addition to the metamorphosed figures that seem like helplessly hopping eaglets, these images include, for example, the ensemble looking expectantly in one direction, with facial expressions and pantomimic gestures that are understandable but not narratively assignable (from minute 10:35).<\/p>\n<p>Phase\u00a0II: Desemanticized phonemes in the voice and soundscapes characterize mm.\u00a01-52, until in mm.\u00a053-54 the voice continues as if it had never been interrupted\u2014\u201cand heard the ants talk, the ants talk.\u201d<a href=\"#fn35\" class=\"footnote-ref\" id=\"fnref35\" role=\"doc-noteref\"><sup>35<\/sup><\/a> This passage is not without an ironic twist that is characteristic of H\u00f6lszky\u2019s composing: the percussion produces a maximum volume (quadruple forte) with the antique cymbal in m.\u00a055, falling back into a subito pianississimo with the tam-tam in m.\u00a055, only to fade away into a \u201cniente\u201d after a brief attempt at a crescendo. The question therefore arises as to whether the talking of the ants could actually be perceived. \u201cI am akin to the stars\u201d<a href=\"#fn36\" class=\"footnote-ref\" id=\"fnref36\" role=\"doc-noteref\"><sup>36<\/sup><\/a> in m.\u00a057 has the instruction \u201cspeak hoarsely\u201d and is the first passage in the forty-minute composition to be an absolute voice solo (i.e., without percussion). The assumption that this text passage, together with its continuation, could be a key passage in H\u00f6lszky\u2019s composition as well as in the choreography is confirmed in the analytical findings: \u201cfree like the eagle soaring over the great blue sky; a light breeze touches its face. A white mountain rises\u00a0\u2026\u201d<a href=\"#fn37\" class=\"footnote-ref\" id=\"fnref37\" role=\"doc-noteref\"><sup>37<\/sup><\/a> is performed in a normal speaking voice and is again accompanied by percussion (mm.\u00a058-61). The text of this scene is clearly acted out in the choreography: arm movements imitating eagle wings, arms stretched up to the \u201cgreat blue sky\u201d (m.\u00a059), which, however, unmistakably formulate a counterposition with their thumbs pointing to the ground, and a \u201clight breeze\u201d (m.\u00a060), which throws the ensemble to the ground in a disorderly fall (minute 16:30). \u201cBrightly white arcs of light tilt from its top\u00a0\u2026\u201d<a href=\"#fn38\" class=\"footnote-ref\" id=\"fnref38\" role=\"doc-noteref\"><sup>38<\/sup><\/a> (mm.\u00a062-63) as well as the following chant performed with phonemes are again \u201caccompanied\u201d by the ensemble. After the tutti sound of mm.\u00a069-70, repeated three times, the voice, supported only by a soft and quiet percussion sound (again: \u201choarse\u201d), has a soloistic effect in mm.\u00a071-72 and m.\u00a074: \u201cakin to the stars.\u201d<a href=\"#fn39\" class=\"footnote-ref\" id=\"fnref39\" role=\"doc-noteref\"><sup>39<\/sup><\/a> The tutti tremolo in m.\u00a073 seemingly has no other function than to accentuate the revelation of this kinship with the stars. The pronounced execution of this core statement, \u201cakin to the stars,\u201d<a href=\"#fn40\" class=\"footnote-ref\" id=\"fnref40\" role=\"doc-noteref\"><sup>40<\/sup><\/a> that is, as the legend indicates, a \u201cspeaking with emphasis on the consonants and persistence on \u2018T\u2019,\u201d<a href=\"#fn41\" class=\"footnote-ref\" id=\"fnref41\" role=\"doc-noteref\"><sup>41<\/sup><\/a> lends particular weight to the end of this phase\u00a0II section. However, no one should be misled by this analytical finding\u2014which only takes into account a partial aspect of the score\u2014into assuming a poetic underpinning of the text. Exactly the opposite is to be heard: like rifle shots, the instruments hammer their forte strokes (mm.\u00a068-70) into a soundscape of glissandi, tremolo, and accentuated repetitions. Thus, the confession of a starry affinity falls into an environment with a threatening effect. The reverberation, an eight-part whisper (voice and seven instruments) in desemanticized consonants (m.\u00a075) appears in its four repetitions like a commentary on the confession of the lyric persona. The fact that Martin Schl\u00e4pfer was by no means merely skimming the surface of the text, but was subtly plumbing the depths and shallows of Adriana H\u00f6lszky\u2019s music, can be seen in the introduction of a prop in this phase\u00a0II: a ball. The expectation from the audience\u2019s perspective, however, amounts to nothing, because there is no ball game to be seen. Instead, the ball is used as a threatening, injurious weapon, which is sometimes held aloft triumphantly. As good as this scene is to decipher in itself, the function of the solo that follows the fight with or around the ball (minute 19:00) remains cryptic.<\/p>\n<p>Phase\u00a0III is characterized by a tutti tonality, predominantly on a piano level. The voice becomes part of the instrumentation\u2014its phonemes are unable to lend any clarity to the dramaturgical events, but it nevertheless creates connotations. A fortissimo measure repeated three times (m.\u00a06) sets an impulse, after which the voice, dynamically placed above the instruments, unmistakably produces a precisely intoned sighing glissando (from b\u2019 to a-sharp\u2019, from m.\u00a09 from e-flat\u2019\u2019 to d\u2019\u2019). M.\u00a010, the first measure of this section to feature a spoken text (\u201cthe trees,\u201d<a href=\"#fn42\" class=\"footnote-ref\" id=\"fnref42\" role=\"doc-noteref\"><sup>42<\/sup><\/a> spoken by the entire ensemble), is followed by nine-part harmonica sounds, and is replaced four measures later by the next tutti text (m. 15 \u201cthe stones\u201d<a href=\"#fn43\" class=\"footnote-ref\" id=\"fnref43\" role=\"doc-noteref\"><sup>43<\/sup><\/a>). In mm. 16-19 the harmonica tutti sound is repeated and leads into a speaking voice tutti again in m.\u00a020 (\u201cthe earth\u201d<a href=\"#fn44\" class=\"footnote-ref\" id=\"fnref44\" role=\"doc-noteref\"><sup>44<\/sup><\/a>), and to the end of this phrase after four more harmonica measures. These mm.\u00a010-24 are loud in both the spoken text and the harmonica parts, but the short text phrases are by no means clear. The composer subtly increases the tempo of these three speaking-voice measures from quarter\u00a0= 46\u00a0bpm to quarter\u00a0= 56\u00a0bpm, granting the text\u2014\u201cthe trees,\u201d \u201cthe stones,\u201d \u201cthe earth\u201d\u2014only the equivalent of thirty-second-note values. Nothing in this score is left to chance or approximate execution. Schl\u00e4pfer\u2019s interpretation of this passage has already been referred to above.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_2-scaled.jpg\" alt=\"Calligraphic notation.\" width=\"1645\" height=\"2560\" class=\"alignnone size-full wp-image-6410\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_2-scaled.jpg 1645w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_2-193x300.jpg 193w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_2-658x1024.jpg 658w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_2-96x150.jpg 96w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_2-768x1196.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_2-987x1536.jpg 987w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_2-1316x2048.jpg 1316w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_2-48x74.jpg 48w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_2-315x491.jpg 315w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_2-347x540.jpg 347w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_2-141x220.jpg 141w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_2-212x330.jpg 212w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_2-850x1323.jpg 850w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_2-157x244.jpg 157w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_2-167x260.jpg 167w\" sizes=\"auto, (max-width: 1645px) 100vw, 1645px\" \/><br \/>\n<span class=\"caption-text\"><strong>Music example\u00a02:<\/strong> <em>Roses of Shadow<\/em>, p. 73, mm. 20-24. \u00a9\u00a02017 by Breitkopf &amp; H\u00e4rtel, Wiesbaden<\/span><\/p>\n<p>The following section reveals another phenomenon of H\u00f6lszky\u2019s style, namely a pronounced will to shape the composition, despite all the allowing and losing oneself in sound textures. From m.\u00a025 onwards, a chamber-music-like instrumentation of percussion, accordion (from m.\u00a029) and piano (from m.\u00a031) continues, whereby the latter two instruments are brought close together not only tonally but also in terms of compositional technique. Mm.\u00a037ff. seem like a reprise of mm.\u00a01ff. (\u201c<em>staccatissimo<\/em> <em>sempre<\/em>\u201d), or, if one encounters this old-fashioned term in the context of H\u00f6lszky\u2019s composition, a d\u00e9j\u00e0 vu. Mm.\u00a048ff. show, similar to mm.\u00a010ff., the increase to a fortississimo sound, which is interrupted in mm. 50-51 with a threefold repetition of a motivic interlocking of percussion, koto, and piano. The motif of three falling semitones (m.\u00a051) as well as the rising and falling broken chords (m.\u00a050; in terms of timbre, entrusted to a wide variety of percussion instruments) form a tonal caesura, after which the return to the harmonica sound takes place in m.\u00a052. Here, too, the thesis of the \u201crecapitulation characteristic\u201d is confirmed (see mm.\u00a011ff.). In the continuation (mm.\u00a056ff.), the accordion and piano enter into a dialogue again (see mm.\u00a031ff.). As in phases I and II, phase\u00a0III ends in a quiet finale (\u201cniente\u201d).<\/p>\n<p>Similar to phase\u00a0I (piano and percussion), phase\u00a0IV begins with a percussion sound, which is joined by the alphorn from m.\u00a011. It is, however, quite obviously not the striking timbre of the alphorn that is intended to have a new effect here. Rather, the composer exploits the tonal range of arpeggiated and repeated motifs (\u201csnapping,\u201d \u201csucking in,\u201d \u201ccreaking voice\u201d) and in m.\u00a014 allows the voice to join in with the same \u201cmotifs\u201d (\u201csnapping\u201d) in quasi-polyphonic two-part harmony. From m.\u00a029 onwards, contrary to what one might expect from a mere reading of the score with its differentiated motifs, a flat sound gradually builds up. The use of the speaking voice (\u201cas a recitative\u201d for the first time in this phase\u00a0IV in m.\u00a041) does not mark a new internal section because of the mixture with the instrumental timbres (e.g., the instruction \u201csing into the instrument\u201d in the euphonium; e.g., the flutter-tongue glissando in the bass clarinet in m.\u00a042). There is a caesura only in m.\u00a050, but it is very clear with a general pause of twelve seconds, into which only the rainmaker enters with a pianissimo sound. The appeal of the text\u2014\u201cWalk around the mountain\u201d<a href=\"#fn45\" class=\"footnote-ref\" id=\"fnref45\" role=\"doc-noteref\"><sup>45<\/sup><\/a>\u2014is spoken hoarsely by the voice. The text continuation \u201cwalk softly\u201d<a href=\"#fn46\" class=\"footnote-ref\" id=\"fnref46\" role=\"doc-noteref\"><sup>46<\/sup><\/a> is presented a total of six times, whereby mm.\u00a055-57 show small, almost inconspicuous variations and therefore dispense with the repetition signs otherwise familiar from the score. Counteracting the text, H\u00f6lszky creates a march character through accents in strict 4\/4 time, creating a stiff and military counter-world to the appeal in the Native American texts, namely to walk quietly, softly. Schl\u00e4pfer has the male dancers slide on their knees at this point, burdened with the weight of the female dancers on their shoulders. These body sculptures underline the oppressive, hopeless moment of the voice\u2019s hoarse appeal. The technique of repetition with small variations also defines mm.\u00a058ff. up to the text \u201cwhere there is danger or pain\u201d<a href=\"#fn47\" class=\"footnote-ref\" id=\"fnref47\" role=\"doc-noteref\"><sup>47<\/sup><\/a> (played three times). The transition to include the solo voice in m.\u00a070 is striking, first beginning with phonemes performed <em>bocca chiusa<\/em>, and from m.\u00a073 ends phase\u00a0IV speaking hoarsely, whispering hoarsely, astonished, very intensely and whispering: \u201cDraw a circle of thoughts around the gentle silent mountain, and the mountain becomes crystal, and you see the open valley through the crystal mountain, and all the truth of the valley is yours.\u201d<a href=\"#fn48\" class=\"footnote-ref\" id=\"fnref48\" role=\"doc-noteref\"><sup>48<\/sup><\/a> Analogous to the solo voice, Martin Schl\u00e4pfer places a male solo dancer at the center of the stage, who\u2014in a counterpoint to the text that can be interpreted as a promise\u2014sinks to the ground at the end of his scene.<\/p>\n<p>Phase\u00a0V follows attacca. The sound of the trumpet in C is striking; despite the mute used, it has a bright and other-worldly quality. However, mm.\u00a01-5 with their fanfare-like motif in m.\u00a04 are not without a certain ironic, perhaps even threatening note, for the trumpet is both the instrument of the white man and the instrument of war. As abruptly as this tonal digression appeared, it departs. Apart from the change of meter, mm.\u00a07-14 take up the <em>staccatissimo<\/em> soundscape of the beginning of phase\u00a0III almost precisely; the trumpet is completely absorbed into the collective sound. In m.\u00a015, underpinned by the bass drum with a pianissimo swirl, it emerges in a <em>senza tempo<\/em> measure. The connotation of a cadenza is obvious, even if the virtuosity here is distorted into a creaking and whispering into-instrument speech. In phase\u00a0V, this is the last solo appearance of the trumpet, for the sound of the accordion (from m.\u00a016) and the harmonica (from m.\u00a019), played in glissandi by the soprano, take center stage, while the piano plays in unison with the accordion (mm. 19 and 21). The structure, divided by the alternation of rhythmically dense action and pauses, changes starting in m.\u00a024 to a flat sound, which thins out from mm.\u00a028-29 to a dialogue between waterphone and iron ball marble. In conception, these measures would be comparable to the end of phase\u00a0III; here, however, the sound events are once again gathered into a restless tutti. Phase\u00a0IV is the first section of the composition so far that remains without spoken or sung text. Collective lip sounds, the creaking voice as well as phonemes groaned or \u201ccreaked\u201d into the alphorn and the contrabass clarinet merge into a collective \u201cmurmuring voice\u201d (m.\u00a036). That the collective has lost all grounding, with the exception of the two wind instruments (which sing as low as possible into the instrument), may well be asserted: In aperiodic, very short bursts, \u201cas high as possible\u201d is murmured here. With the exception of the piano and the alphorn (singing into the instrument in head voice), phase\u00a0V ends in a collective exhalation into the harmonica. The snare drum has the final word with a repeated motif that \u201csweeps\u201d wildly in the forte which already played a central role in phase\u00a0IV (mm.\u00a049-60; \u201cWalk around the mountain, walk softly, walk softly\u00a0\u2026\u201d<a href=\"#fn49\" class=\"footnote-ref\" id=\"fnref49\" role=\"doc-noteref\"><sup>49<\/sup><\/a>). The fact that the choreography works with motifs on an equal footing can be seen in the gestural motifs (\u201cthrow-away gesture,\u201d<a href=\"#fn50\" class=\"footnote-ref\" id=\"fnref50\" role=\"doc-noteref\"><sup>50<\/sup><\/a> shaking, defiant and defensive gesture), which accumulate especially in this phase, possibly stimulated by the \u201cillusions of movement\u201d created by the music (the fanfare exhorting to departure, periodic or aperiodic creaking, sweeping). In this, Schl\u00e4pfer refers, whether consciously or unconsciously, to the gestural character of H\u00f6lszky\u2019s music; for example, even the soprano voice, \u201cdeconstructed\u201d into phonemes and desemanticized, is reduced to a gestural moment, an extremely abbreviated moment of movement of a sound event.<\/p>\n<p>Phase\u00a0VI is also a wordless phase. The interactions of the instruments and the voice become increasingly chaotic; blocks of sound with ordered, homorhythmic structures become noticeably rare. The end of the phase is most compact with the <em>presto possibile<\/em> (from m.\u00a030), in which the violin and violoncello enter into a partly hocket-like dialogue, while the bass drum forms the foundation with a tremolo. This final drum tremolo is familiar from the final measures of phases I and III (both times extremely restrained dynamically). In phase\u00a0VI, it rises to a quadruple forte in the final measure. There is an obvious element of symmetry here which seems legitimate in view of the image of the planetary orbits. If, as the composer suggestively conveys, the nine sound centers move like celestial bodies, there are always planetary passages that create a similar, but never an identical constellation in the \u201csound cosmos.\u201d Or, to use another of H\u00f6lszky\u2019s images, through the \u201cchemical bonds [&#8230;] [of the] \u2018sound molecules\u2019\u201d<a href=\"#fn51\" class=\"footnote-ref\" id=\"fnref51\" role=\"doc-noteref\"><sup>51<\/sup><\/a> of the bass drum to the two string instruments, a new chemical element is formed\u2014\u201cnew substances\u201d<a href=\"#fn52\" class=\"footnote-ref\" id=\"fnref52\" role=\"doc-noteref\"><sup>52<\/sup><\/a> are formed.<\/p>\n<p>Phase\u00a0VII builds on the small-scale sound connections of the preceding phase. The percussion, particularly colorful here with various instruments, creates a \u201cthunder sound\u201d (m.\u00a02), after the piano has reinforced the percussion rhythm with clusters (played in the strings) in the opening measure. After the textless phases V and VI, the voice is present in this last phase of the work: \u201cYou spread death, you spread death, you buy and sell death, you buy and sell death, but you deny it, you don\u2019t want, you don\u2019t want, you don\u2019t want to face it. You buy and sell death.\u201d<a href=\"#fn53\" class=\"footnote-ref\" id=\"fnref53\" role=\"doc-noteref\"><sup>53<\/sup><\/a> The textual repetitions are also emphasized musically with slightly varied or even identical motifs (mm.\u00a01-11), a technique that can also be found in the other phases (e.g., in phase\u00a0IV, in which mm.\u00a052-67 also feature motif repetitions, but applied to both the voice and the instrumental tutti). The <em>staccatissimo<\/em> soundscape (from m.\u00a010 and in the varied resumption from m.\u00a014) can be understood as a derivative of similar soundscapes in phases III and V. The chemical reaction, so to speak, of all tonal elements leads to an increase in dynamics and to an intensified structuring of the temporal progression in blocks. Examples of this are: Block of mm.\u00a010-11; block of mm.\u00a012-13 (quasi as an echo with tremolo sounds to the phonemes of the voice); block of mm.\u00a014-15 (with the <em>staccatissimo<\/em> as in the block of mm.\u00a010-11); block of mm.\u00a016-17 (again with phonemes in the voice in addition to an ostinato, but subtly varied percussion part); block of mm.\u00a018-23. This block features tremolos, repeated notes and a motif in trumpet and clarinet that can be derived from m.\u00a04 of phase\u00a0V. Already there, it has a strangely dark, ironic sound. The integration of the voice into the instrumental tutti is hocket-like, so that the voice remains audible as the carrier of the central textual message: \u201cPoor white man, in your rage, in your splendor, in all your prosperity, you have lost your heritage.\u201d<a href=\"#fn54\" class=\"footnote-ref\" id=\"fnref54\" role=\"doc-noteref\"><sup>54<\/sup><\/a> In multiple forte and as high as possible, the voice rings out at this point. Ten seconds of general pause, into which only a sound from inside the piano reverberates, end this sequence. The following block of mm.\u00a024-34 seems short of breath and as if thinned out, interspersed with fermatas and pauses: \u201cNow you want mine\u00a0&#8230; there\u00a0&#8230; take it\u00a0&#8230; I have more.\u201d<a href=\"#fn55\" class=\"footnote-ref\" id=\"fnref55\" role=\"doc-noteref\"><sup>55<\/sup><\/a> Respectfully following the score, Martin Schl\u00e4pfer brings the ensemble to a standstill (albeit incomplete) here (minute 40:20). The continuation of this conflict-laden \u201cscene\u201d takes place with slowed movement impulses, whereby the most striking aspect of the stage performance is probably the slowly fading dance on pointe\u2014the soloist gradually relinquishes her position of prominence among the ensemble (minute 42:03), thus introducing the final sequence of <em>Roses of Shadow<\/em>. The block of mm.\u00a035-36 is a derivative of the <em>staccatissimo<\/em> blocks (m.\u00a010, m.\u00a014). However, its density is increased and it ends with a glissando in the voice (crescendoing, decrescendoing), which acts as a counterpoint to the polyphonic texture of the instruments. The block of mm.\u00a037-46 is fluctuating in tempo and in this, too, a contrast to what precedes. \u201cYou who live where the sun sets\u2014HEY\u2014you thunder beings.\u201d<a href=\"#fn56\" class=\"footnote-ref\" id=\"fnref56\" role=\"doc-noteref\"><sup>56<\/sup><\/a> Rhythmically divided into clear quarter note beats, the block of mm.\u00a047-49 follows. The fact that Martin Schl\u00e4pfer lets the music rage here, while the ensemble, in its calm and almost lethargic movements, remains untouched by the rhythmic impulse, shows the independence, if not originality, of his staging of Adriana H\u00f6lszky\u2019s sound choreography. This block with the oft-repeated \u201cHey\u201d circles within itself. The composer arranges for m.\u00a049 to be presented seven times. This interjection, whose semantics are ambiguous, is heard no less than forty times. Is it the call of the white man who, in his own downfall, still triumphantly snatches the inheritance from the Native American? Or a vital commitment to a universal, mystical energy that embraces and, in a sense, protects man as part of the cosmos? In any case, the last \u201cniente\u201d of the composition fades out between single and quadruple forte\u2014a \u201cdownfall\u201d in a creaking and aperiodic roar (mm.\u00a050-52). \u201cMorse-like\u201d is the instruction for the last three extremely quiet measures. Is this a magical redemption, allowing oneself to fall in a quasi Big Bang-like chaos that slides into a Morse-like pulsating gentle pianissimo state? The choreography could also suggest this interpretation.<\/p>\n<p>If, after this study of the score, one returns once again to a consideration of the total work of art, which is composed of music, dance and\u2014admittedly not given due consideration in the context of this contribution\u2014the strikingly dark stage design (Markus Spyros Bertermann) dominated by a monolith, then some questions remain unanswered. A plot line cannot be discovered in Martin Schl\u00e4pfer\u2019s choreography. However, his associative use of the stage space (collective vs. grouping vs. solo performance; vertical vs. horizontal; close to the floor vs. upright posture; furthermore, small, expressive gestures such as hand movements, head posture, etc.) suggests, on a large as well as small scale, the narration of individual phases of a drama. The fact that the range of interpretation is wide and remains wide even on closer examination places the choreography on an equal footing with Adriana H\u00f6lszky\u2019s composition, whose ambiguity is likewise not resolved by this analysis. Of course, this conclusion does not refer to a deficiency in the artistic production\u2014be it composition or choreography\u2014but is rooted in H\u00f6lszky\u2019s and Schl\u00e4pfer\u2019s artistic process and intention.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/07_Dobretsberger_Foto_2_Kreklau-scaled.jpg\" alt=\"Two people are standing in an empty theatre auditorium with red seats, talking and going through documents while looking at the stage. Next to them is an open laptop.\" width=\"2560\" height=\"1707\" class=\"alignnone size-full wp-image-6413\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Foto_2_Kreklau-scaled.jpg 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Foto_2_Kreklau-300x200.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Foto_2_Kreklau-1024x683.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Foto_2_Kreklau-150x100.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Foto_2_Kreklau-768x512.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Foto_2_Kreklau-1536x1024.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Foto_2_Kreklau-2048x1365.jpg 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Foto_2_Kreklau-104x69.jpg 104w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Foto_2_Kreklau-737x491.jpg 737w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Foto_2_Kreklau-810x540.jpg 810w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Foto_2_Kreklau-320x213.jpg 320w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Foto_2_Kreklau-309x206.jpg 309w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Foto_2_Kreklau-850x567.jpg 850w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Foto_2_Kreklau-735x490.jpg 735w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Foto_2_Kreklau-366x244.jpg 366w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Foto_2_Kreklau-390x260.jpg 390w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><strong>Figure\u00a02:<\/strong> Adriana H\u00f6lszky and Martin Schl\u00e4pfer during the rehearsal for <em>Deep Field.<\/em> \u00a9\u00a0Sascha Kreklau<\/span><\/p>\n<p><em>Deep Field<\/em>, unlike <em>Roses of Shadow<\/em>, which was composed three years later, is explicitly identified as a ballet. However, here, too, something seems to resist the classification as ballet music. The term seems too harmless, too banal, does not seem to do justice to this superlative text-based work. \u201cThis is not a ballet evening!\u201d says Adriana H\u00f6lszky about <em>Deep Field<\/em>.<a href=\"#fn57\" class=\"footnote-ref\" id=\"fnref57\" role=\"doc-noteref\"><sup>57<\/sup><\/a><\/p>\n<p>The subjects of <em>Roses of Shadow<\/em> and <em>Deep Field<\/em> are deeply related. Both are about man\u2019s relationship to nature, to his fellow world, but also about his own responsibility, which he is hardly empowered to perceive. However, let us start with the title H\u00f6lszky chooses for her 2013 commission for the D\u00fcsseldorf Opera initiated by Martin Schl\u00e4pfer: <em>Deep Field<\/em>. A title rich in associations, almost poetic, which the composer borrowed from the name of one of the Hubble space telescopes. This \u201cgiant eye\u201d<a href=\"#fn58\" class=\"footnote-ref\" id=\"fnref58\" role=\"doc-noteref\"><sup>58<\/sup><\/a> enables us humans to look at populations of distant galaxies\u2014a fascination of a special kind that obviously inspires not only further astronomical research but also a composer like Adriana H\u00f6lszky. Far from it, however, would be the assumption that H\u00f6lszky is only concerned with the greatest possible range in her outward gaze. Those familiar with her work know of her affinity for introspection: \u201cFirst you see nothing, then more and more stars, and finally everything pulverizes, the whole drama of humanity, the stories of living and dying, language, everything becomes universe, mystery\u00a0&#8230;\u201d<a href=\"#fn59\" class=\"footnote-ref\" id=\"fnref59\" role=\"doc-noteref\"><sup>59<\/sup><\/a> However, before man\u2019s self-suffering is entrusted to the universe and allowed to sink into the \u201cdeep field\u201d and dissolve, before man attains \u201cthat divine substance\u201d<a href=\"#fn60\" class=\"footnote-ref\" id=\"fnref60\" role=\"doc-noteref\"><sup>60<\/sup><\/a> which H\u00f6lderlin\u2019s Empedocles longs for, the dramas must be acted out and lived through. For this\u2014and this may at least strike some as unusual in the composition of ballet music\u2014texts are needed, and H\u00f6lszky chooses these carefully. In order to illuminate the interplay of the composition and the choreography, at least pars pro toto, an analysis of the video production (provided by the D\u00fcsseldorf Opera) will be preceded by a study of the score.<\/p>\n<p>Like <em>Roses of Shadow<\/em>, <em>Deep Field<\/em> is divided into what the composer calls phases and epilogues. Only phase\u00a0X does without an epilogue, resulting in a division into ten phases and nine epilogues.<\/p>\n<p>H\u00f6lszky opens the work with a quotation from the first scene of H\u00f6lderlin\u2019s fragmentary tragedy <em>The Death of Empedocles<\/em>. Respect, but also fear, for the divine being of Empedocles (\u201call-transforming\u201d<a href=\"#fn61\" class=\"footnote-ref\" id=\"fnref61\" role=\"doc-noteref\"><sup>61<\/sup><\/a> and \u201csadly searching\u201d<a href=\"#fn62\" class=\"footnote-ref\" id=\"fnref62\" role=\"doc-noteref\"><sup>62<\/sup><\/a>) and the awareness that even this \u201cbeautiful star\u201d must set, resonate in Panthea\u2019s words. The end of the text (and thus also of phase\u00a0I)\u2014\u201cAlready the clear day dawned before me and around the sun wavered, like a soulless shadow, the world.\u201d<a href=\"#fn63\" class=\"footnote-ref\" id=\"fnref63\" role=\"doc-noteref\"><sup>63<\/sup><\/a>\u2014seamlessly joins, quasi in an enjambment, the title of phase\u00a0II: \u201cEarth.\u201d However, let us first trace the return of the H\u00f6lderlin text in the final phase (phase\u00a0X). The second block of H\u00f6lderlin quotations is attached to the end of the work like a frame, or rather like an inexorable parenthesis: only fragments of text from Panthea\u2019s appearance remain, scraps of words transformed from the originally longing to the threatening, torn from their context of meaning. Phase\u00a0I as well as phase\u00a0X bear the title \u201cDelirium,\u201d and yet it is not a return, but a metamorphosis of delirium.<\/p>\n<p>The texts of Nietzsche, this word-metamorphosis artist par excellence, fit seamlessly into H\u00f6lszky\u2019s \u201cSound exposures of a Metamorphosis\u201d<a href=\"#fn64\" class=\"footnote-ref\" id=\"fnref64\" role=\"doc-noteref\"><sup>64<\/sup><\/a> (the subtitle of the work). \u201cBirds of Prey,\u201d<a href=\"#fn65\" class=\"footnote-ref\" id=\"fnref65\" role=\"doc-noteref\"><sup>65<\/sup><\/a> the title of phase\u00a0VI, refers to the element of air (see phase\u00a0II \u201cEarth,\u201d phase\u00a0IV \u201cWater,\u201d phase\u00a0VIII \u201cFire\u201d); the text modules from the Dionysus dithyrambs are heightened in their mysteriousness by being heard simultaneously. That the quotation of \u201cI am your labyrinth\u201d<a href=\"#fn66\" class=\"footnote-ref\" id=\"fnref66\" role=\"doc-noteref\"><sup>66<\/sup><\/a> (from the \u201cLamentation of Ariadne\u201d), partly written in universals, stands out graphically like a motto from the score is one thing; that it is also audibly exposed in the polyphony of sounds is another and stands pars pro toto for the coherence of the subtitle. Nevertheless, the considerations can be spun even further: the view through Deep Field, the space telescope that allows our eyes to access distant galaxies, is a glimpse into a labyrinth of stars and galaxies. Thus, the labyrinthine is also found in the title so carefully chosen by H\u00f6lszky. Her reference\u2014\u201cYou have only reached the inside when you have passed through these illuminations\u201d<a href=\"#fn67\" class=\"footnote-ref\" id=\"fnref67\" role=\"doc-noteref\"><sup>67<\/sup><\/a>\u2014can be understood as an appeal, namely not only to look through Deep Field, the telescope, but to go into <em>Deep Field<\/em>. What the composer calls illuminations are the labyrinths and metamorphoses of our life on earth. The third layer of texts included in the composition are fragments from Hanns Johst\u2019s <em>Die Stunde der Sterbenden<\/em> (Hour of the Dying). The expressionist drama from the beginning of World War\u00a0I depicts the drastic suffering of war and served as inspiration for the composer. Johst, however, changed from a pacifist to a right-wing nationalist only a short time later and, as a friend of Himmler\u2019s and honored by Hitler, made a career as a poet. \u201cAs president of both the Reichsschrifttumskammer\u2019 (Reich Chamber of Culture) and the \u2018Deutsche Akademie der Dichtung\u2019 (German Academy for Poetry) 1935-1945, he was one of the leading literary figures of the Nazi regime.\u201d<a href=\"#fn68\" class=\"footnote-ref\" id=\"fnref68\" role=\"doc-noteref\"><sup>68<\/sup><\/a> The omission of this fact in the program notes for the premiere led to criticism. The literary scholar Karl Carino says, \u201chistorical decency demands that the author\u2019s National Socialist turn after his early Expressionist phase be mentioned and reflected in the program.\u201d<a href=\"#fn69\" class=\"footnote-ref\" id=\"fnref69\" role=\"doc-noteref\"><sup>69<\/sup><\/a> However, he describes H\u00f6lszky\u2019s inspiration by a youthful work by Johst as \u201cnot reprehensible.\u201d<a href=\"#fn70\" class=\"footnote-ref\" id=\"fnref70\" role=\"doc-noteref\"><sup>70<\/sup><\/a> This is where we will connect: Phase\u00a0VIII \u201cFire\u201d opens with the words \u201cHe died. He is rigid and cold.\u201d<a href=\"#fn71\" class=\"footnote-ref\" id=\"fnref71\" role=\"doc-noteref\"><sup>71<\/sup><\/a> This, as well as most of the following text fragments, get lost in the noisy polyphony. Individual key words stand out visually from the score\u2019s graphics and are also perceptible acoustically: \u201cForward\u201d<a href=\"#fn72\" class=\"footnote-ref\" id=\"fnref72\" role=\"doc-noteref\"><sup>72<\/sup><\/a> (m.\u00a04), \u201cForward. Through the rain. Through the fire.\u201d<a href=\"#fn73\" class=\"footnote-ref\" id=\"fnref73\" role=\"doc-noteref\"><sup>73<\/sup><\/a> (mm.\u00a039-43), \u201cEarth\u201d<a href=\"#fn74\" class=\"footnote-ref\" id=\"fnref74\" role=\"doc-noteref\"><sup>74<\/sup><\/a> (m.\u00a0120), \u201cThrown down\u201d<a href=\"#fn75\" class=\"footnote-ref\" id=\"fnref75\" role=\"doc-noteref\"><sup>75<\/sup><\/a> (m.\u00a0129), \u201cThe dying\u201d<a href=\"#fn76\" class=\"footnote-ref\" id=\"fnref76\" role=\"doc-noteref\"><sup>76<\/sup><\/a> (mm.\u00a0136\/138), and \u201cBleeding darkness\u201d<a href=\"#fn77\" class=\"footnote-ref\" id=\"fnref77\" role=\"doc-noteref\"><sup>77<\/sup><\/a> (m.\u00a0146).<\/p>\n<p>These words, like those of H\u00f6lderlin and Nietzsche, are by no means isolated in space. If one follows the textual levels of the individual phases closely, a network of either identical words or words of the three poems connected by associative fields becomes apparent. Even if the text seems to play a marginal role in the vastness and complexity of the musical realization of the score, it is likely to have been a decisive parameter in the compositional process itself. This is also and especially true of the text mentioned in the title of phases III, V, VII, and IX\u2014Hesse\u2019s love fairy tale \u201cPiktor\u2019s Metamorphoses.\u201d \u201cFor me, Hesse\u2019s fairy tale is the inexpressible, the utopian space,\u201d<a href=\"#fn78\" class=\"footnote-ref\" id=\"fnref78\" role=\"doc-noteref\"><sup>78<\/sup><\/a> says H\u00f6lszky, and indeed the longings formulated in \u201cPiktor\u2019s Metamorphoses\u201d stretch out their arms like tentacles to the texts of H\u00f6lderlin and Nietzsche. Just a few examples: the garden as a symbol of paradise; the spring as a symbol of the origin of life and spiritual inspiration; the thirst-quenching waters of the earth rising up to Empedocles as well as to Piktor; the stooped, troubled posture of the tree Piktor and of Empedocles, which can also be found in Nietzsche\u2019s text fragments; thirst as a metaphor and also as a real threat in all texts up to Johst\u2019s <em>Hour of the Dying<\/em>; the loneliness of the individual, which connects all four texts.<\/p>\n<p>On the compositional level, if one searches for similar networks of relationships, one also makes a find. Due to the limited scope of the publication and the \u201cdensity\u201d of the score, references follow only pars pro toto. The \u201cframework\u201d of phase I and X (\u201cDelirium\u201d 1 and 2) as the opening and closing sections has already been mentioned. Phase\u00a0II \u201cEarth\u201d and phase\u00a0VIII \u201cFire\u201d are characterized by a block-like structure. Phases III, V, and VII (\u201cPiktor\u2019s Metamorphoses\u201d 1, 2, and 3) characterize the changing nature, the metamorphosis of Piktor on several levels. While in \u201cPiktor\u2019s Metamorphosis\u00a01\u201d he initially appears as a soloist, symbolized by the sound of the trumpet (the connotation of a Wagnerian leitmotif may arise spontaneously when listening and reading the score), the shades of sound and structures change increasingly. \u201cMetamorphosis\u00a02\u201d shows the dominance of an elaborated micropolyphony, while \u201cMetamorphosis\u00a03\u201d is determined by looseness and colorfulness. The last metamorphosis in phase\u00a0IX (\u201cPiktor\u2019s Metamorphosis\u00a04\u201d) takes on the character of a synthesis through the integration of the Nietzsche text (from m.\u00a025). To recognize a moment of intensification here, a kind of final effect, will not be mistaken. The following \u201cDelirium\u00a02\u201d functions more or less as a swan song.<\/p>\n<p>Both in phase\u00a0IV \u201cWater\u201d and in phase\u00a0VI \u201cBirds of Prey,\u201d the composer explicitly uses illustrative structures and associative motifs. In order to help with understanding the compositional process as well as for orientation during listening, it can be helpful in phase\u00a0IV to interpret a rippled water surface (mm.\u00a07ff.), wave forms (mm.\u00a024ff.), a surge of water (mm.\u00a045ff.), crystalline frozen water (mm.\u00a049ff.), a drop shape (mm.\u00a076ff.), and water collected in a basin (from mm.\u00a082ff.). The same applies to phase\u00a0VI \u201cBirds of Prey\u201d with its dominance of repeated motives, groups of notes to be played as quickly as possible, and chains of trills. As monumental as the oversized score and its calligraphic notation may be, the attention to detail must not be neglected. This will hopefully provide stimuli for further research.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_3-scaled.png\" alt=\"Calligraphic notation.\" width=\"1395\" height=\"2560\" class=\"alignnone size-full wp-image-6415\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_3-scaled.png 1395w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_3-163x300.png 163w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_3-558x1024.png 558w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_3-82x150.png 82w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_3-768x1410.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_3-837x1536.png 837w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_3-1116x2048.png 1116w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_3-40x74.png 40w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_3-268x491.png 268w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_3-294x540.png 294w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_3-120x220.png 120w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_3-180x330.png 180w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_3-850x1560.png 850w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_3-267x490.png 267w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_3-133x244.png 133w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_3-142x260.png 142w\" sizes=\"auto, (max-width: 1395px) 100vw, 1395px\" \/><br \/>\n<span class=\"caption-text\"><strong>Music example\u00a03:<\/strong> <em>Deep Field<\/em>, (II) \u2013 4 \u2013 (13), mm. 19-25. \u00a9\u00a02014 by Breitkopf &amp; H\u00e4rtel, Wiesbaden<\/span><\/p>\n<p>Several challenges arose for Martin Schl\u00e4pfer in the choreographic design. On the one hand, Adriana H\u00f6lszky\u2019s musical calligraphy is in many areas closer to a metamorphosing texture than to a closed form. On the other hand, it is (as in the work <em>Roses of Shadow<\/em>, created in 2016) the textual level that not only guides the choreographer, but can also restrict him like an unwelcome shackle. \u201cFor me, this was a great challenge, as I am hardly used to choreographing to language\u2014even if it is pounded. Of course, I can\u2019t just escape words, but I don\u2019t want to give them power over my work either.\u201d<a href=\"#fn79\" class=\"footnote-ref\" id=\"fnref79\" role=\"doc-noteref\"><sup>79<\/sup><\/a> In the soloistic beginning of the ballet, Martin Schl\u00e4pfer stages the dancer\u2019s performance almost redundantly to the spoken voice played from the tape. The rhythmic congruence between voice (music) and dance as well as the striking doubling of words through movement and gesture seems almost na\u00efve. Examples include the sideways hopping at the words \u201cwhere the spring rises\u201d<a href=\"#fn80\" class=\"footnote-ref\" id=\"fnref80\" role=\"doc-noteref\"><sup>80<\/sup><\/a> (mm.\u00a012-13; minute 1:35) or the covering of the eyes with the feet at the words \u201cyou have never seen him?\u201d<a href=\"#fn81\" class=\"footnote-ref\" id=\"fnref81\" role=\"doc-noteref\"><sup>81<\/sup><\/a> (mm.\u00a026-27; minute 1:58). Props\u2014namely the posts projecting into the stage like a garden fence or like oversized flower stalks, which disappear again as quickly as they appeared\u2014underline the fairy-tale-like narrative impression of this first scene. However, this entry into <em>Deep Field<\/em>, which is oriented towards a concretization of the music, or rather of the text, is lost in the subsequent phases. Only the handling of rhythm remains to a certain extent a programmatic parameter until the final part of the work (Panthea, Delirium\u00a02). Where H\u00f6lszky utilizes clear rhythms in the music, these are reproduced in the dance movement. And where H\u00f6lszky\u2019s music proves rhythmically elusive through soundscapes, tremoli, glissandi, and an almost impulse-free flow and transformation, Martin Schl\u00e4pfer resorts to choreographing motivically deployed, shimmering or tremulous movements (cited as an example: phase\u00a0II \u201cEarth\u201d; minute 11:20), which establish a connection to the timbre of the instruments or voices on a micro-level. This (along with the preference for dancing on pointe in <em>Deep Field<\/em> and the preference for dancing on flat soles in <em>Roses of Shadow<\/em>) is probably the clearest contrast to the choreography for <em>Roses of Shadow<\/em>, created three years later, which is (even) more independent and free of associations in the dance \u201cvisualization\u201d of the musical events.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_4-scaled.png\" alt=\"Calligraphic notation.\" width=\"1395\" height=\"2560\" class=\"alignnone size-full wp-image-6416\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_4-scaled.png 1395w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_4-163x300.png 163w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_4-558x1024.png 558w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_4-82x150.png 82w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_4-768x1409.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_4-837x1536.png 837w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_4-1116x2048.png 1116w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_4-40x74.png 40w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_4-268x491.png 268w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_4-294x540.png 294w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_4-120x220.png 120w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_4-180x330.png 180w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_4-850x1560.png 850w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_4-267x490.png 267w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_4-133x244.png 133w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Musikex_4-142x260.png 142w\" sizes=\"auto, (max-width: 1395px) 100vw, 1395px\" \/><br \/>\n<span class=\"caption-text\"><strong>Music example\u00a04:<\/strong> <em>Deep Field<\/em>, (IV) \u2013 7 \u2013 (26), mm. 37-43. \u00a9\u00a02014 by Breitkopf &amp; H\u00e4rtel, Wiesbaden<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/07_Dobretsberger_Foto_3_Weigelt.jpg\" alt=\"A group of dancers in modern costumes perform dynamically under dim lighting. A central dancer stands out with a white headpiece.\" width=\"2500\" height=\"1800\" class=\"alignnone size-full wp-image-6414\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Foto_3_Weigelt.jpg 2500w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Foto_3_Weigelt-300x216.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Foto_3_Weigelt-1024x737.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Foto_3_Weigelt-150x108.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Foto_3_Weigelt-768x553.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Foto_3_Weigelt-1536x1106.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Foto_3_Weigelt-2048x1475.jpg 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Foto_3_Weigelt-104x74.jpg 104w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Foto_3_Weigelt-682x491.jpg 682w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Foto_3_Weigelt-750x540.jpg 750w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Foto_3_Weigelt-306x220.jpg 306w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Foto_3_Weigelt-309x222.jpg 309w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Foto_3_Weigelt-850x612.jpg 850w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Foto_3_Weigelt-681x490.jpg 681w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Foto_3_Weigelt-339x244.jpg 339w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/07_Dobretsberger_Foto_3_Weigelt-361x260.jpg 361w\" sizes=\"auto, (max-width: 2500px) 100vw, 2500px\" \/><br \/>\n<span class=\"caption-text\"><strong>Figure 3:<\/strong> Scene from <em>Deep Field<\/em>. \u00a9\u00a0Gert Weigelt<\/p>\n<p>Not a quotation from H\u00f6lszky\u2019s <em>Deep Field<\/em>, but from H\u00f6lderlin\u2019s <em>The Death of Empedocles<\/em> shall be placed at the end of this essay: \u201cThen dare! What you have inherited, what you have earned,\u00a0\/ What your fathers\u2019 mouths have told you, taught you,\u00a0\/ Law and custom, the old gods\u2019 names,\u00a0\/ Forget it boldly, and, like newborns,\u00a0\/ Raise your eyes to the divine nature [&#8230;].\u201d<a href=\"#fn82\" class=\"footnote-ref\" id=\"fnref82\" role=\"doc-noteref\"><sup>82<\/sup><\/a> In <em>Roses of Shadow<\/em> and <em>Deep Field<\/em>, Adriana H\u00f6lszky and Martin Schl\u00e4pfer address how little man has succeeded in this enlightened view of nature and the cosmos; each has their own artistic means, which complement each other, but also collide with each other (\u201ccounteract and also oppose,\u201d<a href=\"#fn83\" class=\"footnote-ref\" id=\"fnref83\" role=\"doc-noteref\"><sup>83<\/sup><\/a> as described by the choreographer) or at times seem to run incoherently alongside each other. However, in the view of both artists, everything that exists\u2014on earth as well as in the inner and outer cosmos\u2014is interconnected. This is without a doubt the core message in <em>Roses of Shadow<\/em> as well as in <em>Deep Field<\/em>, and just as doubtlessly, the failure of man in his approach to the \u201cGod question\u201d<a href=\"#fn84\" class=\"footnote-ref\" id=\"fnref84\" role=\"doc-noteref\"><sup>84<\/sup><\/a> is brought to our attention and made audible to us in sounds and movements that are not afraid to slide into the bizarre. The \u201cpassing by\u201d of sound and movement, the missed synthesis between music and movement, the (occasional) drifting into seemingly incoherent parallel worlds, which particularly in <em>Roses of Shadow<\/em> is partly irritating (and probably deliberately intended to irritate), is both an artistic program and a philosophical statement\u2014both Adriana H\u00f6lszky\u2019s music and Martin Schl\u00e4pfer\u2019s dance are \u201cexistential.\u201d<a href=\"#fn85\" class=\"footnote-ref\" id=\"fnref85\" role=\"doc-noteref\"><sup>85<\/sup><\/a><\/p>\n<section id=\"footnotes\" class=\"footnotes footnotes-end-of-document\" role=\"doc-endnotes\">\n<hr \/>\n<ol>\n<li id=\"fn1\">\n<p>Anne do Pa\u00e7o, \u201cEine Hymne auf die Sch\u00f6nheit dieser Erde. <em>Roses of Shadow<\/em>,\u201d in <em>Programmheft Ballett am Rhein<\/em>, vol. 33, ed. Deutsche Oper am Rhein D\u00fcsseldorf Duisburg (D\u00fcsseldorf, 2017): 12-6, 13 (trans. Stephanie Sch\u00f6berl): \u201cEs [wird] kein gegenseitiges Bebildern geben [\u2026]; es ist vielmehr so, dass Martin Schl\u00e4pfer und ich uns umzingeln\u2014und wir uns dabei auch mal aus den Augen und Ohren verlieren.\u201d<a href=\"#fnref1\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn2\">\n<p>Adriana H\u00f6lszky, phone conversation between Adriana H\u00f6lszky and Barbara Dobretsberger, Stuttgart\u00a0\/ Salzburg on December 14<sup>th<\/sup>, 2021 (trans. Stephanie Sch\u00f6berl): \u201cKlangraumverwandlung, Raumklangverwandlung, Klangbild, kompliment\u00e4re Verwandlung, sonnets of no return, like a sonnet of no return.\u201d<a href=\"#fnref2\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn3\">\n<p>Adriana H\u00f6lszky, <em>Deep Field<\/em> (Wiesbaden: Breitkopf\u00a0&amp; H\u00e4rtel, 2014).<a href=\"#fnref3\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn4\">\n<p>Adriana H\u00f6lszky, phone conversation between Adriana H\u00f6lszky and Barbara Dobretsberger, Stuttgart\u00a0\/ Salzburg on December 20<sup>th<\/sup>, 2021 (trans. Stephanie Sch\u00f6berl): \u201cabsolute Musik.\u201d<a href=\"#fnref4\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn5\">\n<p>Anne do Pa\u00e7o, \u201cZirkulationen des Lebendigen. Adriana H\u00f6lszky, Rosalie und Martin Schl\u00e4pfer im Gespr\u00e4ch mit Anne do Pa\u00e7o \u00fcber ihre Urauff\u00fchrung <em>Deep Field<\/em>,\u201d in <em>Programmheft Ballett am Rhein<\/em>, vol. 20, ed. Deutsche Oper am Rhein D\u00fcsseldorf Duisburg (D\u00fcsseldorf, 2014): 8-20, 9 (trans. Stephanie Sch\u00f6berl): \u201cIch hatte bisher noch nie den Wunsch, mit bzw. f\u00fcr den Tanz zu arbeiten.\u201d<a href=\"#fnref5\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn6\">\n<p>H\u00f6lszky, phone conversation between Adriana H\u00f6lszky and Barbara Dobretsberger, December 14th, 2021 (trans. Stephanie Sch\u00f6berl): \u201cdie Musik tats\u00e4chlich einen eigenst\u00e4ndigen Rang hat, unabh\u00e4ngig von einer Choreographie ist.\u201d<a href=\"#fnref6\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn7\">\n<p>Do Pa\u00e7o, \u201cEine Hymne auf die Sch\u00f6nheit dieser Erde. <em>Roses of Shadow<\/em>,\u201d 13.<a href=\"#fnref7\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn8\">\n<p>Ibid. (trans. Stephanie Sch\u00f6berl): \u201cUnd so entstand mit <em>Roses of Shadow<\/em> eine Partitur, \u00fcber deren Grundkoordinaten sich Komponistin und Choreograph intensiv verst\u00e4ndigten, mit deren Ausarbeitung sich Adriana H\u00f6lszky dann jedoch zur\u00fcckzog, um Martin Schl\u00e4pfer schlie\u00dflich ein fertiges Werk zu \u00fcber\u00adgeben und mehr: ihm die Partitur voller Vertrauen und Freiheit zu \u00fcber\u00adlassen [\u2026].\u201d<a href=\"#fnref8\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn9\">\n<p>Cf. Adriana H\u00f6lszky, phone conversation between Adriana H\u00f6lszky and Barbara Dobretsberger, Stuttgart\u00a0\/ Salzburg on December 7<sup>th<\/sup>, 2021.<a href=\"#fnref9\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn10\">\n<p>I have to admit that, regrettably, when watching the video, my point of view was limited to the perspective taken by the videographer; the whole stage is not always visible, so that actions which might have been useful for an interpretation had to be disregarded.<a href=\"#fnref10\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn11\">\n<p>Adriana H\u00f6lszky, <em>Roses of Shadow<\/em> (Wiesbaden: Breitkopf\u00a0&amp; H\u00e4rtel, 2017), back cover of the book [n.p.] (trans. Stephanie Sch\u00f6berl): \u201cein \u2018Schatten\u2019-Ensemble oder als \u2018Geisterstimmen.\u2019\u201d<a href=\"#fnref11\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn12\">\n<p>Cf. K\u00e4the Recheis and Georg Bydlinski, <em>Wei\u00dft du, dass die B\u00e4ume reden. Weisheiten der Indianer<\/em> (Freiburg: Herder, 1983).<a href=\"#fnref12\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn13\">\n<p>H\u00f6lszky, <em>Roses of Shadow<\/em>, back cover of the book [n.p.] (trans. Stephanie Sch\u00f6berl): \u201cdie \u2018Z\u00fcndung,\u2019 der Ausgangspunkt einer intensiven kompositorischen Ar\u00adbeit.\u201d<a href=\"#fnref13\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn14\">\n<p>Adriana H\u00f6lszky, \u201cEs sollte nicht nach Kammermusik riechen,\u201d conversation between Adriana H\u00f6lszky and Dorothee Krings (December 2017), <u>accessed 7 December 2021,<\/u> <a href=\"https:\/\/rp-online.de\/nrw\/staedte\/duesseldorf\/kultur\/es-sollte-nicht-nach-kammermusik-riechen_aid-17639615\">https:\/\/rp-online.de\/nrw\/staedte\/duesseldorf\/kultur\/es-sollte-nicht-nach-kammermusik-riechen_aid-17639615<\/a><u>.<\/u><a href=\"#fnref14\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn15\">\n<p>Trans. Barbara Dobretsberger: \u201cIch weine vor Durst.\u201d<a href=\"#fnref15\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn16\">\n<p>Trans. Barbara Dobretsberger: \u201cIch bin frei geboren, frei wie der Adler, der \u00fcber den gro\u00dfen blauen Himmel schwebt.\u201d<a href=\"#fnref16\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn17\">\n<p>Trans. Barbara Dobretsberger: \u201cIch bin frei geboren, frei wie der Adler, der \u00fcber den gro\u00dfen blauen Himmel schwebt.\u201d<a href=\"#fnref17\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn18\">\n<p>Trans. Barbara Dobretsberger: \u201cdie B\u00e4ume.\u201d<a href=\"#fnref18\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn19\">\n<p>Trans. Barbara Dobretsberger: \u201cdie Steine.\u201d<a href=\"#fnref19\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn20\">\n<p>Trans. Barbara Dobretsberger: \u201cdie Erde.\u201d<a href=\"#fnref20\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn21\">\n<p>Trans. Barbara Dobretsberger: \u201cIhr verbreitet Tod, ihr kauft und verkauft Tod, aber ihr verleugnet ihn, ihr wollt ihm nicht ins Gesicht sehen. Armer wei\u00dfer Mann, in deiner Wut, in deinem Glanz, in all deinem Wohlstand hast du dein Erbe verloren [\u2026].\u201d<a href=\"#fnref21\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn22\">\n<p>Do Pa\u00e7o, \u201cEine Hymne auf die Sch\u00f6nheit dieser Erde. <em>Roses of Shadow<\/em>,\u201d 13 (trans. Stephanie Sch\u00f6berl): \u201cdass es kein gegenseitiges Bebildern geben wird.\u201d<a href=\"#fnref22\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn23\">\n<p>H\u00f6lszky, <em>Roses of Shadow<\/em>, back cover of the book [n.p.] (trans. Stephanie Sch\u00f6berl): \u201cwellenartige Entladungen von gewaltigen Klangenergien.\u201d<a href=\"#fnref23\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn24\">\n<p>Ibid. (trans. Stephanie Sch\u00f6berl): \u201cKompaktheit und Bedrohlichkeit des Klanges.\u201d<a href=\"#fnref24\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn25\">\n<p>Ibid. (trans. Stephanie Sch\u00f6berl): \u201cBedrohlichkeit des Klanges.\u201d<a href=\"#fnref25\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn26\">\n<p>Trans. Barbara Dobretsberger: \u201cwo Gefahr ist oder Schmerz.\u201d<a href=\"#fnref26\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn27\">\n<p>H\u00f6lszky, <em>Roses of Shadow<\/em>, back cover of the book [n.p.] (trans. Stephanie Sch\u00f6berl): \u201c\u2018Klangbahnen.\u2019\u201d<a href=\"#fnref27\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn28\">\n<p>Cf. H\u00f6lszky, phone conversation between Adriana H\u00f6lszky and Barbara Dob\u00adrets\u00adberger, December 14<sup>th<\/sup>, 2021.<a href=\"#fnref28\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn29\">\n<p>Trans. Barbara Dobretsberger: \u201cHimmel. Ein wei\u00dfer Berg.\u201d<a href=\"#fnref29\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn30\">\n<p>Trans. Barbara Dobretsberger: \u201cder Himmel beginnt seine Tr\u00e4nen zu vergie\u00dfen.\u201d<a href=\"#fnref30\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn31\">\n<p>Trans. Barbara Dobretsberger: \u201cIch weine vor Durst.\u201d<a href=\"#fnref31\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn32\">\n<p>H\u00f6lszky, <em>Roses of Shadow<\/em>, back cover of the book [n.p.] (trans. Stephanie Sch\u00f6berl): \u201cVon Anfang bis Ende des Werks nimmt die Kompaktheit und Be\u00addrohlichkeit des Klanges wie ein Sog zu.\u201d<a href=\"#fnref32\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn33\">\n<p>Trans. Barbara Dobretsberger: \u201cIch laufe durch das hohe Gras.\u201d<a href=\"#fnref33\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn34\">\n<p>Trans. Barbara Dobretsberger: \u201cweit drau\u00dfen im W\u00fcstengebirge.\u201d<a href=\"#fnref34\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn35\">\n<p>Trans. Barbara Dobretsberger: \u201cund h\u00f6rte die Ameisen reden, die Ameisen reden.\u201d<a href=\"#fnref35\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn36\">\n<p>Trans. Barbara Dobretsberger: \u201cIch bin mit den Sternen verwandt.\u201d<a href=\"#fnref36\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn37\">\n<p>Trans. Barbara Dobretsberger: \u201cfrei wie der Adler, der \u00fcber den gro\u00dfen blauen Himmel schwebt; ein leichter Wind streift sein Gesicht. Ein wei\u00dfer Berg erhebt sich\u00a0\u2026\u201d<a href=\"#fnref37\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn38\">\n<p>Trans. Barbara Dobretsberger: \u201cLeuchtend wei\u00dfe B\u00f6gen aus Licht neigen sich von seiner Spitze\u00a0\u2026\u201d<a href=\"#fnref38\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn39\">\n<p>Trans. Barbara Dobretsberger: \u201cmit den Sternen verwandt.\u201d<a href=\"#fnref39\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn40\">\n<p>Trans. Barbara Dobretsberger: \u201cMiT DeN STeRNeN VeRWaNDT.\u201d<a href=\"#fnref40\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn41\">\n<p>H\u00f6lszky, <em>Roses of Shadow<\/em>, V (trans. Stephanie Sch\u00f6berl): \u201cSprechen mit Her\u00advorhebung der Konsonanten und Verharren auf \u2018T.\u2019\u201d<a href=\"#fnref41\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn42\">\n<p>Trans. Barbara Dobretsberger: \u201cdie B\u00e4ume.\u201d<a href=\"#fnref42\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn43\">\n<p>Trans. Barbara Dobretsberger: \u201cdie Steine.\u201d<a href=\"#fnref43\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn44\">\n<p>Trans. Barbara Dobretsberger: \u201cdie Erde.\u201d<a href=\"#fnref44\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn45\">\n<p>Trans. Barbara Dobretsberger: \u201cGeh uM DeN BeRG.\u201d<a href=\"#fnref45\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn46\">\n<p>Trans. Barbara Dobretsberger: \u201cgeh leise.\u201d<a href=\"#fnref46\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn47\">\n<p>Trans. Barbara Dobretsberger: \u201cwo Gefahr ist oder Schmerz.\u201d<a href=\"#fnref47\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn48\">\n<p>Trans. Barbara Dobretsberger: \u201cZieh einen Kreis aus GeDaNKeN um den sanften stillen BeRG, und der Berg wird zu KRiSTaLL, und du siehst das offene Tal durch den kristallenen BeRG, und die ganze WaHRHeiT des Tales ist dein.\u201d<a href=\"#fnref48\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn49\">\n<p>Trans. Barbara Dobretsberger: \u201cGeh um den Berg, geh leise, geh leise\u00a0\u2026\u201d<a href=\"#fnref49\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn50\">\n<p>Term chosen by Stephanie Schroedter. E-Mail to Barbara Dobretsberger from August 23<sup>th<\/sup>, 2020.<a href=\"#fnref50\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn51\">\n<p>H\u00f6lszky, <em>Roses of Shadow<\/em>, back cover of the book [n.p.] (trans. Stephanie Sch\u00f6berl): die \u201cchemischen Bindungen [der] \u2018Klangmolek\u00fcle.\u2019\u201d<a href=\"#fnref51\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn52\">\n<p>Ibid. (trans. Stephanie Sch\u00f6berl): \u201cneue Substanzen.\u201d<a href=\"#fnref52\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn53\">\n<p>Trans. Barbara Dobretsberger: \u201cIhr verbreitet Tod, ihr verbreitet Tod, ihr kauft und verkauft Tod, ihr kauft und verkauft Tod, aber ihr verleugnet ihn, ihr wollt ihm nicht, ihr wollt ihm nicht, ihr wollt ihm nicht ins Gesicht sehen. Ihr kauft und verkauft Tod.\u201d<a href=\"#fnref53\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn54\">\n<p>Trans. Barbara Dobretsberger: \u201cArmer wei\u00dfer Mann, in deiner Wut, in deinem Glanz, in all deinem Wohlstand hast du dein Erbe verloren.\u201d<a href=\"#fnref54\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn55\">\n<p>Trans. Barbara Dobretsberger: \u201cJetzt willst du meines\u00a0\u2026 da\u00a0\u2026nimm es\u00a0\u2026 ich habe noch mehr.\u201d<a href=\"#fnref55\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn56\">\n<p>Trans. Barbara Dobretsberger: \u201cDu, der dort wohnt wo die Sonne untergeht\u2014HEY\u2014ihr Donnerwesen.\u201d<a href=\"#fnref56\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn57\">\n<p>Anne do Pa\u00e7o, \u201cZirkulationen des Lebendigen. Adriana H\u00f6lszky, Rosalie und Martin Schl\u00e4pfer im Gespr\u00e4ch mit Anne do Pa\u00e7o \u00fcber ihre Urauff\u00fchrung <em>Deep Field<\/em>,\u201d in <em>Programmheft Ballett am Rhein<\/em>, vol. 20, ed. Deutsche Oper am Rhein D\u00fcsseldorf Duisburg (D\u00fcsseldorf, 2014): 8-20, 20 (trans. Stephanie Sch\u00f6berl): \u201cEin Ballettabend ist dies nicht!\u201d<a href=\"#fnref57\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn58\">\n<p>Adriana H\u00f6lszky, in <em>Programmheft Ballett am Rhein<\/em>, vol. 20, ed. Deutsche Oper am Rhein D\u00fcsseldorf Duisburg (D\u00fcsseldorf, 2014), 5 (trans. Stephanie Sch\u00f6berl): \u201cRiesenauge.\u201d<a href=\"#fnref58\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn59\">\n<p>Ibid. (trans. Stephanie Sch\u00f6berl): \u201cErst sieht man nichts, dann immer mehr Sterne, und schlie\u00dflich pulverisiert sich alles, das ganze Drama der Menschheit, die Geschichten vom Leben und Sterben, die Sprache, alles wird Universum, Geheimnis\u00a0\u2026\u201d<a href=\"#fnref59\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn60\">\n<p>Meinhard Prill, \u201cFriedrich H\u00f6lderlin,\u201d in <em>Kindlers Neues Literatur-Lexikon,<\/em> ed. Walter Jens, vol. 7 (Munich: Kindler-Verlag, 1990), 923-34, 933 (trans. Stephanie Sch\u00f6berl): \u201cjene g\u00f6ttliche Substanz.\u201d<a href=\"#fnref60\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn61\">\n<p>Trans. Stephanie Sch\u00f6berl: \u201callverwandelnd.\u201d<a href=\"#fnref61\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn62\">\n<p>Trans. Stephanie Sch\u00f6berl: \u201ctraurigforschend.\u201d<a href=\"#fnref62\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn63\">\n<p>Trans. Barbara Dobretsberger: \u201cSchon d\u00e4mmerte der klare Tag vor mir und um die Sonne wankte, wie ein seellos Schattenbild, die Welt.\u201d<a href=\"#fnref63\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn64\">\n<p>Trans. Barbara Dobretsberger: \u201cKLANGbelichtungen einer METAmorphose.\u201d<a href=\"#fnref64\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn65\">\n<p>Trans. Stephanie Sch\u00f6berl: \u201cRaubv\u00f6gel.\u201d<a href=\"#fnref65\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn66\">\n<p>Trans. Barbara Dobretsberger: \u201cIch bin dein Labyrinth.\u201d<a href=\"#fnref66\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn67\">\n<p>Do Pa\u00e7o,\u201cZirkulationen des Lebendigen,\u201d 12 (trans. Stephanie Sch\u00f6berl): \u201cDas Innere hat man erst erreicht, wenn man durch diese Belichtungen hin\u00addurchgegangen ist.\u201d<a href=\"#fnref67\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn68\">\n<p>Wulf Piper and editorial department of Kindlers Literatur-Lexikon, \u201cHanns Johst,\u201d in <em>Kindlers Neues Literatur-Lexikon<\/em>, ed. Walter Jens, vol. 8 (Munich: Kindler-Verlag, 1990), 832 (trans. Stephanie Sch\u00f6berl): \u201cAls Pr\u00e4sident der Reichsschrifttumskammer wie der Deutschen Akademie der Dichtung 1935-1945 geh\u00f6rte er zu den f\u00fchrenden Literaten des NS-Regimes.\u201d<a href=\"#fnref68\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn69\">\n<p>Karl Carino, in csi, \u201cKritik am Umgang der Rheinoper mit Nazi-Dichter,\u201d in <em>RP Online<\/em>, 26 May 2014, <u>accessed 7 December 2021,<\/u> <a href=\"https:\/\/rp-online.de\/kultur\/kritik-am-umgang-der-rheinoper-mit-nazi-dichter_aid-20385655\">https:\/\/rp-online.de\/kultur\/kritik-am-umgang-der-rheinoper-mit-nazi-dichter_aid-20385655<\/a>\u00a0(trans. Stephanie Sch\u00f6berl): <u>\u201cAllerdings gebiete es der historische Anstand, die nationalsozialistische Wende, die der Autor nach seiner expressionistischen Fr\u00fchphase genommen hat, im Programmheft zu erw\u00e4hnen und kritisch zu reflektieren.\u201d<\/u><a href=\"#fnref69\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn70\">\n<p>Ibid. (trans. Stephanie Sch\u00f6berl): \u201cnicht verwerflich.\u201d<a href=\"#fnref70\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn71\">\n<p>Trans. Barbara Dobretsberger: \u201cEr starb. Er ist starr und kalt.\u201d<a href=\"#fnref71\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn72\">\n<p>Trans. Barbara Dobretsberger: \u201cVorw\u00e4rts.\u201d<a href=\"#fnref72\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn73\">\n<p>Trans. Barbara Dobretsberger: \u201cVorw\u00e4rts. Durch den Regen. Durch das Feuer.\u201d<a href=\"#fnref73\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn74\">\n<p>Trans. Barbara Dobretsberger: \u201cErde.\u201d<a href=\"#fnref74\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn75\">\n<p>Trans. Barbara Dobretsberger: \u201cHingeworfen.\u201d<a href=\"#fnref75\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn76\">\n<p>Trans. Barbara Dobretsberger: \u201cDas Sterben.\u201d<a href=\"#fnref76\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn77\">\n<p>Trans. Barbara Dobretsberger: \u201cBlutende Finsternis.\u201d<a href=\"#fnref77\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn78\">\n<p>Do Pa\u00e7o, \u201cZirkulationen des Lebendigen,\u201d 13 (trans. Stephanie Sch\u00f6berl): \u201cHesses M\u00e4rchen ist f\u00fcr mich das Unaussprechbare, der utopische Raum.\u201d<a href=\"#fnref78\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn79\">\n<p>Ibid., 8 (trans. Stephanie Sch\u00f6berl): \u201cF\u00fcr mich war dies eine gro\u00dfe Herausforderung, bin ich es doch kaum gewohnt, zu Sprache\u2014auch wenn sie zerstampft ist\u2014zu choreographieren. Nat\u00fcrlich kann ich mich den Worten nicht einfach entziehen, m\u00f6chte ihnen aber auch nicht die Macht \u00fcber meine Arbeit geben.\u201d<a href=\"#fnref79\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn80\">\n<p>Trans. Barbara Dobretsberger: \u201cwo die Quelle springt.\u201d<a href=\"#fnref80\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn81\">\n<p>Trans. Barbara Dobretsberger: \u201cDu hast ihn nie gesehen?\u201d<a href=\"#fnref81\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn82\">\n<p>Friedrich H\u00f6lderlin, <em>S\u00e4mtliche Werke<\/em>. <em>Kleine Stuttgarter Ausgabe<\/em>, vol. 4, ed. Friedrich Beissner (Stuttgart: Cotta, 1962), 68f., accessed 7 December 2021, <a href=\"http:\/\/www.zeno.org\/Literatur\/M\/H\u00f6lderlin,+Friedrich\/Drama\/Der+Tod+des+Empedokles\/%5BErste+Fassung%5D\/2.+Akt\/4.+Auftritt\">http:\/\/www.zeno.org\/Literatur\/M\/H%C3%B6lderlin,+Friedrich\/Drama\/Der+Tod+des+Empedokles\/%5BErste+Fassung%5D\/2.+Akt\/4.+Auftritt<\/a>. \u201cSo wagt\u2019s! was ihr geerbt, was ihr erworben,\u00a0\/ Was euch der V\u00e4ter Mund erz\u00e4hlt, ge\u00adlehrt,\u00a0\/ Gesetz und Brauch, der alten G\u00f6tter Nahmen,\u00a0\/ Verge\u00dft es k\u00fchn, und hebt, wie Neugeborene,\u00a0\/die Augen auf zur g\u00f6ttlichen Natur [\u2026].\u201d<a href=\"#fnref82\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn83\">\n<p>Do Pa\u00e7o, \u201cZirkulationen des Lebendigen,\u201d 10 (trans. Stephanie Sch\u00f6berl): \u201cent\u00adgegnen und auch ent\u00adgegen setzen.\u201d<a href=\"#fnref83\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn84\">\n<p>Ibid., 20 (trans. Stephanie Sch\u00f6berl): \u201cGottfrage.\u201d<a href=\"#fnref84\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn85\">\n<p>Ibid. (trans. Stephanie Sch\u00f6berl): \u201cexistentiell.\u201d<a href=\"#fnref85\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"<p>Adriana H\u00f6lszky\u2019s Roses of Shadow and Deep Field in\u00a0Martin\u00a0Schl\u00e4pfer\u2019s\u00a0Choreography Barbara Dobretsberger &nbsp; With Roses of Shadow, Adriana H\u00f6lszky has presented what she describes in the subtitle of the work as a sound choreography for soprano and eight instrumentalists. Although the work was commissioned in 2016\/17 for a D\u00fcsseldorf choreography by Martin Schl\u00e4pfer, the composer refrains &hellip;<\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[242],"tags":[],"class_list":["post-6400","post","type-post","status-publish","format-standard","hentry","category-schroedter-ed-music-and-motion"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Related Sounds &#8211; mdwPress<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-009\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Related Sounds &#8211; mdwPress\" \/>\n<meta property=\"og:description\" content=\"Adriana H\u00f6lszky\u2019s Roses of Shadow and Deep Field in\u00a0Martin\u00a0Schl\u00e4pfer\u2019s\u00a0Choreography Barbara Dobretsberger &nbsp; With Roses of Shadow, Adriana H\u00f6lszky has presented what she describes in the subtitle of the work as a sound choreography for soprano and eight instrumentalists. 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