{"id":101,"date":"2020-01-11T22:48:06","date_gmt":"2020-01-11T21:48:06","guid":{"rendered":"https:\/\/www.chrenhart.eu\/2021\/?p=101"},"modified":"2021-06-27T12:15:11","modified_gmt":"2021-06-27T10:15:11","slug":"marleys-ghost","status":"publish","type":"post","link":"https:\/\/www.chrenhart.eu\/2021\/2020\/01\/11\/marleys-ghost\/","title":{"rendered":"Marley&#8217;s Ghost"},"content":{"rendered":"\n<div class=\"wp-block-group alignfull has-primary-background-color has-background\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<figure class=\"wp-block-embed alignwide is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"In Spirito Mahler\" width=\"580\" height=\"326\" src=\"https:\/\/www.youtube.com\/embed\/0wYwPodP5zE?start=4572&#038;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n<\/div><\/div>\n\n\n\n<h4 class=\"wp-block-heading\">Marley&#8217;s Ghost<br>for baritone and ensemble (2020)<\/h4>\n\n\n\n<h6 class=\"wp-block-heading\">EN<\/h6>\n\n\n\n<p>\u00abMarley was dead: to begin with.\u00bb Thus Charles Dickens begins one of his most famous narratives, the name of which literally means \u2039a Christmas song\u203a. Dead, or let\u2018s better call it well-worn, copybook and totally hackneyed by being cinematized a little bit too often, is basically everything today, which comes close to brushing against this advent faerie tale that has been pancaked so very often in order to fit into any TV show where Bill Murray might appear. Why, this being the case, starting here?<\/p>\n\n\n\n<p>Christmas comes back every year, come hell or high water. As dead as old Marley may appear\u2014that is to say \u00abdead as a door-nail\u00bb\u2014as vitally he is still haunting ubiquitously as a ghost. The world has been most ardous ever since and of all things it\u2018s Christmas when we expect even the grumpiest fellows to come in with apparent brouhaha of felicity. In the middle of the mess the big guns are hauled out: bell-roars, glistening candlelight-beflickered straw stars and an e\u2018en celestial haze of pathos and liquorice. All humbug!<\/p>\n\n\n\n<p>In my music one can hear all the ingredients of the humbug merged in&nbsp;such a way that a dramaturgical course arises out of it. This pathway runs along selected passages from Dickens\u2018s novel. The narrator eventually turns into the ghost of his own figure.<\/p>\n\n\n\n<p>\u00abMarley\u2018s Ghost\u00bb was composed in 2017 for the baritone Georg Klimbacher and the pianist Andreas Fr\u00f6schl, who premiered the piece in the same year at Vienna\u2018s Arnold Schoenberg Center. I wrote the version for baritone and ensemble in the spring of 2020. The orchestration means a recreation in many regards: A differentiation in layers of tonal colours led to new harmonic illuminations or to compositional proliferations. A major challenge was the translation of those shades into an orchestral language which had already been delineated by the use of inside-the-piano techniques. The realisation of the extended version of \u00abDickens\u2018s humbug\u00bb was essentially inspired by Morgana Petrik, whom this version is cordially dedicated.<\/p>\n\n\n\n<h6 class=\"wp-block-heading\">DE<\/h6>\n\n\n\n<p>\u00bbMarley was dead: to begin with.\u00ab So beginnt Charles Dickens eine seiner bekanntesten Erz\u00e4hlungen, die w\u00f6rtlich betrachtet eigentlich \u203aein Weihnachtslied\u2039 bedeutet. Tot, oder sagen wir besser: abgedroschen, abgeschrieben und vom vielen Verfilmen v\u00f6llig ausgeleiert, ist heute im Grunde alles, was auch immer dieses bis hin zu einer fernsehvertauglichten Bill Murray-Auskitschung plattgewalzerte Adventm\u00e4rchen auch nur anzustreifen drohte. Warum also hier beginnen?<\/p>\n\n\n\n<p>Weihnachten kommt alle Jahre wieder, komme was wolle. So tot der alte Marley auch scheint \u2014 n\u00e4mlich \u00bbdead as a door-nail\u00ab \u2014 so lebendig spukt er immer noch als allgegenw\u00e4rtiger Geist herum. Die Welt war immer schon die M\u00fchsamste und ausgerechnet zu Weihnachten erwartet man selbst von den grantelndsten Menschen einen Mindesthang zu \u00fcberschw\u00e4nglichem Gl\u00fccksgetue. Dazu werden schwere Gesch\u00fctze aufgefahren: Glockengebr\u00fcll, funkelndes, kerzenlichtumflattertes Strohgestirn und ein gar himmlischer Nebel aus Pathos und Lakritze. Alles Humbug! In meiner Musik h\u00f6rt man all die Zutaten des Humbugs so miteinander vermengt, dass sich daraus eine eigene Dramaturgie entspinnt. Diese verl\u00e4uft entlang ausgew\u00e4hlter Textstellen aus Dickens\u2018 Roman. Der Erz\u00e4hler verf\u00e4llt dabei immer mehr seiner eigenen Geschichte und verwandelt sich am Ende selbst in den Geist seiner eigenen Figur.<\/p>\n\n\n\n<p>\u00bbMarley\u2019s Ghost\u00ab entstand 2017 f\u00fcr den Bariton Georg Klimbacher und den Pianisten Andreas Fr\u00f6schl, die die Musik im selben Jahr im Arnold Sch\u00f6nberg Center in Wien zur Urauff\u00fchrung brachten. Die Fassung f\u00fcr Bariton und Ensemble schrieb ich Anfang 2020. Die Orchestrierung bedeutet dabei zugleich eine Neugestaltung in vielerlei Hinsicht: Eine Ausdifferenzierung in klangfarblichen Schichten f\u00fchrte an vielen Stellen zu einer harmonischen Neuausleuchtung oder zu satztechnischen Wucherungen. Eine besondere Herausforderung stellte die \u00dcbersetzung jener Schattierungen in eine orchestrale Sprache dar, die durch eine erweiterte Spieltechnik im Klavier quasi bereits vorskizziert war. Die Realisierung dieser erweiterten Version \u00bbDickens\u2019schen Humbugs\u00ab wurde ma\u00dfgeblich von Morgana Petrik angeregt, der die neue Fassung herzlich gewidmet ist.<\/p>\n\n\n\n<div class=\"wp-block-group alignfull boxtxt has-accent-background-color has-background\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<p>INSTRUMENTATION:<br>flute, clarinet in Bb, soprano saxophone (also baritone saxophone), horn, tenor trombone, percussion (1 player), piano, violin, viola, violoncello, double bass<\/p>\n\n\n\n<p>PERCUSSION INSTRUMENTS:<br>vibraphone, glockenspiel, tubular bells, bass drum, timpani, large suspended cymbal, maracas<\/p>\n\n\n\n<p>DURATION:<br>12&#8217;30 minutes<\/p>\n\n\n\n<p>PUBLISHED BY:<br><a rel=\"noreferrer noopener\" href=\"https:\/\/www.universaledition.com\/christoph-renhart-7826\/works\/marley-s-ghost-30004\" target=\"_blank\">Universal Edition<\/a><\/p>\n\n\n\n<p>RECORDING:<br>March 22, 2021 \u2022 Wien, Ehrbar-Saal \u2022 Ensemble Zeitfluss \u2022 Edo Micic, conductor \u2022 Georg Klimbacher, baritone<\/p>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>for baritone and ensemble (2020) \u2022 Instrumentation: flute, clarinet in Bb, saxophone, horn, tenor trombone, 1 percussion  player, piano, violin, viola, violoncello, double bass<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[23,173,24,2],"tags":[91,34,92,30,93,94,54,68],"class_list":["post-101","post","type-post","status-publish","format-standard","hentry","category-ensemble","category-ue","category-vocal","category-work","tag-91","tag-edo-micic","tag-ehrbar-saal","tag-ensemble-zeitfluss","tag-fux-konservatorium","tag-georg-klimbacher","tag-graz","tag-wien"],"_links":{"self":[{"href":"https:\/\/www.chrenhart.eu\/2021\/wp-json\/wp\/v2\/posts\/101","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.chrenhart.eu\/2021\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.chrenhart.eu\/2021\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.chrenhart.eu\/2021\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.chrenhart.eu\/2021\/wp-json\/wp\/v2\/comments?post=101"}],"version-history":[{"count":8,"href":"https:\/\/www.chrenhart.eu\/2021\/wp-json\/wp\/v2\/posts\/101\/revisions"}],"predecessor-version":[{"id":1599,"href":"https:\/\/www.chrenhart.eu\/2021\/wp-json\/wp\/v2\/posts\/101\/revisions\/1599"}],"wp:attachment":[{"href":"https:\/\/www.chrenhart.eu\/2021\/wp-json\/wp\/v2\/media?parent=101"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.chrenhart.eu\/2021\/wp-json\/wp\/v2\/categories?post=101"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.chrenhart.eu\/2021\/wp-json\/wp\/v2\/tags?post=101"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}