Olga Neuwirth VOST (EN)

Olga Neuwirth (durée : 5'10''20)

 extrait de " Miramondo Multiplo "pour trompette et orchestre interprété par Bill Forman (trompette) et l'Orchestre Philharmonique de Heidelberg sous la direction de Dietger Holm - Enregistrement : Deutschlandfunk - Editeur de partition Boosey & Hawkes/Bote & Bock GmbH  

" I've always been surrounded by music. My family was immersed in music. My father is a Jazz musician and I sat under his piano at a very early age, stimulated by the resonnances. The space under the piano was some kind of warm place for me, a cosy retreat. Composing, serious composing, is like trying to seize time and to hold on those forgotten moments, making time stop. It was absolutly necessary,because composing was a very private place to which I could retreat, occupied by nobody and which nobody else could get to. For me, the starting point is the sound concept. I start out with an imaginary sound space and it is very important for me to define the orchestration from the beginning, before I start writing. This means, there is a vision and a search for a far away sound that is the starting point for each new composition. In fact, I only approach the paper, that innocent piece of paper, when the full sound concept is ready in my head. Self control is not part of my personnality, but I have to force myself to control my nervousness so that I can concentrate on this sheet of paper. I need absolute, total silence. The slightest distraction upsets my attention. I think it's impossible to compose without complete concentration. Constantly sitting down is a real problem for me because I feel a permanent need to move ; sitting, therefore, means a permanent restriction. As the title indicates, the idea with « Miramondo Multiplo » was to look at the world from a number of different perspectives. The end of the fitfh movement is again about illustrating the relationship between the individual and the group, in the sense that the solo-trumpet is totally overwhelmed by the orchestra. The individual totally disappears. Later on the trumpet reappears, not just alone, but accompanied by two colleagues, two trumpets from the orchestra. Out of the unity of these three equals, the individual develops anew. This is the solo-trumpet, which, detaching itself from the group and using its last bit of energy, trying to impose itself for the future."