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Universal Edition - Friedrich Cerha – Eine blassblaue Vision

Friedrich Cerha

Friedrich Cerha
Eine blassblaue Vision

Year of composition: 2013-2014
Scored for: for large orchestra
Composer: Friedrich Cerha
Instrumentation: 4 0 5 3 - 6 3 5 0 - str(7 6 5 4 3 desks)
Instrumentation details:
1st flute
2nd flute
3rd flute (+picc)
4th flute (+picc)
1st clarinet in A
2nd clarinet in A
3rd clarinet in A
4th clarinet in A (+bass cl(Bb))
5th clarinet in A (+bass cl(Bb))
1st bassoon
2nd bassoon
contrabassoon
1st horn in F
2nd horn in F
3rd horn in F
4th horn in F
5th horn in F
6th horn in F
1st trumpet in C
2nd trumpet in C
3rd trumpet in C
1st trombone
2nd trombone
3rd trombone
4th trombone
5th trombone
1st percussion
2nd percussion
3rd percussion
4th percussion
harp
Violin I (1st desk)
Violin I (2nd desk)
Violin I (3rd desk)
Violin I (4th desk)
Violin I (5th desk)
Violin I (6th desk)
Violin I (7th desk)
Violin II (1st desk)
Violin II (2nd desk)
Violin II (3rd desk)
Violin II (4th desk)
Violin II (5th desk)
Violin II (6th desk)
Viola (1st desk)
Viola (2nd desk)
Viola (3rd desk)
Viola (4th desk)
Viola (5th desk)
Violoncello (1st desk)
Violoncello (2nd desk)
Violoncello (3rd desk)
Violoncello (4th desk)
contrabass (1st desk)
contrabass (2nd desk)
contrabass (3rd desk)
Duration: 20′
 
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World Première

Location: Felsenreitschule Salzburg / Austria
Date: 11.08.2016
Orchestra: ORF Radio-Symphonieorchester Wien
Conductor: Cornelius Meister

Work Introduction

Alborada del grazioso and La Valse frame my piece in this concert; greater contrast, sharper discrepancy are scarcely conceivable.

Pale Blue Vision: actually, I do not like such titles and I have avoided them for many decades, because they often influence one’s expectations with a “programme.” But in this case, there was a very specific reason for choosing the title.

Music comes to me very often in the morning when I am in that state between sleep and wakefulness. On one of those mornings, the music was coupled with a visual experience: a gestalt with burred contours, as if swathed in mist, which initially pulsed lightly outward from within – a movement which later took on daunting proportions for a while before ebbing away again. Still in my dream, I couched it in terms of the colour pale blue, perhaps influenced by the fact that I had reread Werfel’s A Woman’s Pale Blue Handwriting a few weeks earlier. Bathed in gentle light, the gestalt initially stood before a background as black as night. As I increasingly neared awakening, the gestalt slowly dissolved in fine vapours, leaving an empty mandorla behind. I tried twice to capture the experience by painting it – but the music was there at once, spontaneously.

It was not until after I had completed the score that I discovered the neologism Knabenmorgen Blüthenträume [“A boy’s morning dreams of blossoms”] in an old edition of Goethe’s Prometheus. I was fascinated; the scent of that neologism, the atmosphere it diffused, were the very same as those of my dream and – I hope – my music. Since then, I have learned that the word has long since struck other people, too; in newer editions – including Schubert – only the Blütenträume remain.

Friedrich Cerha

study score - Eine blassblaue Vision

Eine blassblaue Vision
  • for large orchestra
  • Edition type: study score

1 Ensemble that has played this work:

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