Feedback
Universal Edition - Johannes Maria Staud – Berenice

Johannes Maria Staud

Johannes Maria Staud
Berenice

Year of composition: 2003-2004/2006
Subtitle: Oper after Edgar Allan Poe
Composer: Johannes Maria Staud
Text Source: "Berenice" by Edgar Allan Poe
Librettist: Durs Grünbein
Original Language: Englisch
Parts: Egaeus 1, actor
Egaeus 2, bassbaritone
Berenice, soprano
Der Vamp, mezzo-soprano
Edgar Allen Poe, actor
Das Hausmädchen, high soprano in the choir
Die tote Mutter, alto in the choir
Der Hausarzt, bass in the choir
Ein Diener, tenor in the choir
Choir: Chor der Familiengeister, gemischtes 8-stimmiges Vokalensemble
Instrumentation: 1 0 1 0 - 1 2 1 1 - perc(2), harm, pno, sax, vln(2), vla(2), vc(2), cb(1), tape, live-electronics
Instrumentation details:
flute (+picc
alto fl
bass fl)
clarinet in Bb (+cb.cl(Bb))
soprano saxophone in Bb (+alto sax(Eb)
t.sax(Bb)
bar.sax(Eb))
horn in F (+t.tuba(Bb)
wagner tuba)
1st trumpet in C (+picc.tpt in Bb)
2nd trumpet in Bb (+flhn)
trombone (+t.hn(Bb))
contrabass tuba (+cb.tuba)
1st percussion
2nd percussion
harmonium
piano
1st violin
2nd violin
1st viola
2nd viola
1st violoncello
2nd violoncello
contrabass
tape
Commissioned by: Auftragswerk der Landeshauptstadt München für die Münchener Biennale, der Wiener Festwochen und der Berliner Festspiele
Duration: 85′
Dedication: für Heidrun
 
Please check your input!

  • Staud Johannes Maria

  • Berenice





  • (deliveryaddress if different)

  • What kind of material would you like to order?
    (Eg: piano reduction)
Request material on perusal Request performance material Licensing Request

Audio Excerpt

Berenice

Work Introduction

My first full-length work is based on the arabesque Berenice, published in 1835 by Edgar Allan Poe (1809–1849). This dark horror story revolves around the unequal, incestuous marriage of Egaeus and Berenice, facing each other like archetypal opposites. The underlying horror at the heart of the piece comes out from human anatomy, the human soul. It plays out, like so much of Poe’s work, on the threshold between daily life and the world of nightmares.

Strings of variations arise from the most varied seeds of inspiration, constantly combining and recombining, and developing gradually into an almost inescapable tangle of relationships, in which unexpected trapdoors and dead ends threaten to open up at any minute. Sung passages are interspersed with the spoken passages, underlining the schizophrenic separation of the role of Egaeus between a singer and an actor. This also heightens the contrast with the fragile figure of Berenice.

An eight-voice vocal ensemble playing the choir of family ghosts commentates on the action as if in a Greek tragedy, with a range of expressions from whispers to shouts. Minor characters like the Dead Mother are recruited from the vocal ensemble, the performers momentarily escaping from the shadows of anonymity. The musical basis of the whole piece is a lightly amplified harmonium and five electronically generated spatial sound patterns based on the sounds of metalworking machines. The aim was not to integrate these electronic textures into the rest of the work, but rather to replicate a sonic idea which would not have been possible with voices or instruments alone.

(Johannes Maria Staud)

Reviews

This introduction is so chillingly beautiful that it could hardly ever be surpassed - even if Staud's sonic inventiveness and talent for imaginative instrumentation do seem to be inexhaustible. (Eleonore Bühning, FAZ).

Musically, Staud has opened up considerably compared to his earlier works. Particularly in the moments when Berenice sings, he approaches the realm of entertainment music, tango, blues and jazz. These are not employed in the post-modern sense of a musical-linguistic collage, but function as a lascivious, soft mass of immediate, superficial, sensuous attraction. (Reinhard Schulz, SZ).

His openness is notable, and his approach is non-dogmatic. A delicate tango here, a bluesy musical ballad there, creepily floating glissandi, eerily abstract cantilenas. Not to mention a wonderful musical stalactite cavern of the orchestra, of noise-like sounds from tape, of jazz from the brass. And lots of percussiveness to go around. (Ljubisa Tosic, Der Standard)

In Staud's universe, word and sound achieve unity …. The result is musical theatre in the most literal sense. (Peter Jarolin, Kurier)

study score - Berenice

Berenice
  • Edition type: study score

study score - Berenice

Berenice
  • Edition type: study score

1 Ensemble that has played this work:

Shipping costs

We are happy to offer the following shipping methods for your order:

Germany    
Standard Post 1–3 working days EUR 3.00
Europe    
Economy Airmail 6–10 working days EUR 9.95
World (i.e. outside Europe)*   
Economy Airmail 10–15 working days EUR 14.95
Standard Airmail 5–10 working days EUR 19.95

* While we send your music as quickly as possible (usually by the next day), we unfortunately do not have any influence on the time it takes your music to reach you. The further you are away from our warehouse in Germany, the longer your music will take to reach you. From experience, that can take a couple of weeks to the USA and three or even four to Asia and South America.