Utopia III is the third part of a series based on Luciano Berio’s Sequences. As Berio’s Sequenza III, the piece is not limited to one vocal range, but may be performed by any female voice. As all solo pieces I have composed so far, Utopia III is not entirely mono-, but also polyphone. A counterpoint is created by the snapping and clapping noises. In the piece, Nietzsche poems are recited (Schicksal …, Niedergang, Oh Mensch! Gib acht! and Freunde, es gibt keine Freunde!). Concerning its lyrical content, the piece may be regarded as the continuation of Drei Miniaturen nach Nietzsche and may be performed right after it. A number of tools are required for the performance. They are used as acoustic filters/amplifiers: wooden and metal tubes as well as a snare drum. Additionally, it is requested to sing through the hand or to use the hand to create the wah-wah effect. Aside from the lyrical content, breathing, coughing and laughing noises are requested. For the first time I have notated them by means of special symbols (and not by means of the International Phonetic Alphabet). On the technical level, normal singing, speech-song and common speaking in different levels are requested.
What is necessary to perform this work?
The piece may be performed by any female voice. The range was adjusted accordingly. Two tubes (wood and metal) as well as a snare drum are required (see score). Nietzsche poems are recited (Schicksal ..., Niedergang, Oh Mensch! Gib acht! und Freunde, es gibt keine Freunde!). The order of the words/syllables/consonants/vowels may vary. All text passages are notated by means of phonetic spelling, as found in the International Phonetic Alphabet (IPA). By doing so, the text may also be performed by non-native speakers (see p. V for an IPA chart). Concerning its lyrical content, the piece may be regarded as the continuation of N. 16 Miniaturen nach Nietzsche and may be performed right after it. Furthermore, the piece can be combined with my N. 6 Klanggruppen. The singer starts with Part B (of Klanggruppen), while the last part of the piece (“Freunde, es gibt...”) is sung / spoken without instrumental accompaniment. The tempo is in this case handled freely by both players.