Johannes Maria Staud: Der Riß durch den Tag

Johannes Maria Staud Der Riß durch den Tag
Der Riß durch den Tag

Johannes Maria Staud: Der Riß durch den Tag

Year of composition:
Scored for:
for speaker and ensemble
Johannes Maria Staud
Durs Grünbein (10.05.2011)
1 1 2 1 - 2 1 1 0 - perc(3), acc, pno, vln, vln, 2 2
Instrumentation details:
flute (+alto fl
oboe (+c.a)
1st clarinet in Bb (+cl(Eb))
2nd clarinet in Bb (+bass cl(Bb))
bassoon (+cbsn)
1st horn in F
2nd horn in F
trumpet in C
1st percussion
2nd percussion
3rd percussion
1st violin
2nd violin
1st viola
2nd viola
1st violoncello
2nd violoncello
Auftrag der Sächsischen Staatskapelle Dresden
für Bruno Ganz
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Der Riß durch den Tag

The complete perusal score (PDF-preview)

Work introduction

This work is a new collaboration with Durs Grünbein, who wrote the libretto for my opera Berenice. I linked it to some questions I had which I had not yet solved for myself, especially “What happens when a speaker or actor speaks and music accompanies him?” From there it is a short step to the notion of monodrama, a form greatly shaped by Schönberg.

I agreed with Durs Grünbein, a native of Dresden, to use his text Nach den Satiren [“After the Satires”], from which I extracted large sections, compiling them into five scenes: an internal monologue of a man walking through a city and seeing traces of historical relationships. It is about suppressed guilt and observing suppressed signs – signs of dictatorship and stifling them in the context of big-city life – and therefore, however possible, carrying on as a human being nevertheless and leading an individual life.

This is an exciting theme, and we attempted to find a link between monologue and musical monodrama with many mixed forms. The thought that Bruno Ganz was to take the speaking role was of course especially inspiring; I could not think of anyone better.

The first performance took place in Volkswagen’s Gläserne Manufaktur building, the Phaeton production plant. I already knew the space from a Staatskapelle press conference and I was fascinated by its architecture, which adds a contemporary touch to the historic and socialist buildings of Dresden’s town centre. In fact, it was the ideal venue for my melodrama, dealing as it does with various perspectives on history.

Johannes Maria Staud

Special prints

Der Riß durch den Tag

Johannes Maria Staud: Der Riß durch den Tag

study score
for speaker and ensemble , 25’45”
Instr.: 1 1 2 1 - 2 1 1 0 - perc(3), acc, pno, vln, vln, 2 2

World première

Gläserne Manufaktur, Dresden (DE)
Sächsische Staatskapelle Dresden
Asher Fisch
Main soloists:
Bruno Ganz, Sprecher

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