Pour orchestre de flûtes à bec


Premier mouvement: Amaza (flots)
Deuxième mouvement: She's still there
Troisième mouvement: Fa wo do yi mame (Donne moi ton amour)

Ububele in Xhosa means kindness. When the famous German Comedian and Songwriter Hanns Dieter Hüsch was asked, at the end of his life, what his work had all been about, he answered, "To bring more kindness into the world." I was quite impressed when I heard this for the first time. Not “freedom“, “justice“, “equality“ – (so many innocents have been killed for those ideals) – no, kindness, quite a modest goal; but one we can realize (and certainly a less dangerous one). Kindness and warmth were also what I encountered during my travels through Subsaharan Africa in an overwhelming way. And exactly this kind of positive energy I tried to express here, in my 19th African Suite. I wrote it for my first recorder workshop in Lyme Regis in February 2017 to which Tom Beets kindly had invited me. Because so many participants had brought so many low recorders (David even brought a Sub Great Bass, one under the Contra Bass!) I used the opportunity to write something smooth and relaxed that totally relies on the sound qualities of the low recorders; the highest part of the whole Suite is a single alto recorder. I can imagine the whole piece as well with a one-to-a-part-ensemble as with a recorder orchestra.
The first movement, “Amaza (waves)”, is especially smooth and relaxed and is in my favourite 12/8 time. This piece should be played in a really groovy way, especially the main theme. Enjoy it, play laid back, imagine yourself in a rural village by the Victoria Sea, no laptop, no smartphone, but coconuts and pineapples growing everywhere.
The second movement, “She's still there” is very emotional. It is about a deep love and longing, and probably (no, for sure) the longest melody I have ever written. In Lyme Regis I had long walks by the sea, which seems like an ocean there, with its picturesque cliff coast. Imagine you are walking along an endless shore and looking to the horizon on a clear, sunny day – and then play the melody with exactly this breath and feeling.
The third movement has a special place in my heart. “Fa wo do yi mame” is Twi, a language spoken around Accra, and it means “Give me your love”. The first 19 bars can be sung, by some or all members of the ensemble, or played. It should be sung free and without fear – as if you were calling someone. I know many recorder players are shy about singing, but I think it would be a wonderful surprise for the audience. I like the piece so much that I wrote several versions: for choir, for choir and orchestra, for piano quartet and a cappella. I hope they will all be performed one day. But this one was the original! The expression is, as in most of my third movements, pure joy.
I wish to thank Josée and Paul for their incredible hospitality in Lyme Regis, Ruth for spreading my works in Great Britain, Michael from Hongkong for waiting so long and patiently for the score and Tom Beets for always bringing me back to this piece and motivating me to finally finish and publish it.
I am always delighted to receive recordings and letters: mail@soerensieg.de.

Hamburg, March 2018

Nombre de pages: 
39,90 Euro