Der zeiten spindel I (2016) refers, amongst other motifs, to the poem De Profundis by Charles Baudelaire in the adaptation by Stefan George, as well as to the pictures The Returning Hunters by Pieter Brueghel, Dark Landscape with Rainbow by Caspar David Friedrich, and the opening of the novella Lenz by Georg Büchner.
This leads to the following formal arrangement:
The Returning Hunters I
The House with the Burning Chimney
The Far Mountains The Chase (Memories I)
The Chase (Memories II)
Dark Landscape with Rainbow
The Returning Hunters II
Pictorial details – the returning hunters, the house with the lit fireplace in the middle ground, the mountains in the distance, associations triggered by the images – and speculative memories of events that are not portrayed in the painting (Hunt I and II) are here transformed into musical metaphors, images, moods and “landscapes” which form part of the dramaturgy of the musical whole. Together with the central poem De Profundis by Charles Baudelaire, the language of which is transformed into instrumental music, the instruments turn into imaginary singing voices. This is followed by the painting Landscape with Rainbow, which generates spaces in “chiaroscuro” by means of spectral sounds and a radical cessation of movement, setting up the devastating atmosphere of the opening of Büchner’s Lenz, where the tragic hero wanders through a winter landscape without, however, at heart being able to move forward at all, being caught up in a spiritual condition marked by profound injuries and destruction; before the hunters return, albeit in variations, forming a large bracket which leads back to the beginning.
An important further colour in this work, which is so deeply informed by the occident, is provided by the Chinese instruments erhu and pipa who – as in a vision from a great distance – lend the piece added perspective and dimension.
(Richard Dünser, 2016)