The Situation

My sister, Esther Sasson-Giovanoli passed away much too early and completely unexpectedly at the age of 47 on the 25th of January 2006, in her homeland of choice, Israel. She left behind 3 daughters, her husband and an enormous gaping hole in the Ayelet Hashahar Kibbutz. Her sudden death caused a paralysing state of shock in her entire circle of influence. Over many years she had been a member of the community’s government. She had played an influential role during the difficult time of change and development that had been taking place in her village – the transition toward modernisation in a community tied to traditional values.

Suffering through the tragic loss of my sister, a decision of some consequence grew within me. I have composed a memorial work for Esther and her survivors, based upon seven very expressive and thematically ordered poems written by my great aunt, Maria Lutz-Gantenbein. This is not only meant to be a piece of music in memory of the deceased. Words and sounds convey ideas, lead to communication, the exchange of thoughts and an uninhibited, empathetic and insightful dialog between cultures and religions. This was my sister’s ethos. Day in and day out, whether during her more than twenty years of family and commune life in Israel or her yearly visits to Switzerland, tolerance was a matter of course, natural, self-evident. In a world, which is continually becoming more intolerant, Esther’s attitude was and is admirable and exemplary. I would like this philosophy of life to be carried on through my music. I have the vision of a cross-cultural co-operation between an Israeli choir and a Swiss orchestra.

My efforts found decisive support in the close and deep-felt friendship with my sister-in-law in Israel. She established some very helpful contacts that expanded my horizons and through which I was able to immerse myself in the active cultural life of the pulsating cities, Haifa and Tel Aviv. This simplified my search for a suitable choir in the area of Upper Galilee. The orchestra was to come from my part of the world and I contacted to the kammerphilharmonie graubünden, which has shown great interest in and an open ear for the idea. In the mean time, these two main stays of my project have been established. The 30-minute composition: «Elegy for Solo Soprano, Solo Tenor, Mixed Choir and Chamber Orchestra» is ready to be performed.

Music is the language of the heart and of the soul. Music teaches us to listen and lays the basis for acceptance and cooperation. Music doesn't need a dictionary, doesn't know any boundaries and allows for a wide range of interpretation. Music overcomes differences, builds bridges between generations, cultures and religions, challenges and furthers tolerant cooperation and implies an atmosphere of trust and understanding. Music is alive, multifarious and flexible; music reveals limitless facets, variations and styles.

My music is meant to support, confirm and carry on the efforts of Esther and all who work to surmount barriers. The evening-long programme is comprised of the 30 minute "Elegie", a Cantata by J.S. Bach and a choral piece from within the Jewish cultural circle. The plan is to have about 5 concerts each in Switzerland (November 2009) and Israel (January 2010).

 

Description of the composition

1st Movement - Transience (5'30")
The movement begins with the strings playing the suggestion of a canon, which then towers up toward a tortured 'why?'; this is followed by a pulsating cello melody below the whimsical phrases of the oboe, flute, clarinet and bassoon. Like a bolt out of the blue, these light-hearted activities end abruptly. The choir challenges the listener: 'come with me into my dark dreams'. The themes are further developed in the inter-change between the choir and the orchestra and reach the climax with the anxious question: 'where may the flower remain a blossom if fruit is fast in falling?'

2nd Movement - In the Twilight of Mourning (3'40")
Four variations of a theme composed mainly in whole-tone-scales, interpreted by the choir through dynamic nuances.

3rd Movement - Melancholia (3'30")
Solo violins vibrate gently above a flowing 6/8 rhythm of the strings. Wistful woodwind solos are interwoven among the violins and the strings. A male voice penetrates through this otherworldly atmosphere and communicates - in ¾ time - the subdued sensations of a grey and rainy day.

4th Movement - Resignation (5'30")
The soprano and alto join in duet singing the lyrics, while tenor and bass accompany them onomatopoeically. Meanwhile the strings - in wave pattern - symbolize defiant struggle and collapse. A dialogue among the woodwinds - in a short repetition of the singers' melody - lightens this unalterable scene.

5th Movement - Forlornness (4'30")
The solo voices and the choir are heard in an exchange, which has the faint touch of an expressionistic mood.

6th Movement - Intimations of Autumn (3'30")
Orchestral storms roar over the land while a female voice, supported by the bassoon, soothes the enraged elements and quiets them.

7th Movement - Moon (2'30")
The woodwind quartet lays the harmonic basis - by means of the repetition and continual modification of the chord - over which the choir hints at a shimmer of hope and leads the piece to a reconciliatory finish.

 

Translated by Lynne Mathews