KLÄNGE EINER TRAURIGEN NACHT
for instrumental ensemble

to my daughter Medina

1989     18'

1. Tranquillamente
2. Calmamente
3. Fluttuante
4. Meditabondo

fl./fl.c-alto, cl./cl.basso, batteria (1 –2 esecutori), chitarra I, chitarra II/mandolino, arpa, vn, vl, cb.

Premiere – NIEUW ENSEMBLE, conductor Ed Spanjaard
Paradiso, Amsterdam. June 18, 1989

   → Music samples:
2^nd part – page 16 , 4^th part – page 53, page 54

   → CD Recording




studio for new music (moscow), conductor igor dronov.
‘an introduction to faradj karajev’ megadisc mdc 7852)

Часть I

Часть II

Часть III

Часть IV

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The cast is limited to nine musicians and a dozen instruments: two for the flute and the clarinet, two for the mandolin and the guitar, a harp player, a percussionist, a violinist, a viola player and a contrabass with five strings.

The dreamlike and nocturnal music of the first movement contains more elements of Asian origin than the other scores on this record, but there is never any question of distinct folklorist references. We are dealing with gloomy murmurs emanating from the marimba, the clarinet and the heavy strings.

The second part is dominated by the guitar and the mandolin and is set against the background of a Webernian light. The calmness is deceptive as the whole piece, measure for measure, is composed of alternations between accelerandi (Nervosamente) and the return to the initial tempo (Calmamente).

The third movement follows immediately and begins with a long murmur of plucked instruments (the mandolin, the guitar, the harp against a background of contrabass). It seems as though the night has recovered its indistinct and almost serene darkness, but then the bass clarinet and the flute break the silence. They appear to announce the dawn through ornithological sounds. They cease their intervention, however, luring us into the nocturnal depths of a cosmic magma. The final movement is composed of alternations between the strident dialogue of the flute and the clarinet on the one hand, and the serene arpeggio of the vibraphone on the other. A brief coda by both guitars concludes this unusual encounter between darkness and light, hope and fear, disorder and beauty.

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