T UBA M IRUM - Efficient Generation of Power In Medium Voltage Direct Current Systems: Variable

The premiere of the Tuba mirum, the last of the nine concertos to be composed (and sixth piano concerto) took place on February 24, 1993 in Cologne with the

Ensemble Modern and Ueli Wiget at the piano. This concert also marked the premiere of the Requiem as a whole. For Tuba mirum Henze returns to the expanded percussion section and sound world of the Rex tremendae.

Table 2.6. Tuba mirum sequence and translation

Tuba, mirum spargens sonum Per sepulchra regionum, Coget omnes ante thronum.

Wondrous sound the trumpet flingeth; through earth’s sepulchers it ringeth; all before the throne it bringeth.

Henze provides the listener with some clues to his intentions and the music woven into the highly dissonant, polyphonic, and militaristic Tuba Mirum. Henze portrays his visions of the “Waffen SS”78 by dropping out the strings and including the bass drum with mounted crash cymbal, the high E clarinet (also known in German as a military clarinet), and the snare drum.79 Because of these changes in the instrumentation, itis easy to make the association with a military band, even though outside of three brief moments (mm. 102-106, mm.111-113, mm. 222-225) the work does not have the feel of a military march. Rarely is the listener treated to a duple or quadruple meter that lasts beyond one to

Henze, Requiem: Neun Geistliche Konzerte, 1990-92, Bochumer Symphoniker, conducted by Steven Sloane, Cybele Records 3SACD KiG 003, CD, 2010.

Petersen points out that Berg was of the conviction that even a pp roll on the snare evoked the sound of a military march. See notes to Petersen, Hans Werner Henze, 117.

two measures, and the many overlapping rhythmic layers never allow for a steady downbeat or subdivision to be felt. The measures following the opening bass drum roll illustrate this rhythmic texture, and are shown in Figure 2.22.

Figure 2.22. Rhythmic layering in Tuba mirum, mm.18-2080

Hans Werner Henze REQUIEM © 1990/1992 by Schott Music GmbH & Co. KG, Mainz, Germany. All Rights Reserved. Used by permission of European American Music Distributors Company, sole U.S. and Canadian agent for Schott Music GmbH & Co. KG, Mainz, Germany.

45 Henze describes the result as:

. . . a concentrate of vulgar music, in which the sounds of childhood terrors are juxtaposed and superimposed on memories of marching songs and hymns, together with popular hits and moments of meanness and drunkenness. The sounds of Leni Riefenstahl’s Nazi Nuremberg assault our ear with the speed of flashlight photographs, the trumpeters exude crass stupidity in the moronic major tonality of conformists and fellow-travelers.”81

He is referring to the controversial filmmaker, who famously documented the rise of the Third Reich for the Nazis. Henze seems to have two very specific films in mind:

“Triumpf des Willen” and “Tag der Freiheit – Unsere Wehrmacht.” These documentary films from 1935 were meant to chronicle the Reich Party Congress and promote the strength and virtues of the German army, “Die Wehrmacht.” They include evocative opening drumrolls, just as in the Tuba mirum, and the tunes of military marches. The most notable moments in the Tuba mirum of such music are shown and discussed below.

appears for the first time and remai Additionally Henze adds the tempo mar change. Not only is there

of the preceding measures help set breaking through

stand playi

and English horn

appears for the first time and remai Additionally Henze adds the tempo mar change. Not only is there

of the preceding measures help set breaking through

stand

playing alternating descending and English horn

Figure 2

appears for the first time and remai Additionally Henze adds the tempo mar change. Not only is there

of the preceding measures help set breaking through

stands in stark contrast to the surrounding material. Trumpets 1 and 2 outline C major ng alternating descending

and English horn

Figure 2

appears for the first time and remai Additionally Henze adds the tempo mar change. Not only is there

of the preceding measures help set breaking through

in stark contrast to the surrounding material. Trumpets 1 and 2 outline C major ng alternating descending

and English horn

Figure 2

appears for the first time and remai Additionally Henze adds the tempo mar change. Not only is there

of the preceding measures help set breaking through

in stark contrast to the surrounding material. Trumpets 1 and 2 outline C major ng alternating descending

and English horn

Figure 2

Figure 2.23 shows the first march appearance. In m. 103 the t appears for the first time and remai

Additionally Henze adds the tempo mar change. Not only is there

of the preceding measures help set breaking through

in stark contrast to the surrounding material. Trumpets 1 and 2 outline C major ng alternating descending

and English horn

Figure 2

.23 shows the first march appearance. In m. 103 the t appears for the first time and remai

Additionally Henze adds the tempo mar change. Not only is there

of the preceding measures help set

breaking through at m. 103 and the marking of

in stark contrast to the surrounding material. Trumpets 1 and 2 outline C major ng alternating descending

and English horn, all

Figure 2.23

.23 shows the first march appearance. In m. 103 the t appears for the first time and remai

Additionally Henze adds the tempo mar change. Not only is there

of the preceding measures help set

at m. 103 and the marking of

in stark contrast to the surrounding material. Trumpets 1 and 2 outline C major ng alternating descending

all doubling at the higher octave. While

.23. First march a

.23 shows the first march appearance. In m. 103 the t appears for the first time and remai

Additionally Henze adds the tempo mar

change. Not only is there a change in time signature of the preceding measures help set

at m. 103 and the marking of

in stark contrast to the surrounding material. Trumpets 1 and 2 outline C major ng alternating descending

doubling at the higher octave. While

. First march a

.23 shows the first march appearance. In m. 103 the t appears for the first time and remai

Additionally Henze adds the tempo mar

a change in time signature of the preceding measures help set

at m. 103 and the marking of

in stark contrast to the surrounding material. Trumpets 1 and 2 outline C major ng alternating descending

doubling at the higher octave. While

. First march a

.23 shows the first march appearance. In m. 103 the t appears for the first time and remai

Additionally Henze adds the tempo mar

a change in time signature of the preceding measures help set

at m. 103 and the marking of

in stark contrast to the surrounding material. Trumpets 1 and 2 outline C major ng alternating descending thirds

doubling at the higher octave. While

. First march a

.23 shows the first march appearance. In m. 103 the t appears for the first time and remai

Additionally Henze adds the tempo mar

a change in time signature of the preceding measures help set

at m. 103 and the marking of

in stark contrast to the surrounding material. Trumpets 1 and 2 outline C major thirds

doubling at the higher octave. While

. First march a

.23 shows the first march appearance. In m. 103 the t appears for the first time and remains

Additionally Henze adds the tempo mar

a change in time signature the

at m. 103 and the marking of

in stark contrast to the surrounding material. Trumpets 1 and 2 outline C major thirds G

doubling at the higher octave. While

. First march appearance;

.23 shows the first march appearance. In m. 103 the t ns unchanged for the following three Additionally Henze adds the tempo marking of

a change in time signature

the reference apart. The sudden m at m. 103 and the marking of

in stark contrast to the surrounding material. Trumpets 1 and 2 outline C major G-E and E

doubling at the higher octave. While

ppearance;

.23 shows the first march appearance. In m. 103 the t unchanged for the following three

king of a change in time signature

reference apart. The sudden m at m. 103 and the marking of

in stark contrast to the surrounding material. Trumpets 1 and 2 outline C major E and E

doubling at the higher octave. While

46 ppearance;

.23 shows the first march appearance. In m. 103 the t unchanged for the following three

king of a change in time signature

reference apart. The sudden m at m. 103 and the marking of

in stark contrast to the surrounding material. Trumpets 1 and 2 outline C major E and E

doubling at the higher octave. While

ppearance;

.23 shows the first march appearance. In m. 103 the t unchanged for the following three

king of marcia militare

a change in time signature

reference apart. The sudden m

at m. 103 and the marking of strong beats of the new time signature in stark contrast to the surrounding material. Trumpets 1 and 2 outline C major

E and E-C

doubling at the higher octave. While

ppearance; Tuba

.23 shows the first march appearance. In m. 103 the t unchanged for the following three

marcia militare

a change in time signature,

reference apart. The sudden m

strong beats of the new time signature in stark contrast to the surrounding material. Trumpets 1 and 2 outline C major

C. They are supported by flute 1, oboe, doubling at the higher octave. While

H & Co. KG, Mainz, Germany. Tuba mirum

.23 shows the first march appearance. In m. 103 the t unchanged for the following three

marcia militare

but the irregular meter and rhyth reference apart. The sudden m

strong beats of the new time signature in stark contrast to the surrounding material. Trumpets 1 and 2 outline C major

. They are supported by flute 1, oboe, doubling at the higher octave. While

H & Co. KG, Mainz, Germany. mirum

.23 shows the first march appearance. In m. 103 the t unchanged for the following three

marcia militare

but the irregular meter and rhyth reference apart. The sudden m

strong beats of the new time signature in stark contrast to the surrounding material. Trumpets 1 and 2 outline C major

. They are supported by flute 1, oboe, doubling at the higher octave. While these instruments sound

H & Co. KG, Mainz, Germany. mirum

.23 shows the first march appearance. In m. 103 the t unchanged for the following three

marcia militare

but the irregular meter and rhyth reference apart. The sudden m

strong beats of the new time signature in stark contrast to the surrounding material. Trumpets 1 and 2 outline C major

. They are supported by flute 1, oboe, these instruments sound

H & Co. KG, Mainz, Germany. mirum, mm

.23 shows the first march appearance. In m. 103 the t unchanged for the following three

marcia militare to indicate t

but the irregular meter and rhyth reference apart. The sudden m

strong beats of the new time signature in stark contrast to the surrounding material. Trumpets 1 and 2 outline C major

. They are supported by flute 1, oboe, these instruments sound

H & Co. KG, Mainz, Germany.

mm.100

.23 shows the first march appearance. In m. 103 the t unchanged for the following three

to indicate t

but the irregular meter and rhyth reference apart. The sudden m

strong beats of the new time signature in stark contrast to the surrounding material. Trumpets 1 and 2 outline C major

. They are supported by flute 1, oboe, these instruments sound

H & Co. KG, Mainz, Germany.

.100

.23 shows the first march appearance. In m. 103 the time signature of 4/4 unchanged for the following three

to indicate t

but the irregular meter and rhyth reference apart. The sudden major tonality

strong beats of the new time signature in stark contrast to the surrounding material. Trumpets 1 and 2 outline C major

. They are supported by flute 1, oboe, these instruments sound

H & Co. KG, Mainz, Germany.

.100-106

ime signature of 4/4 unchanged for the following three measures.

to indicate t

but the irregular meter and rhyth ajor tonality strong beats of the new time signature in stark contrast to the surrounding material. Trumpets 1 and 2 outline C major

. They are supported by flute 1, oboe, these instruments sound

H & Co. KG, Mainz, Germany.

10682

ime signature of 4/4 measures. to indicate the coming but the irregular meter and rhyth

ajor tonality strong beats of the new time signature in stark contrast to the surrounding material. Trumpets 1 and 2 outline C major

. They are supported by flute 1, oboe, these instruments sound

H & Co. KG, Mainz, Germany.

ime signature of 4/4 measures.

he coming but the irregular meter and rhyth

ajor tonality strong beats of the new time signature in stark contrast to the surrounding material. Trumpets 1 and 2 outline C major

. They are supported by flute 1, oboe, these instruments sound

ime signature of 4/4 measures.

he coming but the irregular meter and rhyth

ajor tonality strong beats of the new time signature in stark contrast to the surrounding material. Trumpets 1 and 2 outline C major

. They are supported by flute 1, oboe, these instruments sound

ime signature of 4/4 measures.

he coming but the irregular meter and rhyth

strong beats of the new time signature in stark contrast to the surrounding material. Trumpets 1 and 2 outline C major

. They are supported by flute 1, oboe, these instruments sound C

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