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Brian Ferneyhough - Shadowtime

Libretto by Charles Bernstein

20th/21st Century Classical - Contemporary Opera | 2006 | NMC

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Nicolas Hodges piano, speaker - Mats Scheidegger, guitar

Neue Vocalsolisten Stuttgart - Nieuw Ensemble - Jurjen Hempel, conductor

TRACKS

Disc 1

01. Scene I: New Angels/ Transient Failures (Prologue) [20:39]

02. Scene II: Les Froissements d'Ailes de Gabriel (First Barrier) [17:23]

Scene III: The Doctrine of Similarity (13 Canons):

03. Amphibolies I (Walk Slowly) [02:12]

04. Dust to Dusk [01:25]

05. Cannot Cross [02:45]

06. Indissolubility (Motetus absconditus) [02:10]

07. Amphibolies II (Noon) [04:30]

08. In the Dark (But Even Fire Is Light) [02:07]

09. Sometimes [02:32]

10. Anagrammatica [00:34]

11. Dew and die [01:40]

12. Schein [01:20]

13. Dusts to Dusks [02:21]

14. Amphibolies III (Pricks) [01:25]

15. Salute [01:31]

Disc 2

Scene IV: Opus Contra Naturam (Descent of Benjamin into the Underworld):

01. I - Untitled [02:27]

02. II - Katabasis [11:26]

03. III - Kataplexy [02:53]

Scene V: Pools of Darkness (11 Interrogations):

04. Three Giant Mouths [02:14]

05. Headless Ghoul [01:40]

06. Karl Marx and Groucho Marx, with Kerberus [02:07]

07. Pope Pius XII [01:03]

08. Joan of Arc [01:32]

09. Baal Shem Tov Disguised as Vampire [02:21]

10. Adolf Hitler [01:22]

11. Albert Einstein [01:37]

12. Border Guard [0:56]

13. Four Furies [01:30]

14. Golem [01:42]

Scene VI: Seven Tableaux Vivants Representing the Angel of History as Melancholia (Second Barrier):

15. Laurel's Eyes (after Heine's Lorelei) [01:31]

16. Tensions [01:08]

17. Hashish in Marseilles [01:22]

18. After Heine's "Der Tod, das ist die kulhe Nacht" [01:27]

19. One and a Half Truths [02:42]

20. Can'ts [01:01]

21. Madame Moiselle and Mr. Moiselle [05:06]

22. Scene VII: Stelae for Failed Time (Solo for Melancholia as the Angel of History) [13:43]

& 8220;

Brian Ferneyhough's vision of a philosopher - Walter Benjamin - in the Underworld... Described as a "thought opera", Brian Ferneyhough's Shadowtime sets Charles Bernstein's inventive and complex libretto based on the work, life and imagined death of philosopher and cultural critic Walter Benjamin: it includes a movement for a speaking pianist - Opus contra naturam, the opera's fourth scene - a guitar concerto (Scene II) and ends in an ethereal haze of voices and electronics, Stelae for Failed Time. A philosopher, a sociological and cultural critic, born to a wealthy Jewish family, Benjamin represented in his writings a unique, one might say mystical, synthesis of Marxism and Jewish mysticism. Bertolt Brecht, Georg Lukacs and Gershom Scholem were friends of his, representing these two strands. His most famous work is probably the essay "The Work of Art in the Age of Mechanical Reproduction," and he was loosely affiliated with the Frankfurt School through Theodor Adorno. Benjamin was either killed or more likely committed suicide at the Spanish border while attempting to belatedly flee Nazi Germany. Ferneyhough explains that he selected Benjamin for the subject of his first and only opera because he was neither hero, like Orpheus, nor anti-hero, like Wozzeck, but something more complex. Says Ferneyhough, "The image of a coherent whole is no longer accessible to us, because mediators and power itself have reduced it to tiny fragments." Shadowtime is composed mainly of small fragments and short movements.

& 8221;

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