Between 2020 and 2021, Sebastian Claren composed two large choral works for the SCHOLA HEIDELBERG. Although they differ in sound and concept, both works are written for the same instrumentation – two sopranos, two altos, two tenors, and two basses – and have a common reference point: the poetic and philosophical legacy of Friedrich Hölderlin (1770–1843), one of Germany's most visionary writers, whose work is internationally recognized and highly esteemed.
The first piece, "Der Adler," is based on three fragments from Hölderlin's late hymn drafts. These texts, known for their expressive abundance and syntactical breaks, were part of Hölderlin's attempt to create a new poetic language through a form of epic singing, but largely remained unfinished.
Sections that highlight the articulation of individual words and syllables, and fleeting tonal quotes from a choral work by Conradin Kreutzer from the 19th century. These quotes, coming from a composer associated with the conservative Biedermeier period, are deliberately contrasted with the radical poetics of Hölderlin to reflect an ideological gulf. In this way, "Der Adler" becomes both a sonic meditation on poetic fragmentation and a requiem for a historical epoch in which revolutionary artistic, philosophical, and political endeavors were once united.
The second work, "bones stairs knife bells," is inspired by "Hölderlin Hybrids," a cycle of poems by the German-American author Rosmarie Waldrop, one of the most influential experimental poets writing in English today. In this cycle, Waldrop reinterprets Hölderlin's poems from a perspective that is simultaneously contemporary, feminist, and deeply personal. My composition reflects this hybrid approach: while referencing the "Missa Mi-Mi," a mass setting by Renaissance composer Johannes Ockeghem, the music transforms this historical material into a multilayered dialogue between tradition and reinterpretation. In contrast to "Der Adler," which incorporates spoken language throughout, "bones stairs knife bells" is entirely sung – however, each section is preceded by spoken text that introduces the following words. This formal decision creates a clear shift between linguistic representation and musical realization, between language and song.
Admission: 19:00 Uhr
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