Ulrike Bail

Vertonungen

 

 

 

Claude Lenners (Luxemburg)

„The sewing Machine Orchestra“ für Sopran und Klavier, 2022 (im Auftrag des CNL).

 

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Susanna Baltensperger (Zürich, CH)

 

Theodora-Zyklus nach 'wundkleestreut aus. 47 gedichte über theodora'.

theodora I (die töne haben eine haut) - Cemblo
Uraufführung am 22.12.2012 in Winterthur (CH)

theodora II (das holz atmet den klang) - Bratsche

theodora III (in abgebrochenen geschichten) - Cembalo/kl.Klangschale
Uraufführung am 27.09.2013 in Zürich (CH)      

theodora IV (manchmal weckt theodora) - Cembalo/Koto/Monochord
Uraufführung am 12.11.2014 in Zürich (CH)

theodora V (nach einem wintergewitter) - für Orgel, 5 Klangschalen und Ocandrum,

Uraufführung am 6. Juni 2015 in der Kirche Auenstein bei Aarau (CH)

                       ...   ...   ...   ...   ...


mai notation (aus: sterbezettel, 2016) für Cembalo
Uraufführung am 09.05.2017 in Zürich (CH)

der gelbe reiter (nach dem Gedicht ,drinnen‘, Textwechsel) für Orgel
Uraufführung am 06.07.2019 in Mammern am Bodensee (CH)

 

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 Ildar Kharissov:  die töne haben eine haut
aus: wundkleestreut aus. 47 gedichte über theodora, Saarbrücken 2011
vertont von für Klavier und zwei Sprecher, Uraufführung am 26.02. 2009 in Berlin


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Daniel Brandes, Kanada:  A tenous we (2013)

for (more or less) 7 speaking, singing, playing musicians. 
throughout this piece, the musicians engage with a series of text fragments from: ulrike bail
, judith butler, walter brueggemann
, karen dickey, constance fitzgerald, 
the prophet micah, 
the prophet habbakuk.

Daniel Brandes describes his piece as follows:
a tenuous we, for seven playing, speaking, writing, singing musicians, is a meditation on the themes of grief, memory, hope, and spiritual transformation, and how these themes are deeply and complexly enmeshed. Throughout the score for a tenuous we are small threads of text from a variety of sources anging from Old Testament poetry, to theologians, to secular philosophers. These texts have been chosen because they 
speak deeply to the themes of grief, memory, and hope. They all, in some way, help explain human frailty, and also illustrate that the present is not an absolute: there are others ways of being, and thus, there is the possibility for hope. As Ulrike Bail writes, “Even in the midst of despair, it is possible to begin to speak.”

text fragments

1. nobody else could hope, except for those who grieve

2. possessed by a hope that is wordless and imageless

3. enter the silence again, in the midst of words

4. loss has made a tenuous "We" of us all

5. they could barely whisper

6. in the midst of despair, it is possible to begin to speak

7. make space for the wounds: our woundings and woundedness

8. the stones of the wall will cry out/ and the beams of the wood work will echo it

9. only a poem could bring the grief to notice. the poem, so urgent and so fragile

10. (s)he would live into a future beyond imagining

Die Textfragmente von mir stammen aus 
Spelling out No-Where.
Lamentations as a textual space of survival  (in: lectio difficilior 1/2013).
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Antoine Beuger:  "nach der mitte folgt ein schweigen“. eine elegie (innehalten am rand)


vertont von für eine sprechende, singende, spielende, schreibende solistin,

begleitet von 2 instrumenten und einer zuspiel-cd
(nach texten von judith butler,
ulrike bail und dem propheten micha u.a.)
Uraufführung im April 2012 in München.
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