OG DER SKAL IKKE MERE GIVES TID (AND TIME SHALL BE NO MORE) – four songs from mixed choir.
I. RIT (Ritual). Text: Lars Lundkvist (Sung in Swedish),
II. GRABLIED (Funeral Song). Text: Adolf Wölfli (Sung in German),
III. BIZ DÜNYADAN. Text: Yunus Emre (Sung in Turkish)
IV. TID (Time). Text: Jørgen Gustava Brandt (Sung in Danish)
My four choral songs collectively called “And time shall be no more” (“Og der skal ikke mere gives tid”) were inspired by the fact that each of the four poems that I have here set to music all describe perceptions of Time that are in one way or the other different from our day-to-day experience.
I took my title from the “Book of Revelations” (chapter ten), in which the mighty angel announces: ... and time shall be no more. We can only speculate as to the nature of the existence prophesized by the angel ...
In the first song RIT (Ritual), the Swede Lars Lundkvist creates an infinite “space of time” in which the poet can stretch out his hand and gently touch years of stone before, eventually, he raises his hand and sees that he has five fingers ...
The Swiss Adolf Wölfli, in the second song GRABLIED (Funeral Song), praises the eternal sleep and its perennial victory, smothering every passion.
In his poem BIZ DÜNYADAN the fourteenth century Turkish poet Yunus Emre expresses our transcendence with his words about leaving this world. The opening line of the poem ´Biz dünyadan´ reads as follows in English translation: ´We are on the way out of this world, we send our greetings to those left behind...´
The last poem, by the Dane Jørgen Gustava Brandt, is called TID (Time) and describes the perpetual interaction of waves and sand, a timeless dimension ignorant of human existence (but it just might be that the timelessness in this dimension of waves and sand is in fact what makes it possible for us to endure in our own, comparatively, very measured human time).
I am grateful to Jørgen Gustava Brandt for the unexpected arrival of his wonderful poem, and I thank Murat Alpar for his invaluable assistance in conveying to my music the Turkish flavour of the Yunus Emre poem.
The four songs were conceived as a whole; however, each song may be performed (and is available) separately