Stop where are you going
“ Halt an, where are you running ” is a song by Othmar Steinbauer for a four-part choir ( soprano , alto , tenor and bass ), which is sung a cappella or with instrumental accompaniment, as the composer noted. The text comes from the “Cherubinischen Wanderer” by Angelus Silesius (Johannes Scheffler; 1624–1677) and reads: “Stop, where are you going, heaven is within you; If you search for God elsewhere, you will miss him for and for. "
Shape analysis
This choral movement corresponds to the song form A – B – A. Part A goes from the first to the nineteenth sound series chord (measure 1 - measure 11, 1st beat), which corresponds to the text section "Stop, where are you going, the sky is within you". The B part goes from the 20th to the 53rd sound series chord (bar 11, 2nd beat - bar 23, 1st beat) and accompanies the text: "If you seek God elsewhere, you are missing him for and for." For the 80th sound series chord, part A is repeated with the corresponding text. The delimitation of individual molded parts does not correspond to the exact twelve-tone row: The first part ends with the onset of the twelve-tone row on the seventh row tone and the third section begins with the fifth use of the twelve-tone row with the sixth row tone.
Series basis and sound series formation
The twelve-tone row here is: d – a – f – c – b – g / e – cis – fis – dis – h – gis. In the case of Josef Matthias Hauer , one can speak of the 41st trope , but for Steinbauer it is the 37th trope. Steinbauer uses the small modification, whereby the rotation occurs within the row half. So it would look like this:
- (I): d – a – f – c – b – g / e – cis – fis – dis – h – gis
- (II): a– eis –c – b – g – d / des –fis – es – h– as –e
- (III): f – c – b – g – d – a / f sharp – dis – h – g sharp – e – c sharp
- (IV): c-b-g-d-a-f / dis-h-gis-e-cis-fis
- (V): ais –g – d – a – f – c / h– as –e – cis – fis– es
- (VI): g-d-a-f-c-b / gis-e-cis-ges-dis-ces
- (VII) = (I): d - a - f - c - b - g / e - des - fis - dis - h - gis
The last rotation row in the first half of the row is missing three tones (c – b – g, tone series chord 76–78) and the second half of the row is missing four tones (f sharp – dis – h – gis, tone series chord 81–84). The f sharp is already missing in the sixth twelve-tone row. Bars 3–24 are repeated, with sound series chords 51-54 corresponding to sound series chords 1-4.
The choral movement begins with a stowage of tones: the notes d (alto) –a (soprano) –f (tenor) –c (bass) enter freely. The transition from one sound series chord to the next is created by a “branch” as in the transition from the 63rd to the 64th sound series chord or by a “confluence” as in the transition from the 67th to the 68th sound series chord or by a mixture of both as in the transition from the 4th to the 5th sound series chord.
The sound series chords appear occasionally so compressed that they are either played directly one after the other (e.g. sound series chords 10 + 11) or played together (two sound series tones as in the sound series tones 43 + 44 or even three as in the sound series tones 40–42). The 69th row tone is preferred to the 68th row tone. Throughout the work, row tones have been enharmonized, as in the case of tone row chords 14, 19, 21 etc. Reminiscence tones occur throughout the piece, such as the c '' in bar 3 in the tenor part.
Web links
Individual evidence
Remarks
- ↑ Tones where an enharmonic mix-up takes place are marked in italics