"Poetry I & II...in the focal point of what does not occur" (1990/92)
for soprano, narrator, french horn, violin, viola and violoncello
In sharp contrast to the string trio (wearing concert attire), the soloists should wear elegant civilian clothing. At the beginning of the piece all members of the ensemble apart from the narrator should be on stage. The narrator enters resolutely at the beginning of the 32nd bar and sits down at the table provided for him. The horn player retains his position until approx. the 216th bar before moving slowly, as indicated in the score, towards the audience, positioning himself close to the singer
The soloist portray three different characters and their development in a somewhat overstated manner.
A: The narrator, at all times reminiscent of a TV newscaster, should embody certain characteristics which he retains almost right to the end. Sober, objective, self-assured, cool and confident in her rendition, he frequently assumes a disruptive role. He interprets even the most sensitive and meaningful passages of the poem without emotion, at times even producing an ironical effect.
B: The soprano represents his antithesis, rendering her version of the text with introverted, good-natured sensitivity,
at times highly moved yet also resolutely dismissive.
C: The horn player's role ia initially confined to a musical commentary. Standing somewhat apart, observing, he is critically aware of - almost scrutinizing - the two contrasting personalities and their development in which he ia only partially involved. As the piece progresses he undergoes a change, casting off his reservedness and caution. Emotionally moved, he himself intervenes in the „action“ .
Among other things, his active involvement throws the narrator into a state of uncertainty. The litany-like individual statements relating to the key concepts in the text undergo an intrinsic reinterpretation and questioning.