Nachtstücke und Arien
(1957,arr.2025)2(II=picc).1(=corA).2(II=bcl).asax.1(=dbn)-1.1.btrbn.0-timp.perc(1):tamb/Military dr/tom-t/susp.cyms/3tam-t-harp-pft-strings(3.0.2.2.1)
Abbreviations (PDF)
Non B&H
Nachtstücke und Arien represents one of the artistic pinnacles of the collaboration between Ingeborg Bachmann and Hans Werner Henze, even compared to the great success of the operas Der Prinz von Homburg and Der junge Lord. In this score, Bachmann and Henze succeeded in shaping a new and original form, as well as a renewed poetics of content.
Formally, the work is divided into three purely orchestral movements, each containing two arias. The musical, lyrical, and rhythmic material intertwines and permeates all five sections, to the point that it could be described as a five-movement symphony with solo voice: the central movement functions as a Scherzo, the second and fourth as Adagios, the first as an introduction, and the final movement as a Rondo animated by a rapid and unceasing movement.
The content of the poetic texts unfolds a lyrical reflection on the world and nature that, in a profoundly personal way, rises to confront the issues of the present, without ever renouncing the beauty of the poetic word; some verses were composed by Bachmann specifically at Henze's request.
The music manages to create a dreamlike universe of extraordinary yet delicately fleeting beauty: a sonic fabric that supports the lyrics, celebrates them with an almost hymnal impetus, and savors every nuance, just as it exalts the human voice as an expression of life and love.
Personally, I consider this composition one of Hans Werner Henze's finest works, and I have always considered it a pity that it has been so rarely performed, due to its imposing orchestral composition. I am therefore particularly pleased that the Henze Foundation and Schott Verlag have allowed me to present a chamber version of the work on the occasion of the centenary of the birth of these two extraordinary artists, Henze and Bachmann.
Nachtstücke und Arien stands as one of the artistic high points of the collaboration between Ingeborg Bachmann and Hans Werner Henze, even when compared with the major success of their operas “Der Prinz von Homburg” and “Der junge Lord”. In this score, Bachmann and Henze arrive at the shaping of a new and original form, as well as a renewed poetics of content.
From a formal perspective, the work is structured in three purely orchestral movements, within which two arias are embedded. The musical material—both lyrical and rhythmic—flows through and permeates all five sections, to the extent that the piece may be understood as a five-movement symphony with solo voice: the central movement takes on the function of a joke, the second and fourth correspond to adagios, the first acts as an introduction, while the final movement takes the form of a rondo animated by swift, relentless motion.
The content of the poetic texts unfolds a lyrical reflection on the world and on nature which, in a profoundly personal way, rises to engage with the concerns of the present, without ever denying the beauty of poetic language; some verses were composed by Bachmann specifically at Henze's request.
The music succeeds in creating a dreamlike universe of extraordinary and at once delicately evanescent beauty: a sonic fabric that supports the texts, exalts them with an almost hymn-like momentum, and savors every nuance, while celebrating the human voice as an expression of life and love. Personally, I consider this composition to be one of Hans Werner Henze's most beautiful works, and I have always found it regrettable that it is performed so rarely, due to its impressive orchestral structure. I am therefore particularly pleased that the Henze Foundation and the publishing house Schott have allowed me to present, on the occasion of the centenary of the birth of these two extraordinary artists, Henze and Bachmann, a chamber version of the work.
Detlev Glanert