El Cimarrón Biography of the runaway slave Estéban Montejo. Recital for four musicians 亨采 總譜 朔特版

大約在 1986 年，我與漢斯-馬格努斯-恩岑斯貝格（Hans Magnus Enzensberger）進行了一次談話，談到了今天要寫出超越艾斯勒（Eisler）、威爾（Weill）和德紹（Dessau）成就的政治歌曲所面臨的困難。在我看來，要解決這個問題，我可以嘗試用各種音樂素材寫一個迴圈曲目，也許在一個新的和不同的背景下，會出現一些新穎的東西，這幾乎是偶然的。恩岑斯貝格告訴我，最近出版了一本埃斯特班-蒙特霍（Estéban Montejo）的傳記，他是一位生活在哈瓦那的非洲裔古巴老人，回憶了自己作為奴隸的青少年時期。 然而，《El Cimarrón》並沒有成為一個歌曲迴圈，事實上，它的初衷也並非如此--這部作品所產生的是一種新的戲劇音樂創作形式。歌手、長笛手和吉他手偶爾需要演奏打擊樂器。漢斯-維爾納-亨澤"

作曲家: Henze, Hans Werner
校訂者: Enzensberger, Hans Magnus
樂器: baritone, flute, guitar, percussion
出版社: Schott Music
原文簡介:
The making of El Cimarrón began in about 1986, with a conversation I had with Hans Magnus Enzensberger about the difficulties of writing political songs today that would go beyond the achievements of Eisler, Weill and Dessau in this field. It seemed to me that I might try to tackle the problem by writing a cycle with a variety of musical materials out of which perhaps something novel might emerge in a new and different context, almost by chance. Enzensberger told me of the recent publication of a biography by Estéban Montejo, an old Afrocuban who lived in Havana and who recalled his adolescence as a slave, and suggested that I should set episodes from this book that he, Enzensberger, would select for my experimentation.El Cimarrón, however, did not turn into a cycle of songs and was, indeed, not even intended as such - what came out of the work is a new form of theatrical music making.Singer, flautist and guitarist are occasionally required to play percussion instruments.- Hans Werner Henze