Wilfried Hiller
*1941
Texts from Hartmut Schmökel’s German translation of the Epic of Gilgamesh
I. Prologue
II. Gilgamesh – Orion
III. The Drum Made from the Chaluppu Tree
IV. The Land of No Return
V. The Path Through the Dark Mountain
VI. In the Garden of Gems
VII. The Flower of Immortality
World premiere: 21 November 2002, Munich, Herkulessaal
Simon Pauly | Muriel Cantoreggi | Silke Avenhaus | Marta Klimasara | Munich Chamber Orchestra | Christoph Poppen
Wilfried Hiller in conversation
with Marcus A. Woelfle on the occasion of the world premiere on 22 November 2002
Woelfle: You dedicated “Gilgamesh” to Bertold Hummel?
Hiller: Whilst I was composing in Munich, I was playing the scene on the piano where Gilgamesh laments the death of Enkidu. My wife came in and brought the news that Bertold Hummel had died. I said: “That can’t be.” I’d only just met him and written him a letter. I’d become such close friends with him over the last two years; it was so lovely and collegial! I’d listened to all his pieces. That humanity left a deep impression on me. Through his music, he wanted to “make a modest contribution to a more humane and livable world.” That is, after all, a task I have set myself as well. I was so moved that I dedicated the piece to him. He struck me as being like Enkidu; I then wrote to his wife as well.
I attended his funeral in Würzburg, where there were so many young people. His pieces are, of course, played in all the ‘Jugend musiziert’ competitions. I first came across them through my son. They are wonderful. Before I went to Greece, I discovered a booklet called “Tastenspiele” among the new releases at Hieber. It was “16 Piano Pieces for My Grandchildren” by Bertold Hummel. At the time of his death, he had 17 grandchildren. I took them with me to Greece and played them every day, because they gave me such a sense of peace.
Among his scores, I found an Adagio for three strings on the death of Benjamin Britten. It follows in the tradition of Lutosławski’s funeral music for Bartók and a number of other pieces that are very beautiful. It is an Adagio consisting entirely of long notes, with many plaintive seconds and sustained chords that fade away, and has something of a memory and sadness about it. It moved me deeply.
(from the programme booklet of the Munich Chamber Orchestra: Subscription Concerts 2002/2003)
