Alfred Thomas Müller
*1939
Fatum for solo clarinet (1995)
Bertold Hummel on his 70th birthday, featuring the musical representation of the initials of his name
World premiere: 1996 Petersberg (Halle), Stiftskirche
Duration: 3 minutes
Publisher: Verlag Neue Musik Berlin
Entasis I for three percussionists (2000)
World premiere: 13 November 2000, Halle
Duration: 11 minutes
Publisher: Verlag Neue Musik Berlin
Motet (based on texts from 1 Corinthians 1 and 15) for mixed a cappella choir (2003)
Premiere: 3 May 2005, Częstochowa
Scola Canorum Gedanensis | Jan Lukaszewski
Duration: 10 minutes
Publisher: Verlag Neue Musik Berlin
1 Cor 1:1–3
Paul, called to be an apostle of Christ Jesus by the will of God, and Sosthenes, our brother
2 To the church of God which is at Corinth
to those sanctified in Christ Jesus, called to be saints
together with all who call upon the name of our Lord Jesus Christ in every place, both theirs and ours
3 Grace to you and peace from God our Father and the Lord Jesus Christ
1 Cor. 15:12
But if Christ is preached as having been raised from the dead, how is it that some among you say there is no resurrection of the dead?
1 Cor. 15:32
What profit is there for me if the dead are not raised? Let us eat and drink, for tomorrow we die
1 Cor 15:35
But someone may say,
‘How are the dead raised?’
And in what sort of body shall they come?
36 You fool, what you sow
it is not brought to life unless it first dies
1 Cor. 15:42
so too the resurrection of the dead
is sown in corruption
it rises in incorruptibility
43 It is sown in dishonour, it is raised in glory It is sown in weakness, it is raised in power
1 Cor. 15:51
Behold, I tell you a mystery: we shall all be raised, but not all will be transformed
English translation:
Paul, called to be an apostle of Jesus Christ by the will of God,
and Sosthenes
To the church of God in Corinth,
saints in Christ Jesus, the called
saints, together with all those who call upon the name
of our Lord Jesus Christ in every
place, both among them and among us:
Grace be with you and peace from God our Father and the Lord Jesus Christ!
But if Christ is preached as having been raised from the dead, how is it that some among you say, ‘There is no resurrection of the dead’?
If the dead do not rise, then ‘let us eat and drink, for tomorrow we die’
But if anyone should say:
‘How will the dead be raised, and with what sort of body will they come?
You fool! What you sow does not come to life unless it dies.
So also is the resurrection of the dead. It is sown in corruption; it is raised in incorruption.
It is sown in dishonour, and it is raised in
glory.
It is sown in weakness and will
arise in power
Behold, I tell you a mystery: we shall not all fall asleep, but we shall all be transformed.
Alfred Thomas Müller on Bertold Hummel
For me, my friendship with Bertold Hummel was a special gift of fate. Although distinct stylistic characteristics are evident, manifesting themselves in the actual musical language, these never appeared as a barrier. There was a great deal of openness, imperceptible to outsiders, like a mysterious vibration.
He had no interest in any definitive judgements regarding the value of musical works.
Of course, we discussed technical shortcomings where they existed. His approach in such cases was appropriately nuanced.
Tolerance was greatest where he sensed a novel, powerful will to express oneself, even if this initially provoked him. His pupils can certainly bear witness to this.
He thought like Heraclides: “One’s own nature is man’s daemon”.
His musical language changed continuously throughout a long and successful career as a composer. From work to work, he explored new realms of expression that corresponded to his innermost nature.
In a composition from 1952, the piano piece ‘Invocation 52’, a characteristic of his late style is already foreshadowed: the pronounced thematic-motivic gesture, an attitude that later transforms into a musical significance. I am thinking here of his orchestral work ‘Visions’ and his 3rd Symphony (‘Jeremiah’).
On the other hand, he loved the colourful sounds of particular luminosity, which he often fanned out in cascades. Here, the influences of the French musical tradition are unmistakable.
A composition from 1971, the ‘Klangfiguren für Streicher’ (Sound Figures for Strings), contains aspects that have a particularly inspiring effect on my musical thinking.
Reflection on his own output was a strong feature of his work. He needed the listener’s reaction, because for him music meant communication.
I dedicated three compositions to my esteemed friend, the eminent composer Bertold Hummel, each of which has a specific connection to his work or to him as a person.
'Fatum' for solo clarinet, written for his 70th birthday (1995), featuring the initials of his name transposed into musical notes.
'Entasis T' (2000) for three percussionists, in reference to his multifaceted percussion music.
Finally, the motet for a cappella choir based on the First Epistle of Paul to the Corinthians (2003), whose message of resurrection, transformation and the immortality of the spirit also corresponded to his deepest convictions.
Alfred Thomas Müller
