Klangbilder (Sound Images)
Composed by Linus Kohring
for Flute and Piano
Published by Doblinger
Includes score and flute part
The “Sound Images” were composed in their first, five-movement, version already in 2012 and premiered shortly after with myself playing the piano and my brother, Fabian Kohring, playing the flute. Shortly after I received the commission to orchestrate the work for flute and chamber orchestra. This version was subsequently performed to great success in Austria and in Chile by the Young Master Players Vienna, again with my brother as soloist. Over time I undertook further revisions, resulting, amongst other things, in a version for symphonic orchestra. Finally, I added the Phoenix movement.
The individual movements paint their own separate mood images. The first movement, Centaurus, illustrates the wild gallop of a centaur through the forests and plains of this world; one hears clattering of hooves and wild hissing. The second movement, Flowers, is a musical watercolour with delicate sounds and full of colours, like an impressionist bouquet. The third movement, Trolls – Homage to Peer Gynt, is a set of variations on the famous theme from In the Hall of the Mountain King from Edvard Grieg's composition. The piano incorporates a passacaglia theme which symbolizes the heaving hootsteps and less-than-graceful movements of an incredibly ugly and frightful troll. The fourth movement, Mirror, is a fragile, fugue-like piece with a piccolo flute; it shows more the mirror itself than a reflection; it is clear and obscure at the same time; bright, but without light. In the penultimate movement, Flock of Birds, the tremendous noise of a wild flock of birds pelt down upon the listener, who gets the feeling that thousands of birds scream in a roaring maelstrom. The central section returns to the theme of the first movement, here, one hears the centaurs' hunt. The last movement, Phoenix, which was written quite some time after the others and again asks for the piccolo flute, shows the eternally repeating cycle of a phoenix reborn again and again from its own ashes.
Here, I would like to extend my warmest thanks to all those who supported me in composing this work; first of all, to my dear brother, Fabian, and also to Dr. Hanns Christian Stekel and Dr. Angela Pachovsky and the team of the publishing house Doblinger for making this print possible.