Alte Frauen kommen vom Friseur
verwandelt das Haar zu lila Perücken
die Schlaufe ums Gelenk, das wehe,
der Leine, schnalzen sie Verzücken
dem letzten Liebsten, ehe
sich auch er, ihr Hund, verlör.

In tragischem Geschehen rauschhaft Schönheit zu fühlen. Und sich nicht pragmatisch abzufinden, sondern zu wo l l e n, daß es tragisch sei. Kunst zu empfinden bedeutet, innere Distanz aufzugeben. (Was Kunst i s t, unterläuft die demokratische Autonomie.)(CCCCXVII).

Einspielung: Pettersson IX, aber ganz ganz vorsichtig, pp-Stelle. Von nun an den Sprechertext in THEMA I zurückführen.

Sprecher 2	Wir streckten unsre danach aus doch war der Keller lang und immer ferner ward das Flämmchen
Sprecher 1	Da schloß ich meine Augen und
Sprecher 2	schloß m i c h, ich ließ es in mir singen.

THEMA I Über das Interview die Musik wegnehmen.

SPRECHER 3 (wie in einem Interview, mit stark deutschem Akzent:) I really do not know what happend. It was an early warm morning, when I awoke und went to the sea for smoking a cigarette… as I’m used to each morning, when I’m here. Ye know: to think, to dream, to enjoy this marvellous prospect of the tropical sunup. Little children were playing far around, one could smell the scent of the small nearby bakery. I was standing there on the beach and even before sunrise there came this music as of out of the waves, as of out of the palm-trees, I don’t know. And it was not only me to be fascinated by this… I am not yet sure if halluzination, if real phenomenon… ‘cause while listening and peering to the ocean, I recognized some people more to listen with me. I indead didn’t realise them to have been approached me and staring now into space as I did. For two, may be three minutes, not more. “Do you hear that, too?” I asked. But they looked at me nearly deranged as if the origin of this sounds was just me … I cannot say ‘music’, it was more than that, was a permanent tone lying on and under and in the whole environment. And when I wanted to ask the people again, they unseemly had already left.
ANH And then you started taking this music down… you started to become a composer?
SPRECHER 3 No, it was not yet, but the days after, because this music… it didn’t fade away, but came again and again, wherever I was, even in Bombay, even in Dubai, where I had a stop when flying back home… and even then in Berlin… again and again.
ANH You know that the same music was written down by people of other countries, too, in the same weeks and months, and that all of them are telling the same story?
SPRECHER 3 Yes, I know.
ANH And that nobody of them had been able to write music ever before?
SPRECHER 3 Yes, I know.
ANH And that you all are of completely different origin, coming from farmers, from employees in bank and assurance companies or even without any job…?
SPRECHER 3 Yes, I know.
ANH …even of completely different cultures?
SPRECHER 3 It is a miracle, yes. It’s t h e miracle. But also… you know? it’s a doom. There is not any possibility to escape.

Einspielung: Pettersson IX, Take 10.

führt ins THEMA II

Darüber, wie aus dem Off, sehr sachlich:*

SPRECHER 1 Da fällt mir ein, daß wir ja einen Choral im Stück haben. Das ist ein Bruch, der Übergang vom meditativen Cantus. Kurz vor der Klage kommt ein Kirchengesang in den Streichern. In vier Takten reiner Dreiklang.

>>>> AP 13
AP 11 <<<<