Enjott Schneider
Sisyphos
Mythological Poem für Violoncello und Percussion
Enjott Schneider
Sisyphos
Mythological Poem für Violoncello und Percussion
- Instrumentation Cello and Percussion
- Edition Score and Parts
- Composer Enjott Schneider
- Publisher Ries und Erler Musikverlag
- Order no. RE44009
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Description:
Preface:
The mythological poem SISYPHOS, performed as a duo, takes up the same theme that was already present—in a thoroughly autobiographical sense—in Symphony No. 2, SISYPHOS: Sisyphus had been condemned to eternal labor because of his wicked cunning. Inspired by Albert Camus’s essay *The Myth of Sisyphus*, my musical interpretation transforms this apparent punishment into something positive: the goal is to recognize the absurdity of human life, which is filled with toil and daily routine; to avoid relying on illusions and false hopes; and ultimately to accept a state of being—freed from utopias—in the grounded "now." In his insight—"Fate is not a punishment. The struggle to reach the summit can fill a human heart. We must imagine Sisyphus as a happy man," Albert Camus answered the central question—"whether life is worth the effort of being lived or not"—in the affirmative for every human being. In Part 1, the effort
and torment of hoisting a boulder, followed by the eternally repeating descent, are brought to life in a rondo-like form. In Part 2, Camus’s concept of the absurd itself becomes the subject, as repetitive movement patterns and the "hard work of the soloists" are taken to the extreme. Following the beguilingly beautiful dreams and illusions of the third part, the musical patterns used are freed from their negativity and placed in a context that can be interpreted as happiness and joy in the energetic and powerful.
The clarity of mind that led the gods to condemn Sisyphus to torment became precisely the quality that helped him achieve victory once again. As Camus put it in a thought-provoking life motto: "There is no fate that cannot be overcome through contempt." Many thinkers, including modern ones, have grappled with this myth. Among them is Günther Grass, who said in a conversation with Siegfried Lenz titled "Imagination as a Necessity of Existence": "The stone is there; I roll it. I not only accept the gods’ punishment—I continue to mock the gods. I say: here you go—the stone belongs to me."
The mythological poem SISYPHOS, performed as a duo, takes up the same theme that was already present—in a thoroughly autobiographical sense—in Symphony No. 2, SISYPHOS: Sisyphus had been condemned to eternal labor because of his wicked cunning. Inspired by Albert Camus’s essay *The Myth of Sisyphus*, my musical interpretation transforms this apparent punishment into something positive: the goal is to recognize the absurdity of human life, which is filled with toil and daily routine; to avoid relying on illusions and false hopes; and ultimately to accept a state of being—freed from utopias—in the grounded "now." In his insight—"Fate is not a punishment. The struggle to reach the summit can fill a human heart. We must imagine Sisyphus as a happy man," Albert Camus answered the central question—"whether life is worth the effort of being lived or not"—in the affirmative for every human being. In Part 1, the effort
and torment of hoisting a boulder, followed by the eternally repeating descent, are brought to life in a rondo-like form. In Part 2, Camus’s concept of the absurd itself becomes the subject, as repetitive movement patterns and the "hard work of the soloists" are taken to the extreme. Following the beguilingly beautiful dreams and illusions of the third part, the musical patterns used are freed from their negativity and placed in a context that can be interpreted as happiness and joy in the energetic and powerful.
The clarity of mind that led the gods to condemn Sisyphus to torment became precisely the quality that helped him achieve victory once again. As Camus put it in a thought-provoking life motto: "There is no fate that cannot be overcome through contempt." Many thinkers, including modern ones, have grappled with this myth. Among them is Günther Grass, who said in a conversation with Siegfried Lenz titled "Imagination as a Necessity of Existence": "The stone is there; I roll it. I not only accept the gods’ punishment—I continue to mock the gods. I say: here you go—the stone belongs to me."
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Up and Down
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Ad Absurdum
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Dreams and Illusions
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The Happiness of Sisyphos
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