Amadeu Antonio Kiowa, für Schlagzeug und Stimme (Musik erhältlich) / for drums and voice (music available), 2000
Ein langsamer Prozess für einen singenden Schlagzeuger. Amadeu Antonio Kiowa war
eines der ersten Opfer rechter Gewalt nach der deutsch/deutschen Grenzöffnung.
Er wurde im November 1990 von 50 Skinheads zu Tode geprügelt.
Amadeu Antonio Kiowa
A music for one ore more percussion players
After having done at least fifty very heavy and loud beats (MM.112) on a snare- or military-drum, introduce very soft (at least in the beginning) sounds of one or more ethnic instruments. The sound of those instruments should influence the noise of the snare strings, so that in the course of the piece the snare strings start to produce a continuous buzzing, without any rhythmic movements or breaks. When the continuous sound develops, the heavy blows get softer an finally disappear. If there is a stop in the continuous buzzing, you have to start with the heavy beats again, but then it should be less than fifty. All musical material which is played on the ethnic instruments, is derived from the sound and rhythm of the name Amadeu Antonio Kiowa.
The rhythm of the name (11 beats) could be counterpointed with the rhythm of the consonants, from the vowels you can find overtone melodies. It is possible to play with a superball or sticks on the snare-drum to achieve the continuous buzzing, but in the course of the piece one has to find communicating vibrations or resonance between the ethnic instruments and the military-drum. A politempo version is possible: MM. 112 against ??? For the beats in the beginning of the piece, you can use as well a pedal (to have the hands free for a roll…).
The length of the piece and its character are free decisions of the interpreter.
The Angolian worker Amadeu Antonio Kiowa has been murdered in the night from the 24. to 25. of November 1990 by fifty Nazi skinheads. Three policemen watched the situation from a distance.
After the opening of the German borders between east and west, German intellectual people started to think that political music is nonsense. Nowadays it is evident that young Nazi people in Germany come together in concerts and are mobilised by the Nazi rockbands to do their crimes.
My piece is not political music in the common sense, but the motivation to do the concept has been a political. The music itself is a sort of metamorphosis.
The GEMA-proceeds will be paid to the Amadeu-Antonio-Foundation, which is situated in Berlin and is helping victims of Neonaziterror. Informations you can find under www.amadeu-antonio-stiftung.de.
Matthias Kaul (2000)