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Hariolf Schlichtig, Munich), source tape (bass flute/voice, viola) opus 24, 2003, august; duration 47:52. Prof. Hariolf Schlichtig, viola; Cologne/Munich; look also "Two Scetches" - MUSIC CONCERT 1, 1987. Assignment for composition by the Bavarian Radio Munich („Laboratory for music“; editor: Wolf Loeckle) and the Saarland Radio Saarbrücken („SR2 Culture Radio“; editor: Wolfgang Korb), 2005. Premiere live: 2005-10-13 „Stadtgalerie Saarbrücken“, Saarland Radio „Forum Neue Musik“; second representation: 2006-09-20 Bavarian Radio „Bayern2 Radio“. Performers: Irmela Nolte (flutes/voice), Hariolf Schlichtig (viola/viola d’amore), Norbert Walter Peters (direction). The composition „nota.thión - The Lament Of the Repentant Heart“ confronts the noise character of the bass German flute and viola with the sound characteristics of the flauto traverso and viola d'amore. Altogether there are FOUR STRATA, which the two interpreters Irmela Nolte (flutes) and Hariolf Schlichtig (viola) have to run through for the producing of the tape in the studio as well as live-performance: In the FIRST STRATUM, trance beat-like and high frequency, doublehandy patterns of the viola which where taken up in the studio are converted and multiplied to a polyphonic model respectivele to a going through noise line, which suggest (poplar-)rustling respectively cicadas chirping. In the SECOND STRATUM the noiseful tone giving of the bass German flute adds oneself to the simultaneous singing, whispering or breathing of the female performer into the mouth hole of the flute. Three text fragments of old-Oriental languages are used: Old-Egyptian, Hurritic, Akkadian, which reflect three opinions of the HEART term in the evolutionary principle of live, death and rebirth: old-Egyptian language: „Surely, if your Ba – your soul – exists, thereupon your heart exists simultaneous with you.“ [„wnén wnénet bak, wné jebak chan’ak“] – sarcophagus text about 1300 years b. c.; Akkadian language: „The lament of the repentant heart.“ [„irsâ kumal“] – chaldean prayer, Mesopotamia about 2000 years b. c.; Hurritic language: „He returns into my heart.“ [„be-en-du ti-schi-iv-va-an“] – Mittani-letters about 1400 b. c.; Also here again from the superposition of bricks builded by a process of composition, a polyphonic model respectivele a going through noise line is produced in the studio by compressing various tone -, breath- and whispering actions in a structurally manner. The THIRD and FOURTH STRATUM as live-performing, strengthens the minimalistic ductus of this noise music by signalful objections: - melodic figurations, - high frequency flageoletts and - articulated pizzikato elements are going through six tone chains in changing succession. At the same time the two interpreters performimg in a musical dialogue: - on the one hand with the tape and - at the other hand in the dialogue among themselves and creating thus a kind of space by the development of perpetuating time fields. Each individual stratum is based on a different metric level, so-called divergent measures: look in excerpt of the score page 101 “Rhythmische Kongruenz” in the video. Music/video © by NWPeters 2003/2020; photo © by Annette Siffrin, Aachen; sound engineer studio Munich (Roland Böhm); sound engineer mobile transmission Saarbrücken (Manfred Jungmann); recording manager studio Munich/live recording Saarbrücken (Christloph C. Stechbarth); editor munich (Wolf Loeckle), editor Saarbrücken (Wolfgang Korb). the title „nota.thión - The Lament Of the Repentant Heart“ is based on the akkadian text used in the composition. GEMA: 8.292.424