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threads:
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| | | winter and winter (germany) #ww 043 cd barry bermange “[composition 17] opera mundi” compact disc | | winter and winter press release... |
| barry bermange opera mundi
n° 910 043-2
cd
1999
musicians
barry bermange [electronic sound composition, conception, realization] 1. opera mundi [composition 17]
total time: 48:33
...
barry bermange - opera mundi
opera mundi is an acoustic work composed from o-ton materials. o-ton materials used in its construction come from the acoustic world. some were found, others produced electronically.
these source materials are used to produce new materials. these new materials will become the sound of opera mundi.
the new materials will become the acoustic artwork, components in the content, profile and texture of the work. their role will be democratised, their origin subordinated. the key material into which they are absorbed will emerge as the leading artistic statement.
opera mundi is a step towards an autonomous acoustic artwork. the work began as a series of micro-pictures of a modern technical world riven with natural and man-made tragedy. this offered a resonance upon which the elements of the new work could play, react, seek responses from in order to produce a new musical voice giving flesh and muscle to its theme and manifestation.
noise art may express purely cerebal themes. it may subvert themes altogether, favour abstraction and poetry. it may work in a political or social perspective, connect to fundamental issues of our time.
music takes flight from the orchestra! a resonance is produced moving us closer to an awareness of its themes: the struggle of individuals in the face of terror and adversity, the bleakness of continents in the grip of famine and drought, oppression by war, by invasive forces, the loneliness of the human voice in conflict with itself and others in the urban and rural wastelands of a hostile planet.
creative acoustic art offers an opportunity to work with found and produced materials democratised in a re-creative process. they become the sum of a new acoustic material and statement.
opera mundi is an acoustic response to the human voice at the extreme edge of existence, each sequence a sound window comprising variable components sometimes linking or responding to other windows, breaking into smaller windows, forming composite windows.
opera mundi is not rooted to the source materials of its origin. to remain so rooted is to remain within the realm of narrative art: the work becomes musical illustration, acoustic literature.
materials make the work. materials are the work: materials unrelated to history.
we must accept the requirements of our materials. when our materials speak, we must listen. to impose our will upon our materials is to resort to the conventional role of composer in its weakest, most servile sense. to work with preconceptions is the death of art.
the liberation and self-expression of materials is the true task of art.
i must liberate myself from preconceptions. i must think of the material itself as an autonomous voice. this is the struggle.
the material is responding to chance.
chance plays its part in the overall structure. chance must be invited and received in this and all other forms of creative art.
acoustic art is open to change, invites accident. accident is oxygen to the creative organism. accident breathes life into material.
silence is a fourth material.
with silence the work does not stop: it begins.
how will it end?
[excerpts from opera mundi, composition 17: parallel notes by barry bermange] |
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