... on closeout for only ::
new to stock as of
june 22nd, 2009
|ina-grm (france) #ina c 3003 cd|
jean schwarz “the sea maid’s music” compact disc
- introduction (3:35)
- to kathleen (15:26)
- to cathy (7:33)
- to mahalia (14:07)
- to elise (19:37)
|1992 release ; 1990 suite for voice-sounds (sung by the inimitable elise caron) and processing (both teruggi’s syter and schwarz’s tape constructions) ...|
some fun, spooky sound-poetry moves in spots, but largely mired by the “wow” factor the then-state-of-the-art syter & it’s myriad “tricky” pitch transposition(s) & clunky, low-bit granular algorithms ...
|the sea-maid's music • 61'01 |
voice: elise caron
syter: daniel teruggi
produced at the celia records studio
|what composer doesn't dream of writing for the voice at least once in his life, for where does the concept of singing express itself most fully, and where is feeling born purest, if not in the human voice? an encounter with a singer allowed me to fulfill that dream and triggered an irresistable urge in me to work solely with the voice and for the voice. |
the purpose of this piece is above all to render homage to the singing voice, to the fragility of its timber as well as to its richness. simultaneously it seeks to emphasize certain techniques pertaining to the voice, irregardless of genre or style. our musical culture is now sufficiently developed to have moved beyond and assimilated the surprises that non-western traditional musics have brought us, both from the standpoint of the performer and the listener.
the sole material used in this piece is the voice of the soloist, elise caron, without the help of any external element, whether vocal or other. several directed improvisational recording sessions provided the foundation on which the piece as a whole was constructed; editing and mixing are the only procedures used here. the transformations were obtained live on the ina.grm's real time synthesis and treatment system, syter, thanks to the know-how and friendship of mr. teruggi. the soloist responded in real time to the computer's suggested transformations, which she was able to control and modify.
once the overall composition was established, the soloist interpreted the final part, which -has undergone no treatment.
the texts sung and read are taken from shakespeare's “midsummer night's dream”. as in jean-luc godard's films where each element of the sound track is repeated several times, the same words (in english) are reiterated with different intonations and on different registers.
traduction michael taylor