Horaţiu Rădulescu, "FRENETIC0 IL LONGING DI AMARE"
-- Liner Notes --
FRENETIC0 IL LONGING DI AMARE opus 56 (1984 ... 1.87) for bass voice, octobass or double-bass flute and sound icon has been premiered in Cologne 1987 at the ISCM World Music Days by the soloists of the European Lucero Ensemble : the composer (bass voice), Beata Gabriela Schmidt (doublebass flute), Petra Junkcn and Eric Tanguy (sound icon).
The score describes a figurated choral based on the theorical components of an E-spectrum, inbetween the 6th and the 53rd harmonic.
The sound icon, a concert grand piano vertically placed and played with bows, is offering and sustaining - as to its spectral scordatura - the strict pitches of nonequal intervals on which the voice and the flute are meeting themselves. The sound icon remembers the role of a tampura in the indian rags.
The flute and the voice are coloring these pitches by means of special sound production techniques. Thus on the spectral components which became now fundamental pitches these techniques are producing an enriched and unstable "micro-spectrality" - "Cmanation de I'Cmanation" : micro-rhythm and phase-shifting, and other aural informations capable of captivating other perception with that intrinsic life of the sound-matter.
The "frenetic longing to love" is an intimate ritual, sobre but incandescent. The performers are now the same as for the world premiere, except for the flute which is played by Pierre-Yves Artaud.
N.B. : The sound icon has been rigourously developped by the composer since 1968169 and for the first time publically played in Darmstadt 1972 (opus I I). I Royan 1973 (opus 16) and Sanary festival de Provence 1974 for the world premiere of A DOINI opus 24 for 17 musicians with sound icons.
FRENETIC0 IL LONGING DI AMARE opus 56 (1984 ... 1.87) for bass voice, octobass or double-bass flute and sound icon has been premiered in Cologne 1987 at the ISCM World Music Days by the soloists of the European Lucero Ensemble : the composer (bass voice), Beata Gabriela Schmidt (doublebass flute), Petra Junkcn and Eric Tanguy (sound icon).
The score describes a figurated choral based on the theorical components of an E-spectrum, inbetween the 6th and the 53rd harmonic.
The sound icon, a concert grand piano vertically placed and played with bows, is offering and sustaining - as to its spectral scordatura - the strict pitches of nonequal intervals on which the voice and the flute are meeting themselves. The sound icon remembers the role of a tampura in the indian rags.
The flute and the voice are coloring these pitches by means of special sound production techniques. Thus on the spectral components which became now fundamental pitches these techniques are producing an enriched and unstable "micro-spectrality" - "Cmanation de I'Cmanation" : micro-rhythm and phase-shifting, and other aural informations capable of captivating other perception with that intrinsic life of the sound-matter.
The "frenetic longing to love" is an intimate ritual, sobre but incandescent. The performers are now the same as for the world premiere, except for the flute which is played by Pierre-Yves Artaud.
N.B. : The sound icon has been rigourously developped by the composer since 1968169 and for the first time publically played in Darmstadt 1972 (opus I I). I Royan 1973 (opus 16) and Sanary festival de Provence 1974 for the world premiere of A DOINI opus 24 for 17 musicians with sound icons.
Labels: Avant Garde Project, Horatiu Radulescu, jodru
posted by jodru at 17:58
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