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CE QUI ARRIVE - by Olga Neuwirth (2004)
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Project Management at IEMMarkus Noisternig, noisternig [at] iem.at
Main Contributors at IEMThomas Musil, musil [at] iem.at
Contact detailsInstitute of Electronic Music and Acoustics (IEM) Inffeldgasse 10/3, 8010 Graz, Austria email :: noisternig [at] iem.at phone :: +43.316.389.3681 mobile:: +43.664.5301110 |
Abstract
"... ce qui arrive ...", for voice, video, tape and ensemble.
Commissioned by the European Concert Hall Organisation (ECHO)
Co-production with Ensemble Modern and steirisc[:her:]bst
Texts: Paul Auster, Andrew Partner, Georgette Dee
Film: Dominique Gonzalez-Foerster
The title refers to a Paul Virilio exhibition and Neuwirth's score similarly explores the subject of coincidence. "... ce qui arrive ..." combines a taped autobiographical monologue spoken by American writer Paul Auster with an orchestral soundscape augmented by live-electronics and samples. He is heard reading from his books Hand to Mouth and The Red Notebook, either as straight recitation or processed through a string resonator so that the low tones can interact with those of a sting ensemble. Dominique Gonzalez-Foerster's video is featuring the transgendered chanteuse Georgette Dee and complements Olga Neuwirth's music.
Sounddesign and Live-Electronics
Paul Auster's voice plays a decisive role in the creation of "...ce qui arrive ..." soundscape. The American writer's voice is played back as a straight recitation coming from certain directions or moving around the audience
Audio Example: Paul Auster's voice cutted and spatialized [mp3]
or by processing it with a multi-stage Karplus-Strong string resonator.
Audio Example: Voice processed with string resonator [mp3]
Mixing the processed and the clean vocal signal yields Paul Auster's voice to melt into the orchestral soundscape
Audio Example: Mixture of direct and processed sound [mp3].
Using granular synthesis a sound layer is created to alienate the voice signal further
Audio Example: Granular synthesis of voice signal [mp3]
Audio Example: Mixture of direct and processed sound [mp3]
Further, processing the sound of gulls (recorded in Venice) by granular synthesis and randomly move them around the audience creates an immersive sonic atmosphere. Sound spatialization is realized by using the IEM's ambisonic approach.
Audio Example: Granular on flying gulls [mp3]
Like in Lost Highway nightmarish, dark sounds are basic elements of Olga's composition, mainly created by processing instrumental sounds. The following audio examples consist of processed, transposed and superimposed tubax sounds amplifying tonal interferences.
Audio Example: Drone in D [mp3]
Audio Example: Drone in Dis [mp3]
Audio Example: Drone in E [mp3]
Audio Example: Mixture [mp3]
Photo Album Page:
[] Will follow soon.
Venues
- List Halle, Graz, Austria: Steirisc[:her:]bst Festival
- Konzerthaus Vienna, Austria: Wiender Festwochen
- Kölner Philharmonie, Cologne, Germany
- Cité de la musique, Paris, France: Festival d'automn
- Palais beaux arts, Brussels, Belgium: Festival ars musica
- Alte Oper, Frankfurt, Germany
- Concertgebouw, Amsterdam, Netherlands
- Werkstattbühne, Bregenz, Austria: Bregenzer Festspiele
Credits
Markus Noisternig, Live-Electronics, Sounddesign, 3D Sound System Engineering, Programming, Project-Management
Thomas Musil, Programming Audio
With special thanks to Norber Ommer, sound engineer Ensemble Modern: it was a pleasure to work with him!