Chaya Czernowin - Shu Hai Practices Javelin (Music for texts by Zohar Eitan) (2002)
Chaya Czernowin - Shu Hai Practices Javelin (Music for texts by Zohar Eitan)
XLD Rip | FLAC+CUE+LOG | Covers | 73:14 | 328 MB
20th/21st Century Classical - Contemporary | 2002 | Mode
XLD Rip | FLAC+CUE+LOG | Covers | 73:14 | 328 MB
20th/21st Century Classical - Contemporary | 2002 | Mode
ELISION ensemble - Simon Hewett, conductor
Trio: Deborah Kayser, soprano - Erkki Veltheimalto, viola - Geoffrey Morris, guitar
Quartet: Paula Rae, bass-flute - Brian Catchlove, bass-clarinet - Timothy O'Dwyer, alto saxophone - John Tooby, cello.
Ute Wassermann, voice (live and recorded)
Basel Sinfonietta - Johannes Kalitzke, conductor
Live electronics: Experimental Studio of Heinrich Strobel Stiftung SWR - André Richard, director
TRACKS
01. Six miniatures and a simultaneous song (1998), for a trio of guitar, viola & guitar, and a quartet of bass flute, bass clarinet, alto saxophone and cello [11:30]
Shu Hai in an orchestral setting (2000-01), for voice, nine recorded versions of the same voice on tape, orchestra and live electronics:
02. First orchestral entrance [4:57]
03. First vocal entrance [5:59]
04. Second orchestral entrance [4:41]
05. Second vocal entrance [13:59]
Shu Hai mitamen behatalat kidon (1996-97), for solo female voice, nine versions of the same voice on tape, and live electronics:
06. First Movement [13:12]
07. Second Movement [18:25]
Six miniatures and a simultaneous song (1998): Two very different pieces unfold as a counterpoint to each other, merging into a strange third piece. The trio is fragile, very continuous, refined and highly articulated. The quartet is abrupt, boisterous, at times grotesquely expressive. Together they emerge into a lopsided structure where their different weights, expressions, and dynamism interact. The piece is dedicated to Elision Ensemble, one of Australia's top new music ensembles.
Shu Hai in orchestral setting (2000-01): This piece uses the second movement of the vocal piece Shu Hai and brings it into a dialogue with new orchestral material. The very fragile, intimate poetic fabric of the original Shu Hai is juxtaposed with raw, unruly bouts of the orchestral material - the voice is split into an orchestra of internal voices, the orchestra is unified into a magnified "voice". This voice is a huge and a heavy physical presence, pushing, lifting - a relentless gesture on the still background of the large panels of Shu Hai practices Javelin.
Shu Hai Mitamen Behatalat Kidon (Shu Hai practices javelin) (1996-97): This is an attempt at creating a musical form that could be best described as distilled, non-linear poetry. The piece is written for the singer-vocalist Ute Wassermann, and is especially tailored to - and is inspired by - her multi-dimensional voice and vocal expression which was developed through her involvement with improvisation.
In Shu Hai, a field of vocal behaviors is created - on the one hand, the voice is unrefined and close to an uncensored raw physical expression of emotions; but yet, the voice is forced into extremely controlled, almost unnaturally short temporal formal segments of wild emotional expression. The tension and the friction created by the wildness of the material and its relationship to the controlled, tight form, inform and mold the piece.
X Lossless Decoder version 20110312 (130.0)
XLD extraction logfile from 2011-03-27 19:42:34 +0100
Chaya Czernowin / Chaya Czernowin - Shu Hai practices javelin
Used drive : PIONEER DVD-RW DVR-218L (revision 1.02)
Ripper mode : CDParanoia III 10.2
Disable audio cache : OK for the drive with a cache less than 2750KiB
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Read offset correction : 6
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Gap status : Analyzed, Appended
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6 | 41:39:71 | 13:08:60 | 187496 | 246655
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