The public act of ‘recitation’ is looked upon from various perspectives by instruments which manipulate a very basic but vital human condition- the human breath. Our starting point is Aperghis’ recitations for solo voice: among the most virtuosic of vocal works, the combinations of seemingly incompatible fragments in French at first dazzle with the
according virtuosity required to perform them, then reveal a hidden maze of rhythms and inflections typical of Aperghis’ fondness of adding several layers to his work and our perceptions. In the works of Furrer, the flute and voice are merged via the production of sound and ambiguity of roles-both of these works come from staged commissions for large ensemble in which the flute (contrabass and bass flute), have a large role to play. FAMA VI takes inspiration from the novel by Arthur Schnitzler, Fraulein Else, examining the horrors of forced prostitution, and the objectification of the female form by the beorgeois scociety in the late 18th century. Invocation VI is a mystical incantation, punctuated with exasperated cries, ”Why have you wounded this heart!” Schwitters Sonate needs little introduction: the very deconstruction and re-composition of language takes place in what seems like a random order, although this is far from the case.
Cora Schmeiser: Soprano
Georges Aperghis:Récitations for solo voice
Malin Bång: New work for contrabass flute and sound objects 2011
Beat Furrer: FAMA VI: Wie hubsch ist es for reciter and contrabass flute 2004-5
Kurt Schwitters: Ursonate for voice 1922-36
Esaias Järnegard: New work for contrabass flute and voice 2011
Beat Furrer: Invocation VI : por que, pues has llegado for bass flute and voice 2004
