Sabina Meyer - Cruelly Coy
|music by Luciano Berio, Hanns Eisler, Giacinto Scelsi, Erik Satie, John Cage, Sabina Meyer, Fabrizio Spera, Michael Thieke.
- Luciano Berio
Sequenza III - 7'52"
- Hanns Eisler
Über den Selbstmord - 2'12"
- Giacinto Scelsi
Hô, cinq vocalises pour voix de femme
Hô I - 1'58"
Hô II - 2'34"
Hô III - 4'04"
Hô V - 2'38"
- Erik Satie
Trois poèmes d'amour
n° 1 - 0'36"
n° 2 - 0'36"
n° 3 - 0'38"
- John Cage
Aria - 9'58"
- Sabina Meyer, Fabrizio Spera, Michael Thieke
music for voice&noise
Hist - 4'04"
Coy - 3'04"
Long distances - 4'05"
Raucedine e trasparenza - 4'59"
Eclipse - 2'02"
Cruelly - 2'56"
Gelbes - 3'04"
Kreis - 2'03"
Silent in - 1'09"
G/A - 1'11"
- Luciano Berio
I came in contact with Scelsi’s music in 2003 when I started to study with Michiko Hirayama: to sculpture, to chisel, to explore in and around the musical material of the score. The naked voice comes to expression through minimal shifting of quarter tones alternating with very large intervals which conducts the sound in very different areas of resonance. This provokes a high richness in timbre and colour, as if the score would be a kind of indication of movement through space and inside of the singer’s body. There are no significant words, there is no story to tell through verbal comunication. The syllables are like invocations . . . Magic formulas, so the singer is pushed to invent a subterranean tale which can be deducted through the alternation of density and rarefaction, vehemence and abandonment of the timbre. This behaviour has strictly to do with improvisation, improvisation which originated in fact this music.
The Hô series consists of 5 melodies, the author has withdrawn the fourth piece, therefore I decided not to record it.
Sequenza III spurs me to explore the combination of my emotional colours in relationship to the different contemporary grammars: all the resources around the timbre systemized in a gesture of continous transformation up to a very strict organization of time and space.
John Cage’s – Aria - visual score traces signs and colours whose rigorous organization was the first to be discovered. The interpreters body is going to be transformed in a soundbox which evokes ten different personalities. The black squares between the coloured lines indicate not to sing but to make noise. Rather than the human noise, I’ve been attracted by the mechanical sound of everyday life objects which interact with the vocal parts. Finally two “songs” treated in an unconventional way: Trois poèmes d’amour by Erik Satie, proposed for voice and toy piano; the voice has been recorded after the instrumental part, and Hanns Eisler’s Über den Selbstmord arranged for voice and electronics. The noise parts have been added independently from the vocal recordings.
Sibilo sibilla. Music for voice&noise is a sound landscape whose protagonists are the voice, electronically treated objects, and reeds. The combination of voice and noise is inspired by my ethnomusicological experience with khorakhané roma during several years of recordings in gipsy camps. For sibilo sibilla i thought about my natural environment. I thought about the objects around me. I wanted to listen to them, to try to find out about their interior life. To explore their sound, real or imaginary, pushed me to speak to them, to interact with them through my vocal improvisation and experimentation, as if tales, languages and memories could spring out of them. For this I involved two musicians who have worked for a long time on possibile transformation from sound to rumour (crackling, rattling, rustling, air). The score consists in a trajectory of neat evocations organized in ten segments with precise lengths. Every fragment results from extramusical elements: from psychoanalytical language to technical-mechanical expressions, from poetry to visual arts and cinema. “The nightbird between hoarseness and transparency” is an instant imagine of a dream, as well as the water-elements in andreij tarkovski’s stalker becomes a neat frame for long distances. The run-up of the words as “to totter, to stagger, to shilly-shally, to dilly-dally” in eclipse evoke skin-deep stream of musical movement which will be immediately stopped by the words “to lash, to whip, to squeeze, to tremble, to hit, to ruin” in cruelly. Objects and reeds have been recorded first and the voice is inserted in a already fixed material and moves in this spectrum of substances to lap the sound texture, to drown in it and suddenly surface to direct the score. Sometimes the texture gets very dense and tight around the throat and unexpectedly silence takes its place.[sabina meyer, roma, ottobre 05]
SABINA MEYER, voice and objects
FABRIZIO SPERA, amplified objects, electronics
MICHAEL THIEKE, clarinet, alto-clarinet, alto saxophone
LUCA VENITUCCI, toy piano
Produced by Maurizio Giri
Berio, Cage, Eisler, Scelsi
Recorded "Live in Studio" in July 2005 at Diapason Recording Studio in Rome by Simone Satta
Sibilo Sibilla, Music for Voice&Noise
Recorded and mixed at home in april 2004 by Michael Thieke
Artwork - Davide Franceschini [Altrospazio]
Photo Cover & Booklet - Davide Franceschini [Altrospazio]
SABINA MEYER - voice, composition, Theremin, objects
Born in Zurich, moved to Italy in 1988. Studied Anthropology and Musicology at the Bologna D.A.M.S-University (graduating with full mark and honors). Rather than choosing the orthodox conservatory studies, she preferred a more personal path, following the footsteps of various masters of the experimental, improvised and contemporary music as well as research theatre. Studies singing with Gabriella Bartolomei and Michiko Hirayama. Since more than ten years she is actively involved in the improvised and contemporary music scene. As composer and improviser, she also developed a quest in the field of sound poetry with particular attention to the specific issues of the contemporary female poetry.
She played and collaborated with, among others: Elio Martusciello, Tristan Honsinger, Lauro Rossi, Ig Henneman, Marco Angius, Roberto Abbondanza, Michel van Goethem, Marco Dalpane, Gianni Trovalusci, Filippo Monico, Alberto Braida, Nino Locatelli, Mike Cooper, Hans Koch, Paed Conca, Ab Baars, Roberto Bellatalla, Alvin Curran, Paul Lovens, Eugenio Colombo, Fabrizio Spera, Marianne Schuppe, Michael Thieke, Walter Prati.
Viktoria Frey (Hanns Eisler Songs): Lauro Rossi, Fabrizio Puglisi, Fabrizio Spera
Etherguys (Theremin+elettronica): Gak Sato, Vincenzo Vasi
Cabaret per nulla (Music by Erik Satie and John Cage): Marco Dalpane
Two Voices (Giacinto Scelsi vocal repertoire): Marianne Schuppe
Lemuri-Quartet (Original Songs on poetry): Alberto Braida, Michael Thieke, Fabrizio Spera
Cruelly Coy (Contemporary music repertoire for solo voice): Sabina Meyer
SibiloSibilla (voice&noise&electronics): Michael Thieke, Fabrizio Spera
rasa (Improvisation and contemporary Music): Gianni Trovalusci, Gianfranco Tedeschi
La Zona (DanceTheatre+electroacustics): Caputo/Senica- DanceCompany
Conca-Koch-Meyer-Spera (Improvisation): Hans Koch, Paed Conca, Fabrizio Spera
prasada (Jiddishsongs): E.Colombo, G. Tedeschi, M. Pirone, G. Trovalusci
She played in Festivals like: Controindicazioni 2001/2003 (Rome), Angelica 2002 (Bologna), RingRing 2002 (Beograd), Interzone 2002 (Novisad), Musique Innovatrices (St. Etienne), CrossroadsFestival 2003 (Bologna), Sant’ArcangeloFestival 2003/2005 (Rimini), NuovaConsonanza 2003/2005 (Rome). Pulsi 2004 (Rome), Progetto Musica 2004 (Rome), Musica e Scienza 2005 (Roma), Instabile Europe Contest 2005, (Imola), Scelsi-Festival, 2006 (Rome).
-Dire Gelt-Klezmer Songs (Harmony Music 1996)
-Hot Azoi (Hot Azoi 1999)
-Trio Purushka. E sulla terra faremo libertà. (Centro Studi sulla Resistenza di Biella 1998)
-Rot by Domenico Guaccero (die Schachtel 2004)
-rasa Meyer-Tedeschi-Trovalusci (Auditorium 2005)
-Antenata (ambiances magnétiques)
-Cruelly Coy (lazy melodies)
Participations & compilations:
-Zar Aleksandar Zaric, 2001
-Lunch Vincenzo Vasi/VV.AA, 2002
-Isole che parlano Paolo+Nanni Angeli, Comune di Palau, 2005