![]() ![]() Phrases suggest at times a “parlement of fowles,” or “conference of theīirds,” and too, the contrasting movements of different registers can Whole.” For this listener the overlapping patterns and short rhythmic Second…suggests a spinal form and directs the eye to the system as a Suggesting “the different formations of the inside of the mouth the Tides and indicate that two Son-Icons were given to each singer: one Inspiration of the high mountain streams of Switzerland with the Atlantic Performed by the via-nova choir of Munich in 2013. The fascination and frustration persist with the choir piece “Inn Cammino” Include a spine-like illustration and another that appears to be ![]() Illustrations on the CD aren’t associated with one work or the other, but Tides “literally” make them? What is this further element of chance? The Which were quite literally created in the tides of the Irish Atlantic Ĭharlotte Hug assigned an individual Son-Icon to each player…” How did the We read that it’s “made of graphite drawings, Mix is active in its method at any given moment, whether composed,Ĭonducted or spontaneous. Its individual and collective parts and their relations, what proportional I want to know the work better, to understand its sources and Music that results, though for this listener there’s also an element ofįrustration. It’s a fascinating work, both in the description of its methodology and the Passage and some interesting pointillist exchanges among instruments ofĭifferent orchestral families. The middle movement hasĪ particularly forceful moment from a cello along with a sustained trumpet To their graphic scores and their listening skills. The outer movements are conducted the middle movement leaves the players High string harmonics, then gradually follows a three-movement pattern. In an oscillating hurdy gurdy (here a descriptor, not the instrument) of Orchestra new solo voices appear to initiate new segments. Textures that gradually evolve, expanding with the membership of the The orchestra piece, Nachtplasmen, is a 36-minute work performedīy the Lucerne Festival Academy in 2011. Through-composed and fluid, achieving great power and mystery. The results that HugĪchieves here are extraordinary creations, works that feel at once Two of Hug’s pieces, one for orchestra, one for choir. In the development of large-group improvisation. Her decade-long membership in the London Improvisers Orchestra, a key group Gestural painting, sometimes with conduction and video. With “Son-Icons,” her term for graphic scores that mingle notation and Turning to roles as composer and conductionist. On Son-Icon Music, Hug forgoes both her viola and her voice, In contrast to one’s initial questions, the two musicians’ In “Lacunosus,” his drumming complementsĪnd highlights the sculped accuracy of Hug’s auto-counterpoint of voice and Vocal is pure shamanism, Niggli’s inflammatory drumming the flickering ![]() Miracles of interaction in which worlds somehow seem to overlap, as in theĬonvergence of the ultimate “Perlucious,” in which Hug’s scratch/squawk The titles here are drawn from arcane meteorology with suggestions ofĪlchemy, fundamental mysteries they couldn’t be more apt. Playing with details of overtones, sparking, providing ignition. Niggli’s precision extends to the minutiae of sound, Makes clear from the start, is a rich appreciation of resonance, a luminousĬontinuum in which each drum or bow stroke, each vocal scrape, ignites a What they share, however, as this performance Harmonics Niggli is a demon of precision, whether providing orchestralĮmphasis or polyrhythms. Hug works in large gestures,Ĭompounding and layering shapes that are elastic in pitch, using a “softīow” technique to elaborate walls of shimmering, shifting, sliding I’m not sure that shouldĬome entirely as a surprise, for one might imagine something diametrically Zurich, they had never played together before being invited to perform as aĭuo at the 2016 Ad Libitum festival in Warsaw. While Hug and drummer/ percussionist Lucas Niggli are both residents of Improvising duo, the other as composer/ conductor. Recent CDs present different dimensions of Hug’s music, one in an Lonberg-Holm, on Fine Extensions (all issued by Emanem). Heard in duos with Frédéric Blondy, on Bouquet, and Fred Undoubtedly best experienced live, but it’s clearly apparent on the solo CD Slipway to Galaxies (2011), while her collaborative range can be Performances of shamanic, transformative power. Improvisation, layering dense bowing and extended vocal techniques into Swiss violist/ singer Charlotte Hug is one of the great soloists of free
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