Voicespace

On this CD:

1. The Palace (Voicespace IV) for bass-baritone, tape, and staging
Composed by Roger Reynolds
Performed by Philip Larson, Philip Larson

2. Eclipse
Composed by Roger Reynolds
Performed by Carol Plantamura, Philip Larson, Philip Larson

3. Still
Composed by Roger Reynolds
Performed by Philip Larson, Philip Larson

Editorial Reviews
Andrew Porter, The New Yorker
"Working with words...with virtuoso singers and speakers, and with sophisticated electronic equipment, Reynolds explores analogues between sound and sense, and...builds beautiful structures moving through space, enclosing the listeners in a mysterious world where their own poetic and imaginative faculties are sharpened and refreshed."

Album Description
Voices, language and space interested Roger Reynolds since The Emperor of Ice Cream was written for the ONCE Festivals in Ann Arbor in the 1960s. In the 1970s, at the Center for Music Experiment in La Jolla, he heard the daily rehearsals of the Extended Vocal Techniques Ensemble and, in the evenings, read his my daughter to sleep, trying to capture an individual and consistent vocal behavior for each character in the story. A demanding critic, she stimulated Reynolds' reflections on vocal identity. Electronics offered rather precise control over auditory space (a particular sound's size, location, distance, the character of the host space in which it was heard). Choosing spare but evocative texts (Borges, Melville, Stevens, Coleridge) Reynolds conjures up unfamiliar yet appropriate vocal behaviors with which to present them. The five works in the series thus far share a concern with the potential of auditory imaging: this is a subject still only tentatively broached. They attempt to create a personal theater through the mind's ear. Yet they are distinct. Three of them are presented on this CD: The Palace (Voicespace IV), Eclipse (Voicespace III), Still (Voicespace I).

Tracks:

The Palace (Voicespace IV)
Eclipse (Voicespace III)
Still (Voicespace I)

Album Description

Voices, language and space interested Roger Reynolds since The Emperor of Ice Cream was written for the ONCE Festivals in Ann Arbor in the 1960s. In the 1970s, at the Center for Music Experiment in La Jolla, he heard the daily rehearsals of the Extended Vocal Techniques Ensemble and, in the evenings, read his my daughter to sleep, trying to capture an individual and consistent vocal behavior for each character in the story. A demanding critic, she stimulated Reynolds' reflections on vocal identity. Electronics offered rather precise control over auditory space (a particular sound's size, location, distance, the character of the host space in which it was heard). Choosing spare but evocative texts (Borges, Melville, Stevens, Coleridge) Reynolds conjures up unfamiliar yet appropriate vocal behaviors with which to present them. The five works in the series thus far share a concern with the potential of auditory imaging: this is a subject still only tentatively broached. They attempt to create a personal theater through the mind's ear. Yet they are distinct. Three of them are presented on this CD: The Palace (Voicespace IV), Eclipse (Voicespace III), Still (Voicespace I).

Music Review:

Music Review

Brahms "Alto" Rhapsody

Circle in the Round

Bridget Jones's Diary, Vol. 2 [Soundtrack] [Import]

Banda Mix

Bob Dylan

Autobahn 66 [Enhanced] [Import]

Camminando [Import]

Beethoven: Symphonies Nos. 5-7; Overtures

Amber Eyes

Baila Mi Ritmo

Cut Throat City [Explicit Lyrics]

Giovanni Pierluigi Da Palestrina

Workbench Songs