Anna Arkushyna "...en ciel enflammée" feat. Viktoriia Vitrenko скачать в хорошем качестве

Anna Arkushyna "...en ciel enflammée" feat. Viktoriia Vitrenko

ANNA ARKUSHYNA "...EN CIEL ENFLAMMÉE" for soprano and live electronics on the text "Contra Spem Spero" by Lessia Ukrainka (wp, 2023) #ircam #contemporarymusic #soprano #liveelectronics Viktoriia Vitrenko (soprano) Anna Arkushyna (music and live electronics) Claudia Jane Scroccaro (Ircam educational supervisor) Jérémie Bourgogne (Ircam sound diffusion) Sept. 14, 2023 Ircam, Paris Live recording IRCAM: Although I've already worked with the voice, this piece for the Cursus is the first vocal piece in which you've based your work on a text. Anna Arkushyna: Until now, I've used the voice more as a musical instrument, giving it more abstract and purely sonic functions. Now I'm moving into new territory, because I want to integrate textual elements and elements linked to the semantics of the text (in this case a poetic text) into the sound framework. This is a very strong constraint for me as a composer, because it actually represents pre-composed material: integrating and developing it in a way that is consistent with my musical universe is a real challenge. IRCAM:Which poem have you chosen? Anna Arkushyna: It's Contra Spem Spero by Lessia Ukrainka, a Ukrainian author I've loved since childhood - so it's a text I know intimately and feel very close to. Its title, which in Latin means "I hope without hope", serves as the foundation for the play. And I'm entrusting its creation to a singer, also Ukrainian, Viktoriia Vitrenko, who now lives in Germany. IRCAM:How does the computer music interact with and/or enhance the voice? Anna Arkushyna: The electronic discourse is both interactive and pre-composed. The voice triggers a variety of samples that I've composed - I'd even go so far as to say a 'cloud' of samples, which are like clones and shadows of the singer's voice. I also decided to add to the electronics the 'noise' of the writing, as a symbolic sound implementation of the text. These are very discreet noises - like a pen tip scratching a surface, for example. They are so soft and fragile that I had to record them in the absolute silence of Ircam's anechoic chamber. So even if you can't hear the words, the written word and writing are always omnipresent.