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STIMMLICH
1995 19:35 8
       
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As in Paradigma, the structure of Stimmlich [concerning the voice] is the result of an abstract score in which pitches and entry delays of the sounds were defined beforehand. In this score, the musical material is projected on a time axis from a 'main level', towards three 'repetition levels', on which the same material can appear in a transformed way. These transformations are based on synthesis variants of the original sounds. The distances in time between the 'originals' and their transformed 'repetitions' are derived from a row that contains positive and negative values. these negative values are interpreted as negative time vectors, in which case the transformed repetition of a sound appears earlier as its original .

Whereas in Paradigma the orginal sounds are abstract, in Stimmlich separate words of five sentences from letters written by the Austrian poet Georg Trakl (1887–1914) were set to pitch and used as starting material.On the 'main level', the single pitches and chords are derived from a twelve-tone row. The pitches on the other levels originate in this row, but form new intervals as their order in time is different.

The voice material was recorded in collaboration with the singer Anne Wellmer. Where chords were written, she sang the separate notes one by one so that they could be combined later on. The same text was recorded spoken and whispered. According to the schemes described previously, pairs of sounds from different transformation categories (including the untransformed material) were linked to time values determining the distance between each pair's components. On a higher level, these sound pairs were systematically combined into sections. These sections again were overlapped to create the final form of the piece.

Stimmlich was commissioned by the Fonds voor de Scheppende Toonkunst.

sketch for large form score page score page detail