The vocal and instrumental sounds are simulated, the 6-channel room component is missing !
The recorded audience sounds become less frequent, the orchestra
begins to tune. Into the process of tuning the singer starts to sing,
thus obscuring the beginning.
The beginning of the text is initially obscured by the orchestra, which follows the melody and rhythm of the speaker. Only thereafter the speaker will be understood with the beginning of the text.
After the first death, one hears tenor, soprano, orchestra, a recorded speaker in Latin parallel to the singing and electronically manipulated sounds from Gluck's Orpheus.
Here, too, the speaker is at first obscured by the orchestra, then articulates clearly, confidently addressing the gods, some instruments speaking along.
Duet soprano/tenor, ignoble, careful, not brilliant, with orchestral accompaniment, in the background a recorded manipulated sound from Gluck's ope
unison + first text
after 1st death, tenor,soprano
orchestra parts + soprano
Modified entrance fanfare from Monteverdi Orpheo, the brass play from the rank.
Elements from Monteverdi's Fanfare take on a completely different, natural character through self-similar repetitions.
Nature situation with recorded synthetic choir and soprano
The speaker's text loses its time component, becomes space through repetitions of a word. Soprano and tenor sing vocalises.
State of nature with speaker, choir, instruments and recorded sounds from Gluck's opera
Swaying voice without text, bowed string, instruments (nature...) - the voice of Ute Wassermann can be heard.
"Natural voice" (voice in pathos)
Compulsion, spell, rock, metric compulsive structure
Monteverdi - chaos
fanfare - nature
synthetic choir, soprano
beginning special solo voice
solo voice pathos
compulsion spell rock
tragedy - cut