19. November 2012 7:10pm | Huddersfield Contemporary Festival | hcmf shorts | St Paul’s Hall | UK
“like 2 hyacinth in the mountains trampled by shepherds until only a purple stain remains on the ground” Sappho
Tamara Friebel with Gobi Drab
Gobi Drab (recorder), Tamara Friebel (live electronics, composition)
A fragmented – defragmented Hyacinth Stain: Sappho’s Fragment
For Recorders, Paetzold Recorder prepared with Brass Shim and Live Electronics
This piece emerged from a bunch of bright hyacinth which were given to a friend
during a period of being unwell. It explores the smearing of the colours of the
hyacinth, the squeezing out of its last drops of colour. Its trampling.
The energy lines of this piece are littered with debris, unfocalised yet bound by a certain, unknown constraint. The piece gradually uncovers its own unknown script, a graphic dimension which is to be solved uniquely by the performer. The performer draws from the knowledge of the compositional world it encounters at first, and then approaches the dissolution of this knowledge, as the conventional notation disappears. A pick-up microphone is attached to brass shim, which is placed on the labium of the Paetzold Contrabass Recorder. The piece explores further through this distortion device, as the brass shim prevents and smears the sound produced.
I became a fabulous opera
for Teapot, Brass Shim, Voice, Recorders, Water & Live-Electronics
“I became a fabulous opera; I saw that everyone in the world was doomed to happiness: action isn’t life; it’s merely a way of ruining a kind of strength, a means of destroying nerves. Morality is water on the brain.”
from A Season in Hell, Une Saison en Enfer, Arthur Rimbaud