It might not be immediately evident how the title of the album, Sprechgesänge, applies to all these pieces, which include two concerto-like instrumental works, Jonathan Harvey's Sprechgesang for oboe/English horn and ensemble and Georges Aperghis' Babil for clarinet and 15 instruments, but the program notes describe the theme of "speech-songs" as applying to works that explore "the instrumental possibilities of the human voice and the vocal potential of instruments." Also, each of the works has a title that relates to ...
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It might not be immediately evident how the title of the album, Sprechgesänge, applies to all these pieces, which include two concerto-like instrumental works, Jonathan Harvey's Sprechgesang for oboe/English horn and ensemble and Georges Aperghis' Babil for clarinet and 15 instruments, but the program notes describe the theme of "speech-songs" as applying to works that explore "the instrumental possibilities of the human voice and the vocal potential of instruments." Also, each of the works has a title that relates to either speaking or singing, so the composers apparently had this dynamic in mind. The Harvey and the Aperghis are colorful examples of abstract, angular modernism that vigorously exploit the possibilities of extended instrumental techniques, including having players speak into their instruments. Swiss-Austrian composer Beat Furrer's recitativo is part of his large theater work FAMA, which essentially portrays the protagonist's mental deterioration into madness. Salome Kammer mutters,...
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