|
EDITION WANDELWEISER RECORDS
> CD
catalogue
_____________________________________________________________________
<< >>
Chico Mello & Silvia Ocougne
Musica Brasileira De(s)composta
order
reference:
medium:
composer:
performer: |
EWR 9603
CD
Silvia Ocougne, Chico Mello
Silvia Ocougne, Chico Mello
|
|
|
|
|
Silvia Ocougne and Chico MeIlo, both Brasilians, came to Berlin
independently at about the same time. Both of them are
multi-instrumentalists with a particular interest in guitar and
contemporary composition.
Profiting from the advantage of being in a ,,foreign culture" on an
,,older continent", Chico and Silvia have created a sonic collage of
traditional popular and contemporary elements in the light of
influences from Berlin and Brazil. Surrounded by an unusual
constellation of instruments induding tuba, matchbox, clarinet, etc.;
the central instrumental metaphor of these recordings remains the
guitar: the ,,tabula rasa" of international musics.
"Bebê" and ,"1XO"
are two guitar collages in which layers of free improvisations are
superimposed on each other In ,,Berimbau", the basic themes of the
improvisations are fragmented. Our focus of antecipation shifts
horizontally and vertically through these multiple guitars and thematic
motifs.
,,Do Lado do dedo" (,,On the
other side of the finger") refers to the tactile experience of
"touching" the guitar: expanding its limitations as a string and
percussion instrument and at times using unusual preparations.
,,Dentro do Tubo l and II"
(,,Inside the Tube l and II") are comprised of recognizable
song-fragments. Russian Military tubas and clarinets are used here as
voice-filtering resonating cavities, as percussive surfaces and as
thumping air containers. lt is a déjà-vu of images
between two characters who are no longer playing ,,on" their
instruments, but have entered into their instruments’ own world.
,,Samba e Amor", ,,Trem das
Onze" (,,Samba and Love", "Eleven o'clock Train") takes on a journey
with prepared guitar; matchbox ensemble, noise and silence.
,,John Cage na praia" (John
Cage at the Beach No. 1-4) are collages where the basic materials
(fragments of songs, classical pieces, and noise) have been
de-constructed and displayed in space, ilIuminating a fundamental
ground of silence.
|
> top
|