Liza Lim (VO)

Liza Lim (durée : 5'07''10)

extrait de " Ochred String" pour hautbois, alto, violoncelle et contrebasse interprété par les membres de l'Ensemble Elision Enregistrement : Berliner Kuenstlerprogramm - Editeur de partition : G. Ricordi & Co London Ltd.

" I think I became a composer when I was about eleven, when I was exposed to a whole range of contemporary music. Everything from John Cage to Berio's Visage, to Penderecki, to Aboriginal music and free jazz… And that was the moment where something opened up inside me.... I’ve never thought of time as a linear process that is only unidirectional, but it has many recursive moments, eddyings and ripples. I often use an analogy with water, the currents and hidden forces that lie underneath the surface, and I think this relation between the surface and what is hidden, different depths, has been very important to my thinking about the operation of music and its flow in time. I like to think of music both structured within a piece and also the kind of communicatory ritual of listening to music. The body receives sound, not only through the ears, you can hear with your hand, you can hear with your stomach, you can hear with any part of the body…and I guess that attitude is perhaps related to something from the Chinese way of thinking about the body as a holistic system... that would be a beautiful way of talking about composition: an aural acupuncture. I love the simplicity of the materials I use. It’s very low-tech. It’s one pencil, one rubber and a piece of paper. Because there is so few pieces of equipment if you like, I get quite superstitious about them. So for instance when I begin to work with a pencil, I can’t bear to let it go, and I continue working with this pencil until it’s about this size, and in fact I have whole boxes of pencils which are this size, which for me represent years of work contained in these relics, these strange relics of two centimetre tall pencils. In my piece “Ochred String” there is this constantly transforming organic surface; it’s not at all smooth. It’s made up of all kinds of undulations and ripples and these kind of nodules in which things are flowing. Then on top of that there are these kinds of violent events that rupture, that cut through, that show another world that is lying somehow beneath the surface of this undulating material. Musicians sometimes joke with me that I’m asking them to employ the technique of a beginner, because the choreography of the sound is playing between a zone of stability and instability, and the kind of sound I’m looking for is just at that moment when you’re crossing over. And so in “Ochred String” a lot of the sounds is generated by these movements, by this choreography of moving between the moment of control to the moment of not having control."