CD ECM Records Meredith Monk: Dolmen Music
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Meredith Monk - voce, pian
Collin Walcott - vioara, percutie
Steve Lockwood - pian
Andrea Goodman - voce
Monica Solem - voce
Paul Langland - voce
Robert Een - voce
Julius Eastman - voce
“The voice itself is a very eloquent language,” Monk has said. In her compositions, the voice has been restored to its role as a kind of ancestral, perhaps pre-historic human utterance, beyond language, a sound capable of forming multiple timbres and textures: yelping, keening, clucking, moaning, ululating. Through her exploration of the voice’s potential—known as “extended voice techniques”—Monk has produced music as rigorous as a medieval motet and as stirring and unfamiliar as the call of a wild animal from another planet. [ Marina Harss ]
Prezentare generala CD ECM Records Meredith Monk: Dolmen Music
1981
Meredith Monk Ensemble
Meredith Monk - voce, pian
Collin Walcott - vioara, percutie
Steve Lockwood - pian
Andrea Goodman - voce
Monica Solem - voce
Paul Langland - voce
Robert Een - voce
Julius Eastman - voce
If one believes in the notion of destiny—or even in its more prosaic cousin, genetic predisposition—it’s clear that Meredith Monk was bound to become a singer. Her maternal great-grandfather was a cantor in Tsarist Russia; her grandfather, Joseph Zellman, an operatic baritone who emigrated to the US in the late 19th century. Here in New York, he and his pianist wife Rose Kornicker founded the Zellman Conservatory, on Lenox Ave. Monk’s mother, Audrey Marsh, sang popular songs and jingles on the radio. “My childhood was a lot like Radio Days,” Monk told the director Anne Bogart (in the book Conversations with Anne, 2005), “every single day at one o’clock she would sing the DUZ Soap commercial” during the radio drama Road of Life.
Unsurprisingly, Monk began singing at a young age, even before she was able to formulate words. Perhaps this pre-verbal immersion in music helps to explain her lack of interest in setting words to music, even now. Like the Dadaists, she believes that language can become pure sound, a direct conduit to deeper truths. “The voice itself is a very eloquent language,” Monk has said. In her compositions, the voice has been restored to its role as a kind of ancestral, perhaps pre-historic human utterance, beyond language, a sound capable of forming multiple timbres and textures: yelping, keening, clucking, moaning, ululating. Through her exploration of the voice’s potential—known as “extended voice techniques”—Monk has produced music as rigorous as a medieval motet and as stirring and unfamiliar as the call of a wild animal from another planet.
Marina Harss
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