In 2016 PHACE premiered FACE for voice and ensemble (65 ‘) by Pierluigi Billone at Festival Wien Modern 2016 and later at Philharmonie Luxembourg and Festival Ultraschall Berlin. For season 2019/20 PHACE commissioned FACE Dia.De for 2 female voices and 8 instruments, which should enter and extend the dimension, which the collaboration with Face has opened.
Pierluigi Billone about Face Dia De.
My recent work Face 2016 (for solo femalevoice and 11 musicians, 60’) has been a first step to imagine in a different way the possible identity and the role of a voice as centre of an instrumental ensemble (and therefore also the identity of the ensemble). I work in this direction already from the very beginning of my compositional activity. Face was initiated by PHACE and commissioned by Wien Modern and Rainy Days Luxembourg for PHACE Ensemble – premiered in Vienna 2016, then performed in Luxembourg 2016 and Berlin 2017 by soloist Anna Hauf and Ensemble PHACE, conducted by Leonhard Garms. After, Talea Ensemble performed it in New York City and Los Angeles December 2017.)
Face (produced by PHACE) was released on Label KAIROS in February 2019.
Due to the sensitivity and the creativity of the interpret (Anna Clare Hauf) and our long common work, it was possible to provide a vocal material of such a richness and difference that the whole part of the voice was kind of visionary journey. On each step of this vocal journey, the voice loses gradually the word, the singing itself, turns into an instrument, reduces itself to elemental gestures. Introduced by a long and wild saxophone solo (leading a chaotic and tragic periphery) the voice starts suddenly from a pseudo old “Greece tragic voice” (creating all around itself doubles, echoes, rests). She exceeds itself and literally “chews, devours, drinks, spits, vomits”the word and the chant,and lands mysteriously – after 30 minutes –to pure and naked “vocal acts”: actions and gestures consisting of elemental body/voice tragic acts of presence.
During this free and deliberated process of “deprivation” a periphery of supplementary voices appear (of the other performers in many different ways, and, in some particular given contests, a kind of “fossil” voice: vocal fragments on tape with a special rule (original quotations from Helmut Lachenmann, Giacinto Scelsi, John Cage, Karlheinz Stockhausen, Luigi Nono).
Face Dia.De (2019)
My next work as further project for Ensemble PHACE, for two female voices and eight soloists, ca. 60’ – should enter and extend the dimension, which Face has opened. It is a modern sense of the voice, completely opened, where the vocal act is no more an extroverted act of singing as we receive it from the old and recent tradition, with its still typical expressive/ psychologic or mechanic/instrumental role. All what is voice here can find a focus and a place. Not in the sense of the recent empty and somehow meaningless curiosity for the voice as an instrument, with its naturalistic imitations, or the simple collection of vocal effects repertoire (a kind of…zoo of the stupidity). Not like in the renewed interest for a voice being able – finally again! – singing and celebrating the strongest human emotions (“the whole world is a stage” or better, “the whole world is an opera…”).
The voice has to show its emptiness. First renouncing to its identity and then building something else, even if it reduces itself (proudly) only to an empty place for the future…
There is no real text anymore, no “story”, and no emotional or intellectual representation of the human. When a vocal action has a spoken articulation, its meaning remains willingly completely hidden. It is the act of singing (or not singing) itself, which is in focus (and becomes a question). Why? Because, in my opinion, there is something more important and urgent, now, then…to “set a text to music” or to write an opera or… This is the reason why a second voice can provide the necessary second “pol” for the (first) voice: no centre anymore. The voice is here and/or somewhere else, displaced, or two voices are one: singing here becomes another meaning.
Iannis Xenakis with N’Shima (1976) or Luigi Nono with Gelidi mostri (1983) have already showed a possible open direction. I hope to add also a personal further dimension to these previous original experiences.
In this case, the role of the performers is very essential: the ensemble as a group turns definitely into a constellation of individuals, where the two voices can find endless special relationships to extend their – already opened – role.