Etude in fragility
In Adiantum Capillus-Veneris I öffnet Chaya Czernowin ein filigranes Klanglabyrinth aus der Spannung des Ein- und Ausatmens der Singstimme. Séverine Ballon versucht in ihrer Adaption, diesen Gestus und die daraus resultierenden Klangfarben durch avancierte Spieltechniken auf das Violoncello zu übertragen.
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