Latin American Electroacoustic Music Collection

alcides lanza, in ...visible (1994-I), 1994
[(part 3 of the) choral trilogy]

Recording time: 10 min 10 s.
Instruments: For choir, with electronic and computer sounds
Remarks: McGill Chamber Singers. Iwan Edwards, conductor. Choral trilogy: sensors IV (1983-V); un mundo imaginario (1989-II); in ...visible (1994-I).

Other resources available:
- Biography of alcides lanza
- Compositions by alcides lanza

About this composition:

Written for the McGill Chamber Singers and Iwan Edwards, in... /visible is for mixed choir [ca. 24 voices or larger] with accompanying tape. the tape part was produced at the shelan studio, recording and processing voice via Audiomedia II and Sound Designer. other instruments used were Akai S1000 digital sampler, Yamaha DX5 keyboard controller/synthesizer and Proteus 3 [World] digital sampler player. the readings and renditions of different portions of the text in the score were done by Meg Sheppard. many thanks, Meg...

this piece is the last part of a choral trilogy consisting of sensors IV [1983-V], un mundo imaginario [1989-II] and in... /visible [1994-I].

consistent with the composer's methodology of extracting the text from his extended solo vocal cycle trilogy, for in... /visible the recognizable text originated in the spoken phrases used to create the illusion of a multitude of memories in penetrations VII. in this sense the material was used as an onomatopoietic semantic mutation [via imagination] over the phrase: "...this is about communication...or the lack of it...' [penetrations VII, page 3]

other phonemes were randomly selected to sound like quasi "aztec" [Yzol], or were real words, like Ylem, the initial substance of the universe from which all matter is said to be derived [L. hÿlem < Gk. hÿlé ]

other semantic inferences will undoubtedly reside in the individual listener's imagination. tape part realized at the SHELAN Studios. premiered by the McGill Concert Choir, Iwan Edwards, conductor, at Redpath Hall, November 2, 1995.