On Narrative Listening, Part 5 – The Power of Knowledge

The last months I could celebrate two releases. The title of the first one, released by Mathka  is ‘Luc Ferrari.’ The second release on Populista, is titled ‘Rinus van Alebeek plays Luc Ferrari Cycles des Souvenirs’

The sound on both publications is indentic. Both are releases with the same recording on it.

The reviews below were written by the same person. They were not written at the same time. The second review followed  a few weeks later.

It prooves that listening circumstances can change if you have a bit of information.

Reviewer in both cases is Frans de Waard. I would like to stress the word reviewer. What you will read is far from a critical approach. That would start where de Waard lightens his pipe and puts the next cd in his player.

Word to Frans:

“So let’s see if I got it right: Rinus van Alebeek went to the house where the widow of Luc Ferrari left and played a CD of his work, or perhaps another of his works. He moved around the house, capturing the environment of the house, bedroom, guest room, bathroom, the kitchen and patio and the living room. This CD captures Van Alebeek’s movements and the music. Maybe I got it all wrong. I have no idea, as I didn’t capture the text very well on the cover, which reads about ‘stealing music’ – which made me think that Van Alebeek played a Ferrari recording (and I know various of his works, but didn’t recognize this one). Its an interesting disc, a private form of field recordings and sound poetry – less with words, more with action I guess. Maybe all a bit long I thought for what it was. The idea was clear after the first thirty minute piece. Quite a curious item this one, which leaves a lot of contemplate about.”

“The work by Rinus van Alebeek may be seen as a companion disc to the recent release on Mathka (see Vital Weekly 796). He ‘plays’ Ferrari’s ‘Cycles Des Souvenirs’ from a CD in the house of the composer, while the widow reads the liner notes and Van Alebeek records the house and its surroundings, all while moving around it. Quite a conceptual approach – again! – and the mixture of the voice of Ms Ferrari with the Dutch in the original works quite well. Like the previous this is another fine excursion into poetry and field recordings, a private one, I should add. More perhaps a curious item, which leaves – again! – a lot to ponder about.”

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