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Annunciations Fortner Anderson

  • Canada Council for the Arts

This item is also included in the Annunciations box set (LBE ANN).

The works that stand out are Bernier’s and Bosetti’s. Monsieur Délire, Québec

… a fascinating release… Vital, Netherlands

Not in catalogue

This item is not available through our web site. We have catalogued it for information purposes only.

Annunciations

Fortner Anderson

  • 3 × CD
    LBE ANNCD
    Not in catalogue

In the press

Listening Diary

François Couture, Monsieur Délire, January 7, 2013

Montréal-based poet Fortner Anderson has published in November 2012 his most ambitious project to date. It consists of a book of poetry, Annunciations, featuring three poems based on texts published by NASA, the UN, and the US military base at Guantanamo, and a 3-CD box set also entitled Annunciations. Anderson has recorded several readings of his poems, which he has sent to nine sound artists. The album consists in three CDs of three pieces each, for a total duration of 95 minutes. All three poems are represented on each CD, but artistic visions and processes vary greatly. Some, like Ned Bouhalassa, Nicolas Bernier, Andy Williams and John Berndt, have lightly treated Anderson’s voice and created an electroacoustic setting for it. Others, like Christian Calon and Chantal Dumas, went deeper into vocal treatments. Alessandro Bosetti pushed the concept further by applying to his own voice the water-boarding technique discussed in the third poem. Finally, Christian Kesten redacted all the words from Anderson’s tape, keeping only the breathing sounds. […] The works that stand out are Bernier’s (for the balance between Anderson’s words and the sonic environment) and Bosetti’s (for its originality and oddity). Book and triple CD set sold separately.

The works that stand out are Bernier’s and Bosetti’s.

Kritik

Rigobert Dittmann, Bad Alchemy, no. 76, January 1, 2013

Worte und Klänge. 9 Komponisten vertonten, betonten, umtönten, remixten 3 Texte von Anderson. Ausgangspunkt für Andersons engagierte poetische Statements waren vergebliche Worte und leere Ankündigungen — der Untersuchungsbericht über die letzten 40 Sekunden der Columbia Spaceshuttle-Crew (’Drifting into Fire’); eine der so hehren wie hohlen Erklärungen zum Klimawandel; das Manual für die Verfahrensweisen in Guantanamo. Vor Ort in Montréal gingen Nicolas Bernier, Ned Bouhalassa, Christian Calon, Martine Crispo, Chantal Dumas und Andy Williams zu Werke, John Berndt lieferte aus Baltimore seinen von Feedback umdrönten und umschnarrten ’Song for Fortner Anderson’ mit Andersons Klage über das Desaster am 2.2.2003. Bernier präsentiert mit den rückstürzenden Geräuschen von Belly Into Fire Anderson als mythopoetischen Zeugen, der mit teils technischer Terminologie, teils Homerischem Pathos etwas beschreibt, das dem Sturz des Himmelswagens, des Daedalus oder des Turms von Babel gleich steht. Bouhalassa lässt Anderson bei 3 Out of Every 10, seinem elegischen Abgesang auf die Klimawandelsfähigkeit, wie durch sauren Regen raunen. Calon macht bei In the Time die wie über Funk verzerrten Astronauten- und Groundcrew-Stimmen zu Zungen der tragischen Unvermeidlichkeit, und mir schießt dabei Laurie Andersons O Superman durch den Kopf. Crispo nutzt die bloßen Phoneme und Labiallaute für ihr kurzes Lehrstück Talking T Fortner, wobei T für Teacher steht, einen Lehrer, der Unaussprechliches lehrt. Auch Christian Kesten lässt im sonntäglich stillen, von Kirchenglocken und Chorgesang beschallten und von Krähen bekrächzten Berlin-Moabit für seinen Every Sunday Remix nur die Atemgeräusche und stimmlosen Laute aus Andersons Mund bestehen, bevor der Dichter a capella “It’s a small world after all, it’s a small world” singt. Dumas lässt in ihrem In a Small World Meeresbrandung gegen die zwischen Business und (Make) -Believe erstickende Zukunft donnern, Anderson rappt dazu den Carbon Dioxide-Blues und stimmt ein Schlafliedchen an. Williams tönt in Echo Chamber Andersons klaren Vortrag der Foltergebrauchsanweisungen mit elegischem Glockengedonge. Im verregneten Berlin ließ Alessandro Bosetti in It is Amazing (Gesualdo’s Waterboarding) Gesualdos Madrigal ’Mercè, grido piangendo’ anstimmen, wobei die Sänger auch mit Wasser gurgeln. Auch wenn er mit derartigen Effekten, die offenbar von seinem Faible für den italienischen Manierismus angeregt wurden, Folteropfern und dem stumm gemachten Homo sacer, wie ihn Agamben und Traverso reauratisiert haben, allenfalls eine ’komische’ Stimme gibt, ist das das bemerkenswerteste Stück.

Review

Frans de Waard, Vital, no. 860, December 10, 2012

If you add up the timing of all nine pieces, you may wonder why it is on three CDs and not two? Perhaps because we have three pieces on each CD? Music by poet Fortner Anderson has been reviewed before (Vital Weekly 521, 560, 812), and about the last one I noted that I perhaps rather read the book and hear some music along, and maybe Anderson took notice of that, and he mailed nine of his poetry pieces to nine composers/musicians with the request to put music to it, or simply use the voice, such as Christian Calon does, who uses a simple process to manipulate the voice but it’s still audible and understandable, which can not be said of Christian Kesten, who only uses the sounds before and after the words, and glues them together. But most of them don’t do much with the voice and use it as is, but build around it a soundscape. Alessandro Bosetti for instance does a nice piece along the lines of Gregory Whitehead, which include singing and guitars, or the orchestral work of John Berndt. Much of the music add drama to the spoken word and make it, and I know this is all highly subjective, into music by itself, rather than poetry and a bit of music. Now, this is something I like obviously very much. This is more like a fine radio play material, I should think. There is enough variation in here to make a fascinating release, although I keep thinking: why not all together on two CDs, in stead of three?

… a fascinating release…

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