Wasn’t empreintes DIGITALes that electroacoustic label? It isn’t than also surprising to read that Hans Tutschku studied electroacoustic composition in Dresden (where he toured alongside Karlheinz Stockhausen) and on the royal conservatory in The Hague. No he is already professor electroacoustics on the Liszt Conservatory in Weimar.

The context and the experience linked with the recording are important for the definitive form for the composition. Hans Tutschku: “In extrémités lointaines I use a wide variety of sounds resulting from travels through four countries, these countries, these connections remain very strong. The piece is structured in 15 sections describing different locations. The intensity of the impressions I experienced during the trip has resulted in a dense compositional structure.”

Hans Tutschku likes to use ‘speech’ in his composition as an instrument. So he says “Les invisibles is a composition based on vocal and instrumental sounds which create a soundscape corresponding to the text” or for Sieben Stufen: “All sounds are derived from electronic manipulation of two recordings of the poem spoken by four different voices (two in German and two in French).” The text is sometimes totally destroyed only the manipulation of the sound (of the voice) stays right up.

Especially the piece extrémités lointaines gets my attention. Maybe just because of the less prominent role of the voice. Also the second piece … erinnerung… is one that I like much. Here we get a very dense even aggressive sound wherein the voice is used very expressive. The tree other songs are maybe a little bit to academic for me. Although it stays a very interesting and extreme sonic experience for my untrained ears.