Advaya

在哈威的《Advaya》中，現場電子設備被用來探索不同聲音交匯的邊緣區域，無論是撥弦、敲擊樂器和沉重弓弦的顫動聲之間的界限，還是歌唱性的大合唱線條和幾乎字面意義上的人聲模擬之間的界限。這部作品首先展示的是哈威自己的樂器--大提琴，而樂器周圍的奇幻景觀則是大提琴的反映或投射

作曲家: Harvey, Jonathan
樂器: Cello, Electronic Keyboard, Electronics
出版社: Faber Music
原文簡介:
In Harvey’s Advaya live electronics are used to explore the liminal areas in which different kinds of sounds meet, be it the boundaries between pizzicato, tapping the instrument and the juddering sound of heavy bowing, or between a singing cantabile line and almost literal simulation of the human voice. The work remains first and foremost a showcase for the cello, Harvey’s own instrument, with the fantastic landscapes around the instrument being reflections or projections of it. ‘The interplay between cello and the extra electronic voices and sounds are sensationally effective. Harvey’s wild ingenuity left us awestricken.’ Financial Times (David Murray), 22 November 1994