Advaya

在哈维的《Advaya》中，现场电子设备被用来探索不同声音交汇的边缘区域，无论是拨弦、敲击乐器和沉重弓弦的颤动声之间的界限，还是歌唱性的大合唱线条和几乎字面意义上的人声模拟之间的界限。这部作品首先展示的是哈维自己的乐器--大提琴，而乐器周围的奇幻景观则是大提琴的反映或投射

作曲家: Harvey, Jonathan
乐器: Cello, Electronic Keyboard, Electronics
出版社: Faber Music
原文简介:
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