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Rachel Hippert: Bewusstsein (Consciousness) from “Experimentelle und unbestimmte Lieder Op. 9”

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Published on Oct 13, 2017

Inspired by cycle "Experimentelle und unbestimmte Lieder Op. 9" (Experiential and Indeterminate Songs Op. 9) of composer Julián de la Chica, soprano Rachel Hippert presents her video "Bewusstsein." The video was shot at the atelier of painter Maestro Jorge Posada in Long Island City, NY.

"Bewusstsein" (Consciousness) is the song No. 8 of cycle "Experimentelle und unbestimmte Lieder Op. 9". The music narrates a spiritual experience through the five pillars of internal transit that the composer suggests are the fundamental basis of meditation. Ms. Hippert is charged with personifying "the wanderer" who, after going through her dark night, confronts herself with being aware of her process of evolution. The wanderer is faced with continuing her journey, while her past and future question her. The wanderer can get stuck, watching the glories of the past, or she can decide with authority to continue her way. "I want to save my past that once was the present. I want to save the memories of the future.”

Credits:

Concept & direction by Julián de la Chica (IGM)

Rachel Hippert - Soprano
Website: https://www.RachelHippert.com
Facebook: https://www.facebook.com/RachelanneHi...

Music & Lyrics by Julián de la Chica
Website: https://www.Juliandelachica.com/
Facebook: https://www.facebook.com/Juliandelachica

Album: Experimentelle und unbestimmte Lieder Op. 9 (IMG-013)
Purchase the album from Rachel Hippert:
Webstore: https://www.smarturl.it/cycle9store
iTunes: https://www.smarturl.it/CycleOp.9
Amazon: https://www.smarturl.it/cycle9amazon

Album produced by Irreverence Group Music (IGM)
Website: https://www.irreverencegroupmusic.com
Facebook: https://www.facebook.com/irreverenceg...
Recorded, Mixed, and Mastered by Greg DiCrosta
at Firehouse 12, New Haven, CT
Performed on 9’ Hamburg Steinway D
Piano Technician: Timothy J. Robinson

Album Notes: Dr. Susan Campos Fonseca
Photography by Hassan Malik
Video by Julián de la Chica & Hassan Malik
Julián de la Chica's music is Published by
JDLACHIK music Publishing, INC (BMI)
Ⓟ and Ⓒ 2017 IGM
Brooklyn, NY

Album Notes

“Minimalism means concentration” - Anton Batagov (2016)
“Remove, remove and remove until only the essential is left.” – Eduardo Chillida

How does Julián de la Chica materialize the question of “being” in sound? Through text and music as sound material: the choice of the German tongue as a philosophic language; in its sonority, the reference to the tradition of Lieder, a form where word and sound construct a system of meanings in search of the essential. Materializing it through sound, the works achieve this “concentration” of the essential, guided by the question of the “being.”

But, how do they achieve it? Long phrases, almost Gregorian rhythmicity, recuperate the capacity for enunciation born of medieval liturgical chant and Buddhist mantras. The concentration of power in the invoked words – to enunciate is to make real what is invoked. The essence is enunciated in the concept, in the construction of the enunciations that constitute the exoskeleton of these songs. The sound materializes the concept; it is sound that creates reality. The sound is in the center of the congealed hurricane. A person that asks the question of “being”, stops time. Their presence is now; only the now exists. That instant is nonetheless a whirlwind that in the meditative act stops in front of the asking person and contemplates their mortal state, unappealable: the state of mortality as illumination.

Piano and synthesizer induce vision.The compositional technique of the author is almost sculptural, tuning in with Eduardo Chillida: “Remove, remove and remove until only the essential is left.” In this way, it achieves what Anton Batagov (2016) summarizes in a sentence: “Minimalism means concentration.”

Rachel Hippert weaves an ontological experience with her voice. The soprano understands the underlying magma underneath the Gregorian tradition, mantra, and Lieder at the conceptual level. Her work is rigorous, contained and subtle.The dissonance between her voice and the sculptural piano and synthesizer can materialize flashes of something seen for only a moment.

The voice is a hologram of the sonic imagination, of the intellectual process of Rachel Hippert. “The quiet and still persists," Mr. Chillida wrote. In times like ours, where speed and media urgency seem to demarcate thought and creation, she stops, and with her voice, shows the density of space. Ms. Hippert seems to explore the quality that Mr. Chillida imagined in his sculptures: “I want my works to be still and quiet, the only way of escaping in part the influence of time.”

Dr. Susan Campos - Fonseca
Musicologist, writer and composer

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