Thoughout the four pieces that integrates Voices of the Voice, the voice is used not only in its traditional spoken or singing form, but also as a wind and percussion instrument, beginning with vocal techniques learnt or invented by me and with which a range up to three octaves is covered. By means of these resources are unfolded possibilities of expression that go from the most transparent and angelic thread of voice to the most savage cry.

In none of these pieces, texts or intelligible words are pronounced. By means of abstract language, melancholic, meditative, dramatic or amusing musical atmospheres flow. This different vocal behaviour tends to discard deliberately the intervention of words in order to recapture the presyntactical function of language and recover our sonorous roots and their organic, emotional and freer dimension. Thus are diffused the boundaries between speech, singing, poetry, composition, improvisation and interpretation, after having combined in the process of creation: study, play, discipline, chance and the slow and reflexive search.

Those who LISTEN to this concert say that their imagination travels to Africa, to India to Japan, to the sea, to the forest, to a temple, to a market or to a electroacoustic music studio. Why not?… All of us have in some form an unconscious memory of the sounds and music of the past and of feelings associated with them, a store of all that we KNOW, but of which we are not conscious. A subtle way of listening helps the more or less hidden, to emerge.

To alter vocal codes without using electroacoustic prothesis, to “sing” the cry again, the weeping or childlike jardon, to retrieve the lost, to delight in the forgotten, to select the acquired and cast aside the stale, I fancy as a way to contribute modifying forms of perception and so of listening and communication, so of music and art, so of ignorance… and of course of attitudes towards those who wish us to be alike, conforming to the GREAT DEAFNESS.