language and the new computer codes are the two main concepts which dominate his artistic interests. if he defines poetry as something which “should be connected to language and have an artistic ambition”, language, on the other hand, means above all, “using the human voice”. the album “30 rufe”, released in 1992, which would translate as “30 callings”, shows “30 different methods of using the human voice".
ide’s intention is to present a certain variety, to explore what you can do with the voice, from spoken to sung, on a four-track cassette recorder. it goes from just speaking - with one or two voices, with or without chorus – to singing consonants and vowels. a rhythmic pattern is triggered from the rhythm of spoken language; sometimes, this pattern is underlined by a drum beat and some of the pieces – such as "wind" or "purpurgras" – were recorded in the studio with a musician playing the bongo. however, ide’s emphasize is that not even the musician plays it in a musical way, he rather tries to “speak it”, as if the instrument was speaking, and not playing. “30 rufe” is not only a collection of pieces; it must be regarded as a whole piece, with a certain composition, in the center of which there is always the human voice, uttering semantic language or very close to semantic. the cover of the album includes the texts of all the pieces, in german. if the semantic concept of the album is the "calling", the acoustic concept is the "human voice".
the ambition of the author is that it should work as written poetry, when the poems are just read, and work as acoustic poetry, as well, when they are just listened to. getting both levels of understanding offers the receiver another dimension, of course. “a good poetry is when the author succeeds to compose language in a manner that there are more levels at the same time, this is the great art of poetry. and in sound, you have the possibilities to work with more meanings at the same time”. for ide, that is the very difference between poetry and dictatorship, in fact: the situation when the poet opens up the meanings for the audience, as opposed to the author’s attempt to control everything.
the album includes 30 pieces, composed and performed between 1985 and 1992, which are a combination of voice - single or in chorus - and drum computer, keyboard samples, synthesizer. the lyrics on the cover of the album are accompanied by information regarding the compositional method. the composition is also based on assonance, consonance, repetition, permutation and motifs.
(denisa mirena piscu, literary theorist, master thesis on "sound poetry - three sound poets trying to escape the abusive domination of word: henri chopin, sainkho namtchylak, christian ide hintze", written in english language. university of bucarest, rumania, february 2009
language and the new computer codes are the two main concepts which dominate his artistic interests. if he defines poetry as something which “should be connected to language and have an artistic ambition”, language, on the other hand, means above all, “using the human voice”. the album “30 rufe”, released in 1992, which would translate as “30 callings”, shows “30 different methods of using the human voice".
ide’s intention is to present a certain variety, to explore what you can do with the voice, from spoken to sung, on a four-track cassette recorder. it goes from just speaking - with one or two voices, with or without chorus – to singing consonants and vowels. a rhythmic pattern is triggered from the rhythm of spoken language; sometimes, this pattern is underlined by a drum beat and some of the pieces – such as "wind" or "purpurgras" – were recorded in the studio with a musician playing the bongo. however, ide’s emphasize is that not even the musician plays it in a musical way, he rather tries to “speak it”, as if the instrument was speaking, and not playing.
“30 rufe” is not only a collection of pieces; it must be regarded as a whole piece, with a certain composition, in the center of which there is always the human voice, uttering semantic language or very close to semantic. the cover of the album includes the texts of all the pieces, in german. if the semantic concept of the album is the "calling", the acoustic concept is the "human voice".
the ambition of the author is that it should work as written poetry, when the poems are just read, and work as acoustic poetry, as well, when they are just listened to. getting both levels of understanding offers the receiver another dimension, of course. “a good poetry is when the author succeeds to compose language in a manner that there are more levels at the same time, this is the great art of poetry. and in sound, you have the possibilities to work with more meanings at the same time”. for ide, that is the very difference between poetry and dictatorship, in fact: the situation when the poet opens up the meanings for the audience, as opposed to the author’s attempt to control everything.
the album includes 30 pieces, composed and performed between 1985 and 1992, which are a combination of voice - single or in chorus - and drum computer, keyboard samples, synthesizer. the lyrics on the cover of the album are accompanied by information regarding the compositional method. the composition is also based on assonance, consonance, repetition, permutation and motifs.
(denisa mirena piscu, literary theorist, master thesis on "sound poetry - three sound poets trying to escape the abusive domination of word: henri chopin, sainkho namtchylak, christian ide hintze", written in english language. university of bucarest, rumania, february 2009