HIDE AND SEEK
A Suite of Songs and Interludes
for 2 Voices
and Chamber Orchestra
words by Paul Auster
Robert Wyatt (voice)
Susi Hyldgaard (voice)
Jannotta (flute, oboe, clarinets)
recorded February - September 2000
(1) / What did you say? / Unsaid (2) / It’s all just words / If you have
nothing to say / Unsaid (3) / What do you see? / Absolutely nothing / Unsaid
(4) / What can we do? / Unsaid (5) / It all has to end sometime / Unsaid
(6) / I don’t deny it / I'm glad you’re glad / Do you think we’ll ever find
it? / It makes no difference to me
|ABOUT PAUL AUSTER|
American novelist, essayist, translator, and poet, born in 1947 in Newark, New Jersey. His first prose work was the memoir The Invention of Solitude, followed by the three novels which brought him international recognition as a startlingly original writer: City of Glass, Ghosts and The Locked Room, comprising The New York Trilogy.
Since the Trilogy he published the novels In the Country of Last Things, Moon Palace, The Music of Chance (which was nominated for a PEN/Faulkner Award and also made into a movie), Leviathan, Mr. Vertigo, Timbuktu, The Book of Illusions, Oracle Night, The Brooklyn Follies, Travels In The Scriptorium, Man In The Dark, Invisible and Sunset Park.
Auster's other writings include the poetry volumes Unearth and Wall Writing, as well as essays and memoirs, such as White Spaces, The Art of Hunger, Groundwork, The Red Notebook, Why Write, Winter Journal, Here and Now and Report from the Interior. Hand to Mouth, a collection of miscellaneous writings, includes the short play Hide and Seek, the basis for Michael Mantler's composition. He also edited the collections The Random House Book of Twentieth Century French Poetry and True Tales of American Life.
Paul Auster's work has been translated into more than thirty languages and he is the recipient of several prestigious awards, including the Commandeur de L'Ordre des Arts et des Lettres and the Prix Medicis Etranger (for the best novel by a foreign author) in France, as well as the Morton Dauwen Zabel Award from the American Academy and Institute of Arts and Letters.
He has collaborated with director Wayne Wang on two critically acclaimed films, Smoke and Blue in the Face, and wrote and directed his own Lulu on the Bridge and The Inner Life of Martin Frost.
lives in Brooklyn, New York, with his wife, the novelist Siri Hustved.
|FROM THE TEXTS|
Yes, yes, now I see. What.
I can't remember.
from ”Hide and Seek” by Paul Auster
Published in ”Hand to Mouth” by Henry Holt and Company, Inc.
Copyright © Paul Auster 1997
Used and re-printed by permission
is the essence of this work?
|FROM A REVIEW|
..... I will not hesitate to characterize Michael Mantler's new CD 'Hide and Seek' as a triumph.
Here he is back again in 'rhythmic' music, with a smaller instrumentation, and as so often in the past, where he has taken literary texts of, among others, Harold Pinter, Samuel Beckett and Giuseppe Ungaretti, as a point of departure, it is this time again a poet, the American Paul Auster, who has served as inspiration.
This is music which confirms Mantler's unique, but also vulnerable position, because of the characteristic musical language which has been with him for so many years, and which has made it difficult to tie him to any specific musical genre. But this is also music which surprises with its lushness and an expressive power, which isn't only true of the contributions of singers Robert Wyatt and Susi Hyldgaard, but to an even higher degree of the instrumental environment in which it takes place. And while Mantler's earlier works usually concerned themselves with a slow development or straightforward structures, where the sense of time seems almost dissolved, the new CD is composed as a sequence of short scenes or snapshots.
of the in all seventeen pieces are purely instrumental, among them a couple,
which show a whole new side of Mantler with their rhythmic pyrotechnics.
Equally remarkable is the interplay between singing and orchestration
in the other segments, developed with a sense of variation and timbres,
which masterfully uses the eleven-piece ensemble. Especially Susi Hyldgaard's
accordion contributes its very own color, but Roger Jannotta on flute,
oboe and clarinet, Per Salo on piano, Tineke Noordhoek on vibraphone and
marimba and Bjarne Roupé on guitar are also heard in prominent
parts. The music reaches its emotional peak with 'What Can We Do?', where
one can barely listen without feeling deeply shaken.
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