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I met Louisa Siefert at Eufonia Bordeaux 2017 competition. Her poem “Sotto Voce” was the required text for the composition of a three-part female choir.
I was struck by the sensitivity and intensity of symbols evoked; happiness, soul, night. The night atmosphere and introspective feeling guided my way of listening. I wanted to highlight meaning and topics we discover all along the poem.
The first part of this piece is mastered by a nagging and counterpointed motive to represent the bird flying and searching for rest. The central verse sounds like an injunction for silence. I wanted to reproduce this performative side with whispers. This exclamation leads a more active part which has more willful dynamics and uses homorhythm. A motive of the last verse reminds us about the bird, as a sort of recollection of an escaping happiness.
Leonardo Ortega
(Translated from French)
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“Sotto voce” is first and foremost a poem by Louisa Siefert (19th century). The title is very suggestive for singers and seems to have only been made to be set to music.
The text is so musical that you only have to say it, or even whisper it, to let the hissing, whistling or percussive sound echoes.
Whispering parts alternate quickly with singing parts, the sheet music is funny and attractive, but also possesses fine details. Singers’ gestures can improve the echoes and the three-part canon.
It is as much intended for amateur adults or teenagers than to experienced singers. It can be performed in chorus or individually.
Enjoy!
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Based on a poem by Louisa Siefert, a 19th century poetess and great-great aunt of the singer Renaud, this piece has been harmonized by Thomas Moreau for three women's voices. It is organized first around a gradually widening unison, then a second part with frank and open harmonies, which unfolds until the final cadence, concluded by a whistle evoking the light flight of the bird of happiness.
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