The first published recording by Amelia Cuni, Werner Durand (fusing her Indian Raga singing in the Dhrupad style with his minimalist and experimental approach) and Uli Hohmann (joining them in a range of hand drums from the Middle East and North Africa, plus a dulcimer-sounding hammered guitar).
In addition to the unique musical proposals and the large body of work that they have developed separately, Amelia Cuni and Werner Durand have been performing together as a duo as well as in collaborations (Tonaliens, Born of Six) for more than 20 years. Fusing her Indian Raga singing in the Dhrupad style with his minimalist and experimental approach, they have expanded the reach of their soundworlds as well as proposed new paths for contemporary music. In this occasion, Uli Hohmann joins them in a range of hand drums from the Middle East and North Africa, plus a dulcimer-sounding hammered guitar. Durand's various self-made wind instruments, soprano sax, and blown kalimba shine along with Cuni's astounding vocals, which are sometimes sung through a mirliton (a medieval type of kazoo). Clearing is the trio's first published recording.
Seconds of Thirst, recorded in one session at Uli´s studio in Bavaria in early 2014, is truly a conjuring where distinctive balances come to gather. A deep drone unfolds patiently in a hypnotic manner, comprised by Werner Durand's characteristic PVC clarinets, a hammered guitar played by Uli Hohmann, and subtle electronic tones. Above all, Amelia Cuni's singing voice, filtered through the mirliton, drifts buzzing along the gradually shifting harmonic waves, meandering through serpentine melodic lines and microtonality.
In the middle pieces, vocals turn into an ethereal multi-layered chorus, an exotic and astonishing instrument pulsing delicate and vaporously, like a gliding silk sail without a mast to bind it. Misty ambiances linger on as the soft atmosphere disperses the weight of undelivered syllables. Just intonation aligns the pan-ney's winds with vocal navigation. Foe to scattering, hurry, and affectation, Clearing's pace has lifted a fog translucent enough to reveal treetops calmly appearing, efficiently condensing damp into definite drops that fall drumming, forecasting what's yonder.
With a condensing sound going from Buddhist morning chants down to Indian festive traditional music, the title track, which closes the album, is the most vibrant of all, permeating a bit of commotion through buzzing drones and galloping percussion. Without disorder, yet without measure. Clearing is therefore this shuttle into the distance, this space that weaves, unites, and tenses the different cords that we are made up of.
When the clouds advance silently, gray, until they become dark in a few minutes, it means that the monsoon is coming. It reaches us without apparent noise, but then resounds in its images, leaving behind lightness, freshness, clarity, and a tremendous luminosity that comes from so far away: from the Himalayas, from so ancient, from Sanskrit, from a sound where the darkness and the divine, where the concrete and the landscape, where the rock and the humidity leave a mark that brings together and ties a sky loaded with new clouds.
Amelia Cuni (1958-2024) was a vocalist, composer, writer and teacher, and is most well-known as one of the greatest contemporary Western proponents of dhrupad singing, having studied in
India for fifteen years with renowned masters such as R. Fahimuddin Dagar, Pandit Bidur Mallik and Pandit Dilip Chandra Vedi. During her time in India she was also learning kathak dance from Smt. Manjushri Chatterjee and pakhawaj drumming from Raja Chattrapati Singh, developing significant mastery of both practices alongside her singing. Her work includes contemporary music and multimedia collaborations with several artists of international repute (she interpretated—with her life partner and long-term collaborator
Werner Durand—the
18 Microtonal Ragas: Solo 58 by
John Cage, a cycle of 18-scale patterns from the collection
Song Books, 1970). She was engaged in the transmission of the knowledge she has acquired from her gurus and she has taught Indian singing at the Vicenza Conservatory in Italy.
Coming from the minimalist tradition, Werner Durand is a German-born composer, instrument builder and performer. His music has evolved into a personal style over the years. Inspired by various kinds of
traditional musics and instruments, he started to create his own music and instruments reflecting this. A variety of materials and playing techniques enables him to bring out unusual sounds and with the help of digital delays he can create rich textural and rhythmic pieces, which might recall tribal music from
Africa or the Pacific, but at the same time sounding
experimental or even (post-)
industrial. Werner Durand has collaborated with numerous composers / performers including David Behrman, John Driscoll, Samm Bennett, Fast Forward, David Moss, Muslimgauze,
Henning Christiansen, Dominique Regef, David Maranha,
David Toop & Tom Recchion as well as with visual / sound artists Michaela Kölmel, Andreas Oldörp and Rolf Julius. He was a member of Arnold Dreyblatts Orchestra of Excited Strings from 1990-1997.
See also
Tonaliens (
Amelia Cuni>, Werner Durand,
Robin Hayward, Hilary Jeffery & Ralf Meinz).
Uli Hohmann is a German multi-instrumentalist, percussionist and inventor of string instruments, and a member of the duo Flocks with
Werner Durand.
