The art of overtone singing

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(London Post)    The human voice, used as an instrument: Anna-Maria Hefele masters the art of overtone singing. How does she do it? She’ll give a demonstration this hour.

Physicists and musicians know that every tone, voice and timbre is defined and enriched by the overtones that resonate along with the basic pitch. Normally they are not perceived as such, but with certain techniques, these resonances can be brought out clearly. These techniques are mastered by Supersonus, The European Resonance Ensemble, which brings out overtones not only in singer Anna-Maria Hefele’s voice but also in the instruments. Their selections are partly improvised, partly composed or arranged.

Overtone singing in a church – here the church of St. Mary in the Capitol in Cologne, Germany – has a strange and wonderful effect, sounding supernatural and ethereal.

This concert is taken from a much-loved yearly ritual in Cologne, the Romanesque Night, altogether a five-hour experience.

Heinrich Ignaz Biber, Copyright: picture-alliance / akg-images Baroque composer Heinrich Ignaz Franz Biber has never sounded quite this way

Heinrich Ignaz Franz Biber
Rosary Sonata No. 1

Marco Ambrosini/Eva-Maria Rusche
Erimal nopu

Marco Ambrosini
Fantasia

Wolf Janscha
Ritual

Hildegard of Bingen
O Antiqui Sancti

Wolf Janscha
Ananda rasa

anon.
Polska

Supersonus
Follia

Performed by Supersonus – The European Resonance Ensemble

Recorded by West German Radio Cologne (WDR) in the Church of St. Mary in the Capitol on June 19, 2015.

Rebroadcasting rights: one broadcast before January 3, 2017.

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