Leo Kupper (Belgium, 1935) was one of the European pioneers of
electronic music. Influenced by his teacher Henri Pousseur and by
Luciano Berio's Omaggio a Joyce,
his creations were first collected on record for
Leo Kupper (DG, 1971), notably
L'Enclume Des Forces, a manipulation of Antonin Artaud's poem, and
the purely electronic Automatismes Sonores (1967).
Kouros Et Kore / Innomine (1981) contains
two electro-acoustic compositions that use the human voice,
Innomine (1974) and Kouros Et Kore (1979);
and two more such compositions appeared on Amkea / Aerosons (1985):
Amkea and Aerosons.
Electro-Acoustic (1996) contains two pieces that couple traditional
instruments and electronics,
Electro-Acoustic Santur (1989) and
Guitarra Cubana (1988), as well as two longer pieces
that work on the human voice again:
Inflexions Vocales (1982) and
Le Reveur Au Sourire Passager (1977).
Ways of fhe Voice (1999) assembled
more works for the human voice, notably
another version of Amkea,
the elaborate Rezas Populares Do Brazil and
Annazone, which relies heavily on
natural sounds and orchestral samples.
Complete electronic works 1961-74 (SubRosa, 2003) collects
L'Enclume Des Forces,
Automatismes Sonores (1967),
Innomine (1974) as well as an early unreleased piece,
Electro-poeme for a mixed choir of twelve children.
Digital Voices (Pogus, 2012) contains six compositions, of which
one is actually purely instrumental,
the seven-minute Parcours Pour Santur (2008) that reenacts the idea of
Electro-Acoustic Santur (1989).
The others are additions to Kupper's vast catalog of vocal experiments:
the seven microscopic movements of Aviformes (2009)
for opera singer and bird voices;
the abstract polyphony for multiple voices and percussion
of the four-movement Kamana (2010), perhaps his most articulate
and visionary work;
the four-movement Paroles Sur Levres (2006),
halfway between a sci-fi soundtrack and a Gregorian chant thanks to
gloomy monk-like chanting amid android radio frequencies;
the equally austere Paroles Sur Langue (2006);
and the 16-minute Lumiere Sans Ombre (1993), basically an hymn for
multitracked echoes and bells with
a lugubrious coda of mourning monks and nuns.
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