Phonemes and syllables form a cascade of musical motives and series which are transformed, repeated and varied as in a classical sonata form. But more than being a dadaistic game or abstract formalism, Die Ursonate is a primal language that expresses bare emotions by means of its vocal gestures.
The young, talented vocalist Bénédicte Davin studied chamber music with Jean-Pierre Peuvion, Judith Vindevogel and François Deppe at the Liège Conservatoire. Like Georges Aperghis’s Récitations, with which she first caught the audience’s attention at the 1999 Feniks Festival, Kurt Schwitters’s Ursonate provides her with the perfect theatrical score for demonstrating her comic talent.
