Sheet Music: Score
Tongue of the invisible : a work for improvising pianist, baritone singer and 16 musicians / Liza Lim.
by Liza Lim (2011)
A one-hour song cycle composed by Liza Lim, setting the poetry of Hafez translated/ adapted by Jonathan Holmes, for baritone, improvising pianist and 16 musicians.
Improvisation as unpredictable play
Song as longing for the Divine
Musicians as listeners, drunk with desire
The Concert Hall as a tavern, a meeting-place between world and other
The work is structured as an unfolding narrative of fixed and open (guided improvised forms) where the creative contribution of the musicians enacts a metaphor for pathways for renewal and the creation of multiplicity of meaning that is in dialogue with the composed music.
Published by: Australian Music Centre (under licence from Ricordi Munich) — 1 score (137p. -- A3 (portrait))
Duration: 1 hours
1. At dawn I heard the tongue of the invisible -- 2. Between the pages of the world (i) -- 3. This door is the mouth of love -- 4. Between the pages of the world (ii) -- 5. The roots of the world are entwined in the wind -- 6. Between the pages of the world (iii) -- 7. Encircling its towers with a silver coronet of song -- 8. Our embraces are a banquet of revolving time.
Includes program notes, performance notes and full text of Hafiz's poem.
This work is also available in the following products:
- Browse other works published by Australian Music Centre (under licence from Ricordi Munich)
- Browse other works for Baritone with chamber ensemble
- Browse other works by Liza Lim
Analysis & Media
- Article: Distributed Creativity and Ecological Dynamics: A Case Study of Liza Lim’s ‘Tongue of the Invisible’
by Eric Clarke, Mark Doffman, and Liza Lim; Oxford University, University of Huddersfield. © OUP
Music and Letters, OUP (Pay per view)
This essay addresses distributed creative processes in the preparation and performance of a new musical work—Tongue of the Invisible by Liza Lim, commissioned by the Cologne-based Ensemble musikFabrik. Situating the research within a broadly ecological perspective, and in the specific context of the interface between composition, improvisation, and performance, the study offers a social and distributed understanding of creative production.
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