Icarus (for four voices and ‘tape’ – fixed digital sound) was commissioned by Sonic Arts Network and first performed at the Purcell Room, London, in 1993 by Electric Voices. It was also selected for the World Music Days, in 1995.
(performance with singers)
Icarus (electronic part only)
Score (scan of hard copy – 18MB)
In this piece the myth of Icarus is interwoven with brief extracts from Leonardo’s astounding writings on flight, and the sun, some of which are given below. Both could be said to represent a yearning for distant possibilities, spiritual or otherwise.
…You will study the anatomy of the wings of a bird together with the muscles of the breast which are the movers of these wings. And you do the same for man in order to show the possibility that there is in man to sustain himself amid the air by the flapping of wings…
…Why the sinews beneath the bird’s wings are more powerful than those above. It is done for the movement… … in order that the process of going up may be easy, and that of going down difficult and meeting with resistance, and it is especially adapted for going forward drawing itself back in the manner of a file…
…That bird will rise on high which by means of a circular movement in the shape of a screw makes its reflex movement against the coming of the wind and against the flight of this wind, turning always upon its right or left side… When the bird passes from a slow to a swift current of the wind it lets itself be carried by the wind until it has devised a new assistance for itself… …the bird has always time to redirect its course and in safety adjust its flight which will always proceed entirely free.
The sun does not move.
The sun has substance, shape, motion, radiance, heat… …for in the whole world I do not see a body of greater magnitude and power than this… …all vital force descends from it since the heat that is in living creatures comes from the soul and there is no other heat or light in the universe.
These texts are used as material for the singers and the digital part, in the latter they are processed using a variety of computer techniques. The recordng is from a live performance and doesn’t really do the singers enough justice – they did a marvellous job, and toured the work throughout the UK. I’ve also used and reworked the material from the digital part in Leonardo’s Lists, a piece for dance, live image and video (by Brian Newbold) and live sound, commissioned by Elektrodome and South West Arts (2000).