Leo Kupper

(Copyright © 2006 Piero Scaruffi | Legal restrictions )

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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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(Copyright © 2006 Piero Scaruffi | Legal restrictions )
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