 CD FR Detour 3984-22122-2 1998-02-16 CD US Detour 3984-22122-2 1998-08-25 |
Please
Come over here
What is this supposed to be ?
Oh, is that it ?
It's that really
Oh, really ?
The beginning of the world
About the empty pages why don't they remain that
The rest of the world
Because I think the rest of the world is us
We're not really that sentimental
CD FR Detour 3984-22122-2 1998-02-16 CD US Detour 3984-22122-2 1998-08-25 |
Premiered 1997-10-04 at the Rotterdamse Schouwburg, Schouwburgplein 25, Rotterdam. Recorded live in the Netherlands during the Fall 1997 Scapino Rotterdam series of Nico performances 1997-10-03 to 1998-02-11.
Producers: John Cale & Jean-Michel Reusser except Nibelungen produced under license from Elektra Entertainment from the compact disc the marble index.
Engineer: Michiel Jansen.
España recorded at L.P.G. Studio, New York City, by Jack Wall.
Nibelungen from the compact disc the marble index.
Recorded at Elektra Sound Recorders, 962 North La Cienega Blvd, Los Angeles, 1968-09-00
Producer: Frazier Mohawk [Real name: Barry Friedman. aka: Barry Slotkin]. Production Supervisor: Jac Holzman. Engineer: John Haeny
Mixed by John Cale at Skyline Studios, 36 West 37th Street, New York City, NY, 1990-05-00
Nico's spoken words edited and reassembled by John Cale from the Andy Warhol Index floppy disc.
Ice Nine:
Tineke de Jong: violin, musical direction
Jan Schoonenberg: viola
Ernst Grapperhause: viola
Baptist Kurvers: viola
Marjolein Meijer: cello
Jasper Teule: double-bass
Corrie van Binsbergen: guitars
Marc von de Geer: piano, synthesizers
Arend Niks: percussions
Liner Notes by John Cale::
When one is asked to write music for an abstract concept such as a choreographed Dance Work it invariably invites comparisons with known elements in the real world with which we can expect to understand the Work in fuller terms. In this case we have many strands of history with which we can add our own impressions of a Life - if that were the intention. It is not.
Biography is best left to historians, Ballet to visionaries.
In the movements of this piece the Titles live closer to reality than the music. As a friend of Nico's I was touched by Ed Wubbe's suggestions to write music to a choreography of his, and hoped to throw some light on what elements of Nico's psyche drove a woman so successfully captured by the world of Modelling, to abandon it to pursue a creative life in poetry and song. The name Jim Morrison comes readily to mind. Yet that may not leave every stone unturned.
As Art does not comfortably imitate life in the world of ballet I was happy with the freedom Ed gave me in the choice of topics and moods. In many ways an empty space would be the quintessential Nico Ballet. One remembers the many occasions she spoke of wanting to be a nothing. Zero.
Luckily, she went about it the wrong way.
It is enough to speak of the respect, a certain awe, and concern for Beauty that we find in her work. Even so it feels as if it were not enough.
Liner Notes by Ed Wubbe::
I took my inspiration for this production from Nico's music and poetry. Because I did not know her personally, John Cale was the only one who could tell me more about her through his music. His music gave me the feeling that, with every movement I made, Nico was looking over my shoulder... to see that it was right. During the creative process, John and I scarcely mentioned her. We wanted to celebrate Nico as a great artist purely in music and dance; on the stage, the place where she lived.
© 1996-2011
Serge Mironneau