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            <name>Title</name>
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                <text>CD: DRAFT</text>
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          <name>Title</name>
          <description>A name given to the resource</description>
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              <text>HIER UND DORT</text>
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              <text>hier und dort - here and there by Cora Schmeiser</text>
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          <description>An account of the resource</description>
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              <text>The constellation of vocal melodies and sound texts from here and there is the result of a movement from place to place, be it in life or in thoughts, in the past or in the present; be it in the macrocosm of time, life, the universe, or in the microcosm of the voice: in its sound space and its articulation.&#13;
&#13;
People in the 13th and 15th centuries fear the monster of death (Ich spür ain tier) and warn of the treacherous "glory of the world" that will fade and bring "sorrow and failure" instead (Worldes blis) . They hope that by accumulating good deeds they will have an easier journey through hell, so that they can finally become enlightened and experience "the glory of heaven" in the afterlife.&#13;
&#13;
In the 20th century, however, recognizable geographical locations such as cities, rivers or mountains are sought out at extreme heights and depths of the voice (Solo for voice 67) . Hildegard von Bingen envelops the space in "sound and life" and speaks in her antiphon Laus trinitati of the "wonderful splendor of the secret that people do not know."&#13;
&#13;
Recitations in the 21st century are surrounded by mysteries and riddles: "What if...?" (If I were a poet) . Consumptive sounds and auditory gestures lead to spiritual places (Récitation 8) . These include the Gregorian chant Veritas veritatum , which in its truth reminds us of the healing powers of Jesus: "Arise, take up your bed and walk!"&#13;
&#13;
In many poetic metaphors - "the freedom of the lark in flight towards the sun", "the imprisonment of the heart by love", "getting lost in the mirror of the beloved's eyes" - Ventadorn laments his unrequited love in the Occitan language (Can vei la lauzeta) . In complete contrast to his fellow poets IK Bonset and Kurt Schwitters, who perceive language itself as sound: letter sound images (Letterklankbeelden) and syllables for the Scherzo and Trio ('to be performed extremely slowly') of the Ursonate .&#13;
&#13;
Finally, there remains John Cage's fusion of languages, text fragments, colorful songs and graphic score in Aria from 1958.&#13;
&#13;
The 'bridges' of instruments and voice built by Dietmar Bonnen and Cora Schmeiser whisper and sound from here to there.</text>
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              <text>Cora Schmeiser</text>
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              <text>2014</text>
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              <text>English, German</text>
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          <name>Type</name>
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              <text>Experimental</text>
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              <text>EXP.SCM</text>
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              <text>Germany</text>
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