rain choir: field recording
The rain choir is a new sound installation commissioned by the arts event 10days Winchester and taking place in the crypt of Winchester Cathedral.
The piece is based on ‘field-recordings’ of rain, as it falls through the tympanic guttering system of the Cathedral. Fragments of the Limestone walls dissolving in oil of Vitriol (sulphuric acid) and vinegar add an effervescent static to the rising damp of this motet for wet and secreted voices.
Using an array of hydrophones and acoustic and contact microphones, the field recordings explore the rhythm and timbre of the metallic guttering, as it transports rain away from the buildings canopy. The drainage systems provides a unique spatial acoustic, colouring the sound of rainfall and picking up other peripheral notes from the cloistered soundscape of the Cathedral Close: the peal of Sunday bells, the enclosed footfall and conversational echo of passers-by.
rain choir: opening (edit)
In addition to the audible downpour of such voices, the very fabric of the building is explored as a site of unpronounced voice. Just as the graffiti covering the internal walls, creates a visible silence, a palpable but unspoken history, so too the Limestone used to build the Cathedral contains its own petrified voices. Formed from the skeletal remains of pre-historic marine organisms, such as corals and Foraminifera (“hole bearers”), the stone contains the respiration of primeval life forms and landscapes. The external walls of limestone are pitted with holes and crevices, evidence of changes in atmospheric conditions and the corrosive effects of rainfall. Dissolving small fragments of these walls in acid produces an acoustic time-lapse of the process of corrosion. Just as the acid concentrates the harm caused by centuries of rainfall, so too the noise of this dissolve concentrates the attention of the ear upon the sonic details of decay and disappearance. Through this naive chemical action, the effervescent charnel noise of ancient CO2 is made audible. Voices once ‘confined’ in stone are released from permanence and solidity, taking ‘the ear strangely’ in an occasional shower of quiet geological rain.
rain choir: after the fall (edit)
The Cathedral is the final resting place of St. Swithun and was once itself in danger of collapse, through the flooding of its foundations. So the building has a metrological, hagiographical and mythological relationship with rainfall.
The proverbial saint and former bishop of Winchester St. Swithun asked that his body be buried in the grounds outside the Cathedral, so that it may ‘be subject to the feet of passers-by’ and the rain dripping from the eaves of the building. Such experiences suggest an appeal to auditory sensations; St Swithun was perhaps listening for the buried percussion of footsteps and rainfall. In 1906 Walter Walker dived beneath the flooded crypt in order to reinforce the foundations of the building, which was in danger of sinking beneath the sodden earth. Even now, the eastern transept is downwardly inclined and every winter, when the groundwater rises, the crypt floods with water.
Through the choir’s internal relocation of rainfall, the installation mimics the movement of St Swithun, whose body was exhumed and reburied in a shrine in the retrochoir behind the alter of the Cathedral. The rain, which once fell above the decaying but attentive ear of St Swithun, now pours beneath his mortal remains in the shrine where he rests. The choir presents an enclosed ghost of rain, a concealed but sensuous downpour that describes and is itself described by the karst topography of the Cathedral’s architecture.
This sounds so cool when you play it all together!
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