French photo-documentary artist JR and Luigi Nono are paradigmatic for Ernst Helmuth Flammer's work for vocal soloists, with the great singer Nicholas Isherwood being a significant source of inspiration for his compositions. His broad experimental repertoire of vocal textures, various highly denatured vocal techniques—a plateau for alienation techniques—and his equally unconventional range of expression offer a wide reservoir of musical commentary levels that are semantically expressive even without text.
Spaziofonia – Polimorfia IIfür vierkanaliges Tonband verwendet ausschließlich Basismaterialien, die von Nicholas Isherwood aufgenommen worden sind. Diese Materialien werden algorithmisch verfremdet, transponiert, invertiert, was heißt, dass eine Struktur retrograd erklingt.
Homs, gegen das Vergessen … Paris, aus einem Totenhaus … Unterwerfung …? – An epic cantata for solo baritone searches for truths, truths of Umanità, which are not linear, which are not simple; there is no one truth. Each of these seven parts is introduced with the piercing question: “What is truth?”, which recurs like a refrain.
The title Nach vorn … 4, spatial à l’évocation infini et échappée for bass voice and tape could be translated into English as “spatially infinite and escaped in the imagination” (in the sense of no longer comprehensible, unimaginable). “The world as will and representation,” as a utopia (!), as a dream (?). Yes and no! Not the world we perceive.
In Almería, tu terra quemada , the six-part text, interrupted by refrains that continuously evolve, is juxtaposed with the music in a kind of illustrative and alienating commentary.