Waywords and Meansigns: Recreating Finnegans Wake [in its whole wholume]

www.waywordsandmeansigns.com



The idea was a simple enough question. How many ways are there to read James Joyce's great and bizarre novel Finnegans Wake?



Seventeen different musicians from all around the world, each assigned to render a chapter aurally. The only requirements: the chapter's words must be audible, unabridged, and more or less in their original order.





---

Track Listing:



Finnegans Wake is organized into four books. Roman numerals indicate the book, Indo-Arabic numerals indicate the chapter within that book. Chapter names are italicized, followed by the names of musicians. To locate a particular passages of the text, use http://www.trentu.ca/faculty/jjoyce/ and http://fweet.org/



Book I

I.1 - The Fall, pp. 3-29 - Mr. Smolin & Double Naught Spy Car

I.2 - The Humphriad I: His Agnomen and Reputation, pp. 30-47 - David Kahne

I.3 - The Humphriad II: His Trial and Incarceration, the Acoustic Disturbance, pp 48-74 - Steve Gregoropoulos

I.4 - The Humphriad III: His Demise and Resurrection, pp. 75-103 - Rio Matchett

I.5 - The Mamafesta of Anna Livia, pp. 104-25 - Neil Campbell

I.6 - Riddles: The Personages of the Manifesto, pp. 126-68 - Maharadja Sweets

I.7 - Shem the Penman, pp. 169-216 - Mike Watt & Adam Harvey

I.8 - The Washers at the Ford (aka ALP), pp. 196-59 - Brian Hall & Mary Lorson



Book II

II.1 - The Children's Hour, pp. 216-59 - Robert Amos

II.2 - The Studies: Nightlessons, pp. 260-308 - Ollie Evans, Steve Potter & Co.

II.3 - The Stories: Tavernry in Feast, pp. 309-82 - Janken's Henchmæn

II.4 - Bride-Ship and Gulls, pp. 383-99 - Aleorta



Book III

III.1 - Shaun before the People, pp. 403-28 - SIKS

III.2 - Jaun before St. Bride's, pp. 428-73 - Kio Griffith

III.3 - Yawn under Inquest, pp. 474-554 - Hinson Calabrese

III.4 - Humphrey Chimpden Earwicker and Anna Livia Plurabelle: Their Bed of Trial, pp. 555-590 - Conspirators of Pleasure



Book IV

IV.1 - Ricorso, pp. 593-628 riverrunning back to The Fall, pp. 3-29 - Graziano Galati



---

finnegans wake set to music unabridged. for more information visit www.waywordsandmeansigns.com

Notes

Additional personnel // production credits







Track 1: Barry Smolin, piano&keys&voice; Paul Lacques, guitar; Marcus Watkins, Guitar; Marc Doten, bass; Joe Berardi, drums&percussion. Produced by Marc Doten & Barry Smolin.







Track 3: Strings: Kaitlin Wolfberg, ­1st, 2nd and 3rd violins; Heather Lockie, ­viola; Derek Stein, ‘cello; William Tutton, acoustic bass. Winds: Claire Chenette, oboe; Elizabeth Herndon, flute. Brass: John Ciulik, ­trumpet; Elizabeth Herndon, ­trombone; Vince Meghrouni, alto and tenor saxophone. Other instruments: Justin Burrill, acoustic guitar; Corey Fogel,­ additional drums; Steve Gregoropoulos, piano, synthesizers, fake accordion (this is the only sample used on the piece), detuned autoharp, drums, electric bass, electric guitars, programming, penny whistle; Singers: Steve Gregoropoulos; Becky Stark; Charlyne Yi; Renee Conley; Claire Chenette; Kaitlin Wolfberg.







Track 4: With thanks to George Trier, George Parsons, Dominic Davies, Adam Bell, Thomas Kirby, Imogen Wignall and Siobhan McClusky for lending their voices, and to Frank Shovlin, for holding my hand as I first dipped my toes in the Wake.







Track 5: Recorded summer 2015.







Track 6: In addition to M. Sweets, Suzanne keeps count and demands answers. Also without her, M. Sweets' Joyce journey and recording of this piece would not have happened — thank you and much love! Wes Tirey wrote, performed, and recorded the answer to question 3 ("Thine Obesity…”). Broc Rob sings on question 4. Mike and Pete from Lost Gloves play bass and drums on question 5.







Track 7: Previously delayed, added to edition May 4th, 2017. Mike Watt: basses. Adam Harvey: vocals and sound effects. Jono Manson: mixing engineer to Adam Harvey.







Track 8: Narration by Brian Hall. Music and sound effects by Mary Lorson. Additional ambient audio by Tim Neal.







Track 9: Robert Amos recorded by Robert Martin.







Track 10: (i) Prologue (Family stroll with HCE), FW 260-266/00:00. (ii) Storiella as She is Syung (Issy knits and splits), FW 266-282/14:00. (iii) The Muddest Thick that was Ever Heard Dump (Dolph & Kev draw ALP), FW 282-304/48:40. (iv) Conclusion (ALP puts the children to bed), FW 304-308/1:33:00. Text arranged by Ollie Evans. Recomposed, recorded and edited by Ollie Evans and Steve Potter. Voices recorded at the Derek Jarman Lab, London (June & October, 2015). Read by: Leanne Bridgewater (Issy/footnote n., ii); Koshka Duff (Issy, ii); Ollie Evans (Shem/Shaun, i-iv; right margin, ii; Dolph, iii); Richard Hames (Margins, i-iv); Eleanor Massie (ALP, iv); Steve Potter (Shem/Shaun, i-iv; footnotes, ii, Kev, iii). Kate Evans (right margin, iii); Kirstin Smith (footnotes, i-iv; Issy, ii; parenthesis, iii). Music performed by Nathaniel Dye (treble and bass trombone, percussion); Ollie Evans (percussion, toys, violin, guitar, vacuum pipe, kaoss pad, synth, piano, keyboard, xylophone); Richard Hames (harmonica, glockenspiel, rulers, mud, eggs); Kate Evans (acoustic guitar, kazoo); Steve Potter (electronics, toys, rulers, mud, eggs); Leanne Bridgewater (vocal electronics). Additional voices and sounds by Nathaniel Dye; Rebecca Varley-Winter; Jane Evans; Kathi and Torsten Wieser; Students Against Cuts; Popeye the dog; Barry White; Orlando de Lassus; George Lucas & many anonymous. Various field recordings from London; Isle of Wight; Amman; Petra; the Dead Sea; Innsbruck; Vienna; Brussels, and New York. Thanks to Bartek Dziadlosz and Lawrence Dunn







Track 12: Daniel Bristow, voice, clarinet, piano, synths, electronics and digital media manipulation.







Track 13: Voices in order of appearance are Simon Ross, Stuart Ross, Kevin McCardle, and Ian Kearsley. All music spontaneously composed and performed by Simon and Stuart Ross. Edits and assembly by Stuart Ross. Recorded in Stonehouse and Edinburgh, Scotland in the spring of 2015.







Track 15: Hinson Calabrese with Colin Clarke, Colin Grant, Albert Lionais, Steven Wilton.







Track 16: Simon Underwood: electronics, tape loops, and modified bass. Poulomi Desai: electronics, modified sitar. Veena: text to Speech synthesis. Performed & Recorded at Usurp Art Gallery London 2015.







Track 17: A Zendiyogi production, with special thanks to Joe Galati for the formative years of jamming and his introduction to recording techniques, to Sadie Nardini for her teachings that helped to re-ignite my artistic voice giving me the confidence to be my own artist, to Adam Harvey whose production of Don't Panic: It's only Finnegans Wake at the New York Fringe impressed me to no end and set a standard for me to strive for, and to Derek Pyle for creating the space for the emergence of this work.

Addeddate 2016-01-31 01:31:24 External_metadata_update 2019-04-15T22:42:48Z Identifier WaywordsAndMeansignsRicorso