Peephole Metaphysics

Année de composition
12 minutes
Voice and instruments
Mezzo-soprano and instrumental ensemble [10 musicians] Bass clarinet, tenor saxophone, flugelhorn, percussion, accordion, mandoloncello, guitar, harp, cello and double bass


Each new work should be like a new beginning.
For Lisa Samuels, Peephole Metaphysics is a poem about how culture understands itself in many voices. These multiple voices are integrated into the musical device in the literal sense – since four of the musicians are solicited for a chorus of white voices, producing a sort of sonic background to the soloist singer – this background echoes one of the many motifs of the text “mouths underneath the boats”, these voices immersed under the boats. Because it is also a question of migrants in this text, going to occupy new territories; “people came here they planted themselves”.

Following this idea, the string instruments present here, namely guitar, double bass, mandoloncello, cello and harp, are tuned in such a way as to construct a microtonal pitch mode, which is specific to the work itself. The musical mode being a set of pitches allowing the musicians of a civilization to play together.

The musical piece, in one piece, is divisible into five parts, which are like so many sound islands, worlds in themselves in relation to each other, while each having their own characteristics.


Poem in five parts

Listening for you listening notes

for right to seek up futures as a buffer against permanence

can you make actuality not a matter of argument

I’m sirry I’m political

ready to drag down

changeable as the crew people

jumping in to small boats showing their interest
without necessary attributes to be

hot, so hot

sirrah listening to the heart boats bombing


are you new to the names amidst your hectares

get along

new to your improves on several hats beside the year’s
tasted aperture months ready to open

for in

astonished to discover mouths underneath the boats

craggy as fashionable creamy broody belts in range
out of range

the edges of the heart mouths

totally unsteady drama groovy coming along worth trying
to sell our inherited personalities for



when people came here they planted themselves

in utterly familiar and hills

coming along at the edges of the heart

mouths planting the recognizable in water at the moment

falling through the atlas trope sway

comprehensive for another album of highlights

everybody getting a little somefin

a tiny mouthful louche

over the skin of the teeth

a point especially clear when terms of value broken
across the example becomes

clear a like simple economy of scale

transient as the top blend came on


a simple feat hot off the head as hundreds rippled
like scales real as existence

marbles tottling on the edges of the site

kept at it fully every rim

consistent turning square to diamante pusher

folly coming along saying

flask as catskin blueberry

rich or cast

is it what you expectation frag there

slightly animistic with an absolute forearm
or what it means to compromise with cultural life
as you make room


make room stead skulldigger
in a roaring mind

the trophy on your head

your own juggy code out at the stuck

late skin in show

I often kilter or a separately repeated

to see how it changes a man

with a fixed expression in plastics

a cast as what you expectation frag there



© Lisa Samuels

Création mondiale
April 24th, 2015 | Théâtre Durance, Château-Arnoux, France
Lisa Samuels

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