Chapter VI
ᛗ ⌬ ᚹ
Soundtrack
Eight pieces by Saskia Vermilye and the Mausoleum orchestra. Field-recorded, hand-mixed, and never digitally compressed.
⌬ Section I — The player
Eight tracks. Loop them. Let them breathe.
№ 01
Now playing · Movement I — Prelude
Canticle for the Drowned
Composed by Saskia Vermilye
0:00
−4:07
⌬ Section II — Notes from the booth
Three things Saskia would like you to know.
01 ⌬
Field recordings, mostly.
Two winters in Iceland and the western Pyrenees. The Cathedral interior was recorded live in three churches in northern Portugal, then reassembled in the studio.
02 ⌬
No synth pads.
Every drone is bowed, blown, or hummed. Where you hear what sounds like a synth, it is a contrabass clarinet through eight metres of cathedral reverb.
03 ⌬
Choir of forty.
The Iron Cantor encounter is sung in canon by a choir of forty children, recorded in the Mosteiro dos Jerónimos under their generous patience.
“Score it as if no one is listening, and as if everyone is.”
— Saskia Vermilye, Sound Director