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Both works toy with timbre, microtonality, vocal restraint, and depend on the treble–specified as soprano–voice to realize an archetypal modernist text that ultimately will not be understood by listeners. When words aren’t split apart into shape-shifting phonemes in “O,” Saunders has the performer speak longer passages from James Joyce’s Ulysses on a whispered breath, which in conjunction with inhales, gasps, exaggerated plosives and sibilants ultimately obscure the listener’s ability to latch onto clear text. In “The Garden,” sounds stretched out across mercurial dynamic markings suggest Hilda Doolittle’s poetry rather than obviously set the poem.