Cycle du son More from the blog

February 10 – 26, 2005: Dhomont Tours Germany and UK

Tuesday, January 18, 2005 In concert

Francis Dhomont, nominee for “Premiere of the Year” at the Conseil québécois de la musique’s Opus prizes, will begin in February 2005 a series of activities in Germany and in the United Kingdom. Firstly, he will attend a composition residency and will premiere his latest work, Brief an den Vater, commissioned by the ZKM (Zentrum für Kunst und Medientechnologie) in Karlsruhe (Germany) for the “trans_canada” event. Secondly, following an invitation from Sheffield University (UK), Dhomont will present his work Cycle of Sound and give a conference at Bath Spa University College. Lastly, the Cycle of Sound will also be featured at the Sound Junction III event, held February 26, 2005.

May 21, 2002: empreintes DIGITALes & No Type Hit the Vancouver Charts

Thursday, June 20, 2002 In concert

Several new releases ranked well on Vancouver’s CJSF experimental charts for the May 21 to June 17, 2002 period. The No Type double CD compilation, The Freest of Radicals, ranked 4th. Chemin de fer, the new CD by sound artist Magali Babin, placed 8th. A new work by Francis Dhomont, his homage to musique concrète titled Cycle du son, is 12th. Gilles Gobeil’s first CD and John Young’s new work placed respectively in 27th and 32nd positions.

eD: New cycle of works by Francis Dhomont

Wednesday, January 16, 2002 New releases

“… he dramatically takes the listener through an experience that is both terrifying and serene.” (The WholeNote, Canada, 2002) In Francis Dhomont’s own words, Cycle du son (Cycle of Sound), his 5th empreintes DIGITALes album is a “… homage to the inventiveness of Pierre Schaeffer, who clearly created an upheaval in the world of music that has had no precedent.” Still at the forefront of theorists and practitioners in this “Ars Nova” that is acousmatic music, Dhomont delivers here three new works which completes, with the classic Novars, this cycle dedicated to musique concrète. Using excerpts from both Schaeffer’s Étude aux objets, the composers own very personnal sound bank and, as usual, delicious quotations from other composers, this “cycle of sound” establish itself as one of Dhomont’s major works, the fermata of the past century.