Amore Roxanne Turcotte

  • Canada Council for the Arts

… her style of cinema for the ear relying strongly on synthesized music and sound collage. AllMusic, USA

… an impressionistic love story with voices, sound effects, samples and rhythms… Splendid E-Zine, USA

Stereo

  • 44,1 kHz, 16 bits

Stereo

  • 44,1 kHz, 16 bits

• MP3 • OGG • FLAC

Amore

Compact-compact 1

Roxanne Turcotte

Notices

Seasoned With Passion, Humor and… Love

Amore (Love) is a tale told through the language of sound. A cinematic approach conveys images and sensations, evoking various destinations midst an amorous universe. Clichés, ‘forbidden’ people and places, wild love stories with a Romanesque flavor. Fiction for the imagination made real, becoming deep musical breaths.

Cinema plays a fundamental role in the musical creative process. The synopsis of the five tableaux presents themes of love: the heart, seduction, waiting, desire, secrets, the unexpected and travel… The music itself becomes an image. The movie theater, the main setting for this story, is still the ideal place for the clandestine tryst. Brushing up against the hand of the man (or woman) beside you, a stranger whose presence is disarming. The only light the shining screen and the illuminated exit sign which divulge an aura of intimacy. The darkness obscures and the sound conceals the unforeseen events of the evening…

On the imaginary screen, these unnatural, untouchable characters become part and parcel of the script, and thusly almost real. These characters, symbolized by human voices, remain fastened to the music, like the images imprisoned in a comic strip, like the images caught on film. They never die; always heroic, they exist only in and of the story.

The sound materials used to evoke the themes are divided into four categories:

  1. those of a suggestive nature — the rings of a telephone, unwanted calls, the heart, musical themes (French folk songs such as: Auprès de ma blonde, Reviens veux-tu?), club music… realistic treatment of the material and anecdotal sounds;
  2. the dream-like: synthesized sounds, sampled sounds and those manipulated to alter the source material, the appearance of multiethnic influences in the various musical worlds;
  3. the voice: human voices represent unidentified characters and explain the situations; and
  4. a leitmotif: rhythmic, suggesting movement, changing location, a destination.

The musical structure is based on human breathing. This impetuous element of love, the impetus of life itself, is marked by amassment leading to climax, a change in the cycle, an ending. The alternating cycle of tension and release is in some way an evolution, a progression, the passing of time, the heart, a breath of life and… a catastrophe! We find this expressed in the repetitive rhythm of the music, in the contours of each tableaux, the leitmotif as well as in the finale: a vague idea of what might be construed as an end, or as an eternal beginning.

Transposed into a musical form, breathing is conjured by extra-musical parameters, such as the lunar cycle, life and death, natural transformations. This form is the constant renewal of matter, of the state-of-being, the ever spiraling growth of the chambered nautilus: Kalpa and Pralaya, Yin and Yang, T’ien-tai, Dhikr… a universal phenomenon. As we grow, the world over respires, aspires with all its might, whatever the medium: music, art, different beliefs or creeds, meditation or prayer…

Amore is seduction, passion and… a breath of life.

Roxanne Turcotte, Montréal [i-94]

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