Artists Frans de Waard

Frans de Waard

Nijmegen (Netherlands), 1965

Residence: Nijmegen (Netherlands)

  • Composer
  • Performer

Associated groups

On the web

Main releases

Aesova / AESOVA 00010000 / 2002

Appearances

Intransitive Recordings / INT 025 / 2006
Various artists
Intransitive Recordings / INT 023 / 2004

Complements

Various artists
Aesova / AESOVA 00001110 / 2002
  • Not in catalogue

Articles written

  • Frans de Waard, Vital, no. 1205, October 14, 2019
    … this is certainly a great CD.
  • Frans de Waard, Vital, no. 1153, October 15, 2018
    This is quite a powerful piece of music.
  • Frans de Waard, Vital, no. 1153, October 15, 2018
    … I would say this is another highlight.
  • Frans de Waard, Vital, no. 1137, June 20, 2018
    … most enjoyable…

Review

Frans de Waard, Vital, no. 1205, October 14, 2019

For every new release by Empreintes Digitales one can find biographical notes and information on the pieces on the cover. They have been using the same carton sleeve for many years now. I learned from the cover here that Justel is from Argentina and she lives in France, where she teaches ’new composition techniques’ and electro-acoustic music. Over the years several of her pieces have won prestigious prizes. It seems, perhaps, the sort of career that many composers featured on this label. There are seven pieces on this CD, the oldest from 2001 and the most recent from 2017. These pieces are a fine showcase of her interests in working with electro-acoustic sounds. In such a piece as Marelle ou Les instants de la vie, these sounds a very much obscured and unknown to the listener, whereas in La radio, ça détend, there is short and vivid cut-up of radio sounds. In L she uses quotes from Serres, Eco, Von Franz and in Purzelbäume, she works with a tango rhythm and sound, which has a beautiful estranging effect. It is a brief piece, but it works well for me. I didn’t understand why she used the computer warning sounds in two different pieces, as the first time it is quite refreshing to hear it on such an otherwise serious release, but the second time, you think, ’oh, again?’ even when it is only once in a twelve-minute piece of music. I really enjoyed a few pieces, such as the aforementioned Purzelbäume, the quiet intensity of of the opening piece, Cercles et surfaces, the radio piece, the classic electro-acoustic approach of Tapage nocturne, but was less fond of the title piece (the last one of this release, or L; perhaps because of all the French in this piece, which didn’t made it very easy for me. As an introduction to Elsa Justel, this is certainly a great CD.

… this is certainly a great CD.

Review

Frans de Waard, Vital, no. 1153, October 15, 2018

Since more than twenty-five years Empreintes Digitales is probably the leading label when it comes to computer based electro-acoustic music, mostly composed and performed by conservatorium skilled composers. Oddly enough I don’t see a reference to those in the short biography that is printed on the cover of the album by Monique Jean. She was selected by several competitions (which I think is THE thing in this musical area) and played international concerts and festivals. She has here two pieces of which the first, T.A.G., which stands for ’trottoir, asphalte, goudron’ (sidewalk, asphalt and tar) is inspired by “crowds of demonstration” and she says that sounds are “mainly synthesized”, which I found hard to believe. I was more thinking about heavily processed field recordings, certainly in the opening section of the piece that sounded like car tyres screeching. I might be wrong of course. As the piece evolved it became more obvious that there are indeed synthesized sounds used and even some more orchestral ones towards the end. It’s a massive piece, crowded with many sounds, as crowded as the pavement of the inner city perhaps. This is quite a powerful piece of music. The other piece here is Out Of Joint, and it is a “sound hybridization on Shakespeare’s Macbeth and the various silver screen adaptations, stagings and rewrites it inspired through time” — whatever that means but “what I am trying to do instead is to develop a form that operates through grafts of time, interpretations, meanings and references”. Which I guess wasn’t helpful either. Here the piece is also computer based I would think as well as dense, slightly distorted from time to time, a massive narrative perhaps; again I could have been fooled it included field recordings as I distinctly heard some birds. Both pieces are quite good and seemed removed from the more usual glissandi approach that was common with releases on this label some years ago. Either the composers have moved on, or the label did. […]

This is quite a powerful piece of music.

Review

Frans de Waard, Vital, no. 1153, October 15, 2018

[…] Of course eRikm, as he loves to spell his name, is someone who is no stranger to these pages, ever since he first surfaced as a turntablist in the mid 90s. He works as an improviser, expanded to using vinyl, CD, mini discs and finds his own narrative, which is not unlike that of say Luc Ferrari. A particular highlight was his LP L’Art de la fuite (Vital Weekly 1000), even when that was an earlier work. The three pieces here deal with the past, his own past, in Switzerland, which he calls ’his other homeland’, but also using a traditional Icelandic text in the first piece Draugalimur, meaning ’phantom limb’. In that piece eRikm combines field recordings with text and with some instrumental sounds, while in Poudre he uses many recordings of new year’s fireworks in Berlin, with it’s many reflections of the buildings and perhaps also from history. In the third piece, L’aire de la Moure 2 there is also a text, by Paul Eluard and I must admit reading the description didn’t make things clearer for me. Here there are quite a few field recordings, mainly birds I believe, along with insects and wind, with what seems to me a minimum of processing here and there, but not a lot, or at least: not throughout the entirety of the piece. eRikm doesn’t follow Ferrari’s more linear approach to the use of field recordings but it seems to me it is all bit more of an anarchist approach; see where sounds fit and then use them accordingly, which I would think is the best approach. This too is not really the sort of things one expected from Empreintes Digitales, and for instance more at home on Gruenrekorder, but here too I thought the label does a smart move and venture into something new. In the past I may have been a bit (too) sceptical, but with these two the label is back on track. For eRikm I would say this is another highlight.

… I would say this is another highlight.

Review

Frans de Waard, Vital, no. 1137, June 20, 2018

Here we have a composer from Montréal, where she got a doctorate in composition at the University in [2016]. Besides working with others in composing and performer, Ana Dall’Ara-Majek organises computer music programs and has a duo with Ida Toninato called Jane/KIN. “Nano-Cosmos is a cycle of acousmatic pieces dedicated to insects, small arthropods and microorganisms”, it says on the cover. There are five pieces on this release, usually created for a multi-speaker set-up, but here traveling from two speakers to your ears. The microscopic look at insects, bacteria and other hardly visible creatures lies at the basis of the music, which in all five pieces seem to consist of lots of small sounds. Sometimes these are heavily clustered together, thus from some drone like pattern (or two), but the can also appear like a swarm, all appearing seemingly random and chaotic, although they probably are not. It seems as if some of these sounds are voice like, almost singing, like in Bacillus Chorus, but surely the title of that piece was perhaps leading me on. Dall’Ara-Majek doesn’t seem to be using all these granular processes that sound like slides, going up and down that some of the composers who record for this label are known for, but throughout she seeks an extremer sound, with deep bass bumps and high end hiss, such as in Pixel Springtail Promenade, yet she also never betrays her roots in serious electronic music. She uses quite a bit of field recordings, although not always recognizable as from the land of microcosmos. In the final piece, Xylocopa Ransbecka one recognizes the sounds of wood doors; in the text she explains how sees that relation and yes, that works well. Also within the context of the whole CD it works pretty well. Throughout a most enjoyable, me thinks.

… most enjoyable…

More texts

Vital no. 1058, Vital no. 863, Vital no. 672, Vital no. 614

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