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Wolfgang Kabsch, Musik an sich, January 15, 2021
Tuesday, February 23, 2021 Press

Pierre-Luc Lecours ist ein aus Montréal stammender Komponist, Klangkünstler, Musiker und Visual-Künstler. Nach vielen Arbeiten für Ausstellungen und andere Events veröffentlicht er nun mit Éclats sein erstes Album unter eigenen Namen.

Es ist recht schwer, die Klänge, die man hier zu Hören bekommt, zuzuordnen. Zum Einem arbeitet Pierre-Luc Lecours mit vielen Feldrecordings und Samples, aber auch mit Elektronik und klassischen Instrumenten. Auf den vier Teilen des Titelstücks, welches zwischen 2014 und 2020 entstanden ist, hört man sich durch Geräuschkaskaden, stille Momente, Drones, Contemporary-Sounds aus Elektronik und Instrumenten, getragene Streichermomente und atmosphärische Elektronik. Die Stimmungen schwanken von unheilschwanger, beängstigend, panisch, ruhig, fast melancholisch und verstörend.

Im Gegensatz zu vielen ähnlichen Produktionen gelingt es dem Künstler jedoch tatsächlich aus all diesen Elementen ein bündiges und durchhörbares Werk zu schaffen, auch wenn die Grenze der Belastbarkeit manchmal nur knapp verfehlt wird. Dies aber nicht, weil die Klänge so kakophonisch und fast schon schmerzend sind, sondern weil einen die Vielfalt und Kraft der Sounds zu überfordern droht. Dass am Ende eben dieses stimmige und hörbare Werk entstanden ist, liegt daran, das man niemals überambitioniert ist, sondern alles aufeinander abgestimmt ist.

Eine spannende Reise in experimentelle Gefilde der Musik und eines der besseren Alben des Genres.

An exciting journey into experimental realms of music and one of the better albums of the genre.

Review

Antonis N Frangos, To Periodiko, February 21, 2021
Monday, February 22, 2021 Press

Éclats: κύκλος εργασιών ένθα ακουστικά όργανα και ηχητική σύνθεση σχετίζονται πρωτότυπα. Αναφορά κάνουμε στην δουλειά του Καναδού μουσικού και πολυθεματικού καλλιτέχνη Pierre-Luc Lecours που μελετάει τις σχέσεις μεταξύ φόρμας, περιεχόμενου και format, με επιρροές από τα ρεύματα της οργανικής και της σύγχρονης ηλεκτροακουστικής πειραματικής μουσικής. Το ηχητικό μέρος κάθε κομματιού εμπνέεται από το χρώμα με το οποίο έχει ονομαστεί (κόκκινο, μαύρο, άσπρο και μωβ). Ακολουθώντας την σχολή των Αυτοματοποιητών (Automatist) ζωγράφων, ο Lecours προσθέτει στην αρχή όλους τους ήχους ανάκατα για να ανακαλύψει σιγά- σιγά τις μεταξύ τους συνάψεις. Το εσωτερικό του πιάνου προσφέρει πλείστες όσες πηγές ενέργειας με τα διάφορα μέρη να κατακλύζονται διαδοχικά από χαμηλές και υψηλές εντάσεις.

Following in the footsteps of the Automatist school of painters, Lecours adds all the sounds to the mix at the beginning to slowly discover the synapses between them.

Review

Antonis N Frangos, To Periodiko, February 21, 2021
Monday, February 22, 2021 Press

Γεννημένος στο Παρίσι, ο συνθέτης ηλεκτροακουστικής Patrick Ascione σπούδασε αρχικά κλασική μουσική πριν θητεύσει στο περίφημο Groupe de musique expérimentale de Bourges, τέλη του 1970. Συνήθως, με τον όρο ηλεκτροακουστική μουσική θεωρούμε έργα όπου πέρα των κλασικών οργάνων χρησιμοποιούνται field recordings και ήχοι από συνθεζάιζερς. Η έμφαση δίνεται όχι στην μελωδία ή τον ρυθμό αλλά σε άλλα χαρακτηριστικά όπως στον χώρο (space), στην δομή ή στο φάσμα. Ούτως, το Figures de son δημιουργεί ένα είδος πολυφωνίας του χώρου (spatial polyphony) με την μείξη προετοιμασμένων ηχογραφήσεων μέσω διαρκούς αυτοσχεδιασμού, με απρόβλεπτη εξέλιξη.

Thus, Figures de son creates a kind of spatial polyphony by mixing prepared recordings through constant improvisation, with unpredictable evolution.

Editor’s Corner

David Olds, The WholeNote, no. 26:5, February 7, 2021
Monday, February 22, 2021 Press

I suppose the best place to start is with old friends. During my tenure as host and producer of Transfigured Night (1984-1991) at CKLN-FM, I became interested in the field of electronic music, to the extent of becoming a founding member of the Canadian Electroacoustic Community (CEC). On a trip to Montréal in 1986, for a conference that led to the establishment of that national organization, I met and became friends with a number of movers and shakers in that rarified field, including Jean-François Denis, who went on to found the internationally renowned empreintes DIGITALes (electrocd.com). At time of writing, the Montréal-based label has 171 releases featuring the most distinguished practitioners of electroacoustics, acousmatics and musique concrète from around the world. While at CKLN, I commissioned radiophonic works from a dozen composers, one of the most successful of which was Figures de la nuit / Faces of the Night by Francis Dhomont. Since the late 1940s working with magnetic wire recorders in Paris – one of the first exponents of what Pierre Henry would later call musique concrète – Dhomont has been a pioneer of electroacoustic composition, and has worked exclusively in fixed media (ie magnetic tape and its digital progeny) since the 1970s. From 1978 until 2004, Dhomont split his time between France and Québec, where he taught for 16 years at the Université de Montréal. I am pleased to see, as witnessed by the recent CD Images nomades (IMED 20167), that at the age of 94 Dhomont is still active in his studio in Avignon, France. This release includes three recent works – a particular favourite is Perpetuum mobile (Pluies fantômes) – plus a cycle of [9] shorter tributes to friends and colleagues such as composers Bernard Parmegiani and Jonty Harrison he calls Ami-versaires – composed between 2002 and 2020. This and the dozen or so discs of Dhomont’s music available from empreintes DIGITALes confirm him not only as a pioneer in the field, but also as a master of his craft.

… as a master of his craft.

Recensione

Samuele Conficoni, Music Map, February 1, 2021
Wednesday, February 17, 2021 Press

Il primo album solista del compositore di Montréal Pierre-Luc Lecours è un viaggio dionisiaco in una galassia nascosta che possiamo toccare con mano attraverso cinque brani complessi, quattro dei quali fanno parte della suite che dà il titolo all’album. Éclats è stratificato e intrigante, seducente e vaporoso. In ciascuno dei pezzi, l’autore mette a nudo tutto il suo talento e tutte le sue pulsioni e pervade della sua natura ogni singola nota.

La bravura e la versatilità di Pierre-Luc Lecours si mostrano nella loro cristallina immediatezza in Éclats, opera ambiziosa e organica suddivisa in quattro atti, composta tra 2014 e 2020, a cui segue una composizione finale, Impacts discrets, risalente al 2014 e scritta in contemporanea, quindi, al primo atto di Éclats. Ci troviamo di fronte a un compositore straordinario, dal talento evidente e dalla spiccata originalità, che non teme di osare troppo, la cui espressività marchia col fuoco ogni angolo dei suoi pezzi. Diplomatosi in musica digitale e con un master in composizione completato a Montréal sotto la supervisione di Pierre Michaud, Lecours rispetta le aspettative e dà vita a un disco che non ha debolezze e che, nonostante sia ostico, può essere apprezzato anche da un ascoltatore qualunque.

Lecours si muove con sapienza e spontaneità all’interno di un universo elettronico e classico che spazia i più differenti stati d’animo e umori. È riflessione, meditazione, sincera dedizione nei confronti del sottobosco musicale che l’autore frequenta da sempre, che studia con applicazione e rigore evidenti. Le varie parti di Éclats — un album a tutti gli effetti ambient, sia nella lunga composizione che dà il titolo al disco, suddivisa in quattro atti, sia nel brano conclusivo — sono un vorticare cinematico di bagliori e oscurità, dei passaggi di senso (e di tempo) che incrociano spiriti difficili da fermare e osservare. È un insieme di onde che sembrano non fermarsi e seguire, instancabili, il movimento del mare.

Lecours ha tanti meriti: non va incontro alle mode, segue un progetto personale e avvincente e vive con febbrile entusiasmo le sue composizioni. E così siamo trasportati, su un vascello leggero, tra calure e tempeste, accartocciati con freschezza ai bordi dell’imbarcazione, lungo i colori dell’opera, che conducono, infine, al brano conclusivo, l’abbacinante Impacts discrets, che rappresenta lo spegnersi, lento e romantico, del fuoco brillante che ha percorso il progetto. Lecours ci regala quasi un’ora di musica inquieta e febbrile, che non si accontenta di esistere ma vuole anche resistere, come noi insieme a lei.

Lecours has many merits: he does not go along with fashions, he follows a personal and compelling project and lives his compositions with feverish enthusiasm.