- Year of composition: 2013-14
- Duration: 15:28
- Instrumentation: stereo fixed medium
- 44,1 kHz, 16 bits
- 96 kHz, 24 bits
Like most of my works, Voies crépusculaires originates from experimentations with sound materials I had selected and captured for their morphological qualities. While exploring their plasticity, I was led to oppositions of textures, and used multiple transpositions, filters, and successive mixes in order to highlight the edgier qualities of the material. Voies crépusculaires consists of pulsed units that unfold through an additive texture to the point of reaching audio fullness that evaporates suddenly over a furtive atmosphere. Sometimes, these processes are cut short – even before reaching their crepuscular horizon – by meandering sequences peppered with antagonistic sonic motifs and allusive returns that tug at the narrative, which eventually gets back on its original course and flares up into extreme agitation. Reiterated, these pulsed units function as a structuring axis, at both the microscopic and macroscopic levels.
This research work inspired by the plasticity of the material arks back to my first pieces, among them Crystal Music (1992-94), with the difference that here I am using a pulse as the main unifying factor, in order to allow the development of multiple musical objects deployed into various planes of the sound field.
[English translation: François Couture, x-19]
Voies crépusculaires [Crepuscular Ways] was realized in 2013-14 at the composer’s studio in Montréal (Québec), and was premiered on November 16, 2014 at the 21st Festival acousmatique international L’Espace du son, Théâtre Marni, Brussels (Belgium). It received its North-American premiere on November 3, 2016 as part of the concert Résidence 1 in the Studio multimédia of the Conservatoire de musique de Montréal.
- October 16, 2014, L’Espace du son 2014: Concert portrait Stéphane Roy, Théâtre Marni, Brussels (Belgium)