Double Entendre (CD) Track listing detail

Dust

John Oliver

  • Year of composition: 2003
  • Duration: 8:41
  • Instrumentation: clarinet and fixed medium
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Avec Dust, je retourne à l’idée et à l’univers sonore de mon œuvre El Reposo del Fuego pour bande et synthétiseur. Cette œuvre se terminait avec la phrase «El Tiempo es polvo» (le temps est poussière). Dust continue donc là où El Reposo del Fuego se terminait, et explore le concept du temps comme poussière. Les thèmes de El Reposo del Fuego étaient le désastre, la tristesse et la perte, alors que j’avais écrit l’œuvre au moment du tremblement de terre de Mexico. J’ai commencé à travailler sur Dust, qui explore la sensation de dilatation du temps au moment d’une catastrophe, un mois avant l’attaque du 11 septembre à New York et l’ai terminé après, abasourdi par cette synchronicité.

In a Bed Where the Moon Was Sweating. Resonance #1

Paul Dolden

  • Year of composition: 1993
  • Duration: 9:05
  • Instrumentation: clarinet and stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: François Houle, with support from the CCA
  • ISWC: T0705075279

Part of the Resonance Cycle plays with the notion of intimacy in music. Like all my music the tape portion is recorded with close-miking techniques which is intended to produce a fateful intimacy with the sound sources. In this case the soloist is often surrounded with their own sound creating a dissolving of the singular with ‘the other,’ which is in fact the performer reflected back in a narcissistic fashion.

Beyond these elements, the Resonance Cycle also uses voice, which is perhaps the most intimate and seductive sound of all because it represents the body covered with appearances, illusions, traps, animal parodies and sacrificial simulations. However, like in all my music, these elements are multitracked to create a situation of excess and perhaps to leave us sweating in our bed of memories.

As for the philosophical and æsthetic intentions of the hand percussion parts it is well known to any consumer of media music that in order to be considered artistic you have to have an African percussionist. Like the other elements in my music, the African percussionist turns into a dense tribe of sounds, implying some form of primitive seduction or perhaps a post-modern revenge.


In a Bed Where the Moon Was Sweating. Resonance #1 was recorded and produced at the composer’s studio. It was commissioned by François Houle with assistance from the Canada Council for the Arts (CCA). The work was premiered by François Houle on November 7, 1993 at a Vancouver New Music Society concert.


Premiere

  • November 7, 1993, François Houle, clarinet • Concert, Vancouver (British Columbia, Canada)

About this recording

… the live clarinet part was recorded by François Houle in December 1993. This work was reprocessed, remixed and remastered in the composer’s studio in 2004.

Dialogue de l’ombre double

Pierre Boulez

  • Year of composition: 1985
  • Duration: 18:25
  • Instrumentation: clarinet and fixed medium

Revenge of the Repressed. Resonance #2

Paul Dolden

  • Year of composition: 1993
  • Duration: 7:11
  • Instrumentation: soprano saxophone (or alto saxophone or tenor saxophone) and stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: François Houle, with support from the CCA
  • ISWC: T0705075337

As the end of the second millennium approaches, we increasingly deal with the angry fallout from our historical legacy. Everyone identifies with a sub-culture, each of which claims some form of victimization and self-justification. Society turns into a constant search for what has been repressed and denied and, like a pack of wild dogs, we search for some form of revenge for our victimization. However, given that our lives have basically become an extension of the mediascape, and real power lies elsewhere, we become trapped in an endless life-sized Nintendo game seeking justice and revenge.

Correspondingly, popular music has become a monotonous driving beat to serve the same function as military bands once fullfilled for soldiers going into war. Part of the Resonance cycle visits these musical garbage dumps in order to use their energy and to give them a compositional language that they are void of. Moreover, if In a Bed Where the Moon Was Sweating. Resonance #1 deals with intimacy or sex and Revenge of the Repressed. Resonance #2 deals with violence, then this music might have the potential to be consumed by the media consciousness that it tries so hard to distance itself from.


Revenge of the Repressed. Resonance #2 was recorded and produced at the composer’s studio. It was commissioned by François Houle with assistance from the Canada Council for the Arts (CCA). The work was premiered by François Houle on November 7, 1993 at a Vancouver New Music Society concert. A version of this work exists for alto sax and tape and another version exists for tenor sax and tape.


Premiere

  • November 7, 1993, François Houle, soprano saxophone • Concert, Vancouver (British Columbia, Canada)

About this recording

… the recorded soprano sax part was performed by François Houle in December 1993. This work was reprocessed, remixed and remastered in the composer’s studio in 2004.

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