Track listing detail

Sol y sombra… L’espace des spectres

Francis Dhomont, Arturo Parra

  • Year of composition: 1998, 2000
  • Duration: 11:49
  • Instrumentation: guitar and stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T0719934345


(Sun and Shadow… Ghosts over the Ring) This piece could have been called “the stealer of souls” — the tape part draws heavily on the guitar sounds that I produced for Francis Dhomont during an improvisation session. When I began to compose the guitar part, I found myself face to face with my own ego — but an “altered” ego, now refracted through the discourse of the electroacoustic composer.

At the bullring, the stands are divided into sections of sun and shade, “sol y sombra.” In Sol y sombra… L’espace des spectres, the guitar and the tape confront one another as matador and bull, two faces of a single combat. The shadows of Manuel de Falla, of Spain immemorial, fall over the arena and the stands in a light-and-dark pattern that shifts as the passionate duel between the tape and the instrument unfolds.

The guitar doubles back and quotes the tape, attempting to recover its own soul and break the spell, quickened by its traverse through the mind of the Other.

Catherine Ego, Arturo Parra [English translation: Peter Feldstein]

The electroacoustic part of Sol y sombra… L’espace des spectres comes from the acousmatic work En cuerdas (1998) by Francis Dhomont.


  • May 15, 1998, Arturo Parra, guitar • FIMAV 1998: Parr(A)cousmatique, Cégep de Victoriaville, Victoriaville (Québec)




David Berezan

  • Year of composition: 2004
  • Duration: 14:00
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T9017494994


At the heart of the Quarry Bank Mill at Styal, south of Manchester (UK), turns a great iron waterwheel, the original driving force for the 19th century textile machines still residing within the buildings there. The wheel turns a large and resonant drive shaft, the sound of which can be heard rattling throughout the Mill, amidst a rich collection of other sounds. Various combinations of water power, steam, and electric engines now interact to drive the power looms and other metal and wooden machinery — remnants from the Industrial Revolution.

Inhabiting the mill is a sound world of great volume, vibration, resonance, rhythm, intensity and energy, water and steam, cogs and wheels, switches, belts, pulleys and spindles, steam pipes, groaning and straining machines, delicate threads and textiles. All of this gives rise to a very unique music that inhabits the Mill, the machinery, the floorboards, and the air, and much of it finds its way into Styal. Quarry Bank Mill is, however, only a starting point for this work. Taking the sounds I have found and borrowed from the mill (with some additional sounds of spools of thread and tearing textiles recorded in the studio), I re-shape and re-create a sound world, music, and place of my own imagining.


Styal was realized in 2004 at the Electroacoustic Music Studios of The University of Manchester (UK) and premiered on October 15, 2004 during the MANTIS (Manchester Theatre in Sound) concert series in the Cosmo Rodewald Concert Hall of the Martin Harris Centre of The University of Manchester (UK). Thanks to the National Trust and the staff and volunteers at the Quarry Bank Mill and Styal Estate. Styal was awarded 1st prize at the 6th Concurso Internacional de Música Eletroacústica de São Paulo (CIMESP ’05, Brazil) and was selected in the Trivium Category of the 32nd Bourges International Electroacoustic Music and Sonic Art Competition (France, 2005).


  • October 15, 2004, MANTIS Fall Festival 2004: Concert, Cosmo Rodewald Concert Hall — Martin Harris Centre for Music and Drama — The University of Manchester, Manchester (England, UK)