electrocd

Track listing detail

Espace / Escape

Francis Dhomont

  • Year of composition: 1989
  • Duration: 2:50
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: The Banff Centre for the Arts (Claude Schryer), with support from the CCA
  • ISWC: T0030754234

Stereo

ISRC CAD500013870

To Jean-François Denis and Claude Schryer

“As soon as we become immobile, we are elsewhere; we dream in a vast world. Immensity is the movement of immobile man. Immensity is one of the dynamic aspects of peaceful daydreaming.”

Bachelard, The Poetics of Space

Space.

Open, intimate, confused spaces. Broken spaces, whirling.

Indecisive edges of the space.

Space-refuge, enclosed, maternal, space of reminiscence and of associations.

Tumult or murmur in the space of a thousand reflections.

Escape.

The flight engenders a vertigo of multiple elsewheres.

Here… There…

Attempted encounter of heterogeneous elements related by two criteria: one is sonic and denotative (the place of sound in space), the other symbolic and connotative (referring to the theme of wandering), both alluding to movement. These criteria determine the form and are its cement. The multiplicity of materials embody the ideas of ‘space’ and ‘mobility.’ This work integrates into its structure active elements of spatialization which have a semantic value.

[ix-91]


Espace / Escape was realized at the composer’s studio in Montréal in 1989 and premiered on November 10, 1989 during the CEC Electroacosutic Days, >convergence< at The Banff Centre for the Arts (Alberta, Canada). Espace / Escape was selected by the 1991 International Computer Music Conference (ICMC ’91) in Montréal. A short sound recording — authentic ‘sound shooting’ (Michel Chion) — used in this piece was offered by composer Christian Calon; Dhomont thanks his friend for the gift, hoping to have made good use of it. This piece was commissioned by Claude Schryer / The Banff Centre for the Arts, realized with support from the Canada Council [for the Arts] (CCA).

Premiere

  • November 10, 1989, >convergence<: Concert 1, Margaret Greenham Theatre — The Banff Centre for the Arts, Banff (Alberta, Canada)

Awards

Composition

Zénith

Louis Dufort

  • Year of composition: 1999
  • Duration: 1:55
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T0708783996

Stereo

ISRC CAD500013880

The formal expansion of form

Rupture / Catharsis


Zénith was realized in 1999 in Studio 213 of the Conservatoire de musique de Montréal and premiered on 6 November 1999 during the Hautes tensions concert at the 1st Elektra festival produced by ACREQ at Usine C in Montréal. Thanks to Marie Chouinard and Luc Lemay (from the band Gorguts) for their vocals, and to Serge Prévost for studio access.

Premiere

  • November 6, 1999, Elektra 1999: Hautes tensions, Usine C, Montréal (Québec)

Composition

Breathing Room

Hildegard Westerkamp

  • Year of composition: 1990
  • Duration: 2:33
  • Instrumentation: stereo fixed medium
  • Publisher(s): Yul média
  • ISWC: T0704787949

Stereo

ISRC CAD500013900

This is the second in a series of Breathing Room pieces. Music as breath-like nourishment. Breathing as nourishing musical space. The breath — my breath — is heard throughout the three minutes. All sorts of musical/acoustic things happen as I breathe in and out. Each breath makes its own, unique statement, creates a specific place in time. Meanwhile the heart beats on, propelling time from one breath to the next.

Hildegard Westerkamp [xi-90]

Premiere

  • November 2, 1990, Montréal musiques actuelles / New Music America, Acousmonium: Concert 6: Électro clips, Théâtre Les Loges, Montréal (Québec)

Composition

Scores

  • [November 1992]
    Breathing Room (1990, 3:04) by Hildegard Westerkamp

Racing Through, Racing Unseen

Natasha Barrett

  • Year of composition: 1996
  • Duration: 2:57
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: empreintes DIGITALes
  • ISWC: T0017055901

Stereo

ISRC CAD500013910

Racing Through, Racing Unseen contains, in condensed form, the impetus behind its 20-minute long parent work, Racing Unseen. / Racing through, / Racing amongst, / Into new spaces, / Away from old emotions, / Racing high, racing low, / to escape, to seek, / racing into eddy… racing forever… racing unseen.

This sonic postcard takes a snapshot from the south side of Blackfriar’s Bridge, a stone’s throw along the footpath to the Royal Festival Hall. This clip can be coupled as a epilogue to St Paul’s Descending into the Autumn Mist. It embodies an impressionistic and personal development of the sound-world, listening towards the distant image of St Paul’s Cathedral. It attempts to capture the bare essence behind the original sound-world: thoughts and emotions as they are washed up onto the score of the River Thames. [ii-98]

Composition

  • 1996

L’ivresse de la vitesse

Paul Dolden

  • Year of composition: 1992-93
  • Duration: 2:10
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T0708465228

Stereo

ISRC CAD500013920

The title L’ivresse de la vitesse (Intoxication by Speed) is an allusion towards my current artistic intentions which involve the speeding up of an excess of musical ideas so that the composition and its materials exhaust themselves in the shortest time possible. The intoxicating aspect of speed is evoked by using primarily fast tempo markings and rapid changes in orchestration, density and dynamics. These elements can be particularly sped up to the point of exhaustion and intoxication in the digital audio studio which is limitless or ‘virtual’ in its colour and density possibilities.

To increase the sensation of exhaustion and intoxication, hundreds of musical parts occur simultaneously that are organized by numerous musical systems which unfold concurrently. A few of these musical systems originate in different styles of popular music. These musical styles are organized by an overall compositional language and style in order to diffuse their direct effect or reference point, and to create an internally coherent music. This overall compositional language is intended to make the different musical styles and compositional systems implode inwards, creating new identities beyond their worn-out historical reference points, and to produce what I hope is like seduction: undeniably attractive and yet simultaneously unexplainable. Indeed any work that is totally complicit in its own absorption, so that it no longer makes apparent sense on the surface, will exercise a remarkable fascination. In short, an art work fascinates by its esotericism which preserves it from external logic.


L’ivresse de la vitesse was realized in the composer’s studio with assistamce from the Canada Council for the Arts (CCA) and in particular from a Media Arts Audio Production Grant. It premiered on May 28, 1994 at the 3rd Annual Festival of Experimental Music organized by the London Musicians’ Collective (UK). L’ivresse de la vitesse was awarded the 2nd Prize at the 3rd Prix international Noroit-Léonce Petitot (Arras, France, 1994); 1st Prize in the Musica Nova 1994 International Competition of Electroacoustic Music (Prague, Czech Republic); 1st Mention in the Stockholm Electronic Arts Award (Sweden, 1995); and the Jean A Chalmers Award for Musical Composition (Toronto, Canada, 1995).

Premiere

  • May 28, 1994, Concert, London (England, UK)

Awards

Composition

Scores

Bois

Annette Vande Gorne

  • Year of composition: 1986
  • Duration: 2:09
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T9004623136

Stereo

ISRC CAD500013930

To Marie-Jeanne Wyckmans

•• Imitation / development: Based on proliferation and brassage [‘stirring up’ in French, is a sound processing function of the SYTER system], Bois (Wood) is part of a broader investigation into nature as model, a very old process of the human mind that has recently regained popularity via computer modelling in computer graphics for example.

Each movement starts with an image-model whose energy flow system will later be expanded: repeated blows of a tree being felled, endless rotation of a mill, swinging/swaying of a ping pong game.

•• Symbol: The felling and the death of a tree as a symbol of the forest, of Nature being truly murdered. “Miller, you are asleep…” and the world is turning crazily in Your absence.

•• Form: While the first part maintains and directs listening in a linear fashion, the second opens the space and the third superimposes a polyphonic proliferation of oscillating materials in all fields of perception (registers, durations, matters, movements, spaces), and ends after a moment of stillness by taking up again the two other energy models, again in a polyphonic fashion. The whole is an attempt to transpose the tree morphology in time.

•• Anecdote: The door (an electroacoustic cliché since Pierre Henry) opens and closes the book of Bois whose story is told between the cutting down and the fall of the tree.

•• Spatialization: This piece is played in fast, rich, abundant, and ‘stirred up’ movements. Everything moves, except the images. A relatively complex multiphonic device, with a minimum of twelve loudspeakers, is therefore essential.

[xii-93]


Bois [Wood] was realized at the Métamorphoses d’Orphée studio of Musiques & Recherches in Ohain (Belgium) and premiered during the Cinéma pour l’oreille concert series, organized by the Première université de la radiophonie, on August 14, 1986 in Arles (France). Many thanks to Christian Debecq (traverso flute), Éliane and Raoul Debrus, Thierry Génicot and André Van Belle with whom I was able to produce most of the material, as well as to Vania Dantas Leite for lending me her recordings of the Amazonian forest.

Premiere

  • August 14, 1986, Première université de la radiophonie — Cinéma pour l’oreille, Cinéma Passage — Le Méjan, Arles (Bouches-du-Rhône, France)

Composition

Associations libres

Gilles Gobeil

  • Year of composition: 1990
  • Duration: 1:48
  • Instrumentation: electric guitar and stereo fixed medium
  • Publisher(s): Yul média
  • Commission: René Lussier, with support from the CCA , empreintes DIGITALes
  • ISWC: T0702933081

Stereo

ISRC CAD500013940

This piece was born of the desire after fifteen years, to collaborate with the guitarist René Lussier. Using his talent for improvisation, I have employed the wide variety of timbres and sound matter from his interpretation. The tape consists of a succession of very dense and expressive scenes onto which the guitar’s living and playful gestures are placed.

Gilles Gobeil [xi-90]


Associations libres [Free Associations], a commission by René Lussier with support from the Canada Council [for the Arts] (CCA), was realized at the studio Ondes in Montréal in July, 1990.

Premiere

  • November 2, 1990, Montréal musiques actuelles / New Music America, Acousmonium: Concert 6: Électro clips, Théâtre Les Loges, Montréal (Québec)
  • March 7, 2015, Mixed version premiere: Patrice Soletti, electric guitar; Julien Guillamat, diffusion • Figures du siècle, Salle Pasteur — Le Corum, Montpellier (Hérault, France)

Awards

Composition

  • 1990-07, Ondes, Montréal (Québec)

About this recording

Version remixed in 1994.

Remixing

  • 1994, Montréal (Québec)

Scores

  • [November 1992]
    Associations libres (1990, 3:00) by Gilles Gobeil

Musique de l’Odyssée sonore, 4: Eau

Claude Schryer

  • Duration: 1:21
  • Instrumentation: fixed medium
  • Publisher(s): Ymx média
  • ISWC: T0703318459

Stereo

ISRC CAD500013950

The multiple voices of liquid

“At the time of the shaking of the earth, the city emerged from the bottom of the ocean and was always surrounded by water. No two drops of water sing the same note and every river has its own melody. In the winter season, the ice and snow bring to it a particular tonality.” 1

Transformed water: streams and creeks, Montmorency falls, Saint-Laurent river, summer rain and winter ice.

1 Excerpts from the narration of the film written by Georgette Duchaîne

[ix-97]

Preparation

  • Richard Besse, Marcel Fraser, Gilles Corbeil

Composition

Mixing

  • Shelley Craig; Geoffrey Mitchel, assistance •

Vroum

Marc Tremblay

  • Year of composition: 1997
  • Duration: 1:35
  • Instrumentation: stereo fixed medium
  • Publisher(s): Yul média
  • ISWC: T0704807408

Stereo

ISRC CAD500013970

We are surrounded by objects whose importance is directly related to their utility. To one degree or another these object all have their own sounds, but as they become commonplace we tend to lose our ability to hear them. They become a part of the blurring of the sounds of everyday life.

The automobile is unquestionably one of the most important inventions of our century. They have changed our perception of time and space, and have come to dominate most of the soundscapes of our towns and our countryside.

Deliberately anecdotal, Vroum suggests a new way to hear that apotheosis of our age, the automobile.

[xii-99]


Vroum was realized between February and May 1997 at the composer’s studio in Matane with support from the Conseil des arts et des lettres du Québec (CALQ). The work premiered on May 1, 1997 during the concert “Haute tension” presented by ACREQ at Usine C in Montréal. Thanks to Bernard Pedneault (Radio-Canada Matane), Jocelyn Robert, Émile Morin, Philippe Giroux, André Harvey, Roland Bérubé and Diane Lajoie.

Premiere

  • May 1, 1997, Haute tension, Usine C, Montréal (Québec)

Composition

La guerre

Philippe Le Goff

  • Year of composition: 1995
  • Duration: 2:11
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T9247660555

Stereo

ISRC CAD500013980

La guerre (War) which follows is a dream-like war between appearance and that within, of which the weapon is vocal sound, that of the breath, of laughter and of words. The chants which I arranged, perforemed by Élise Caron and Valérie Joly, evolve towards a trance; they attempt to lose themselves in the sounds of the aurora borealis. The general atmosphere of this study is dominated by the variations of Arctic light…

[i-95]


With Élise Caron, Valérie Joly, voice; Patrick Rouch, Yves Stocker, Paul Tanguy, horn. And with the participation of: Luc Candardjis, tympani; Louis Chretiennot, electric guitar; Jean-Jacques Cornillon, shanaï; Pascal Dusapin, Hammond organ; Philippe Foch, percussion; Gilles Grand, saxophone; Schyamal Maïtra, tabla; Anna & Margaux, Olivier Cadiot, Eeleesapee Ishulutak, Mary Ann Issarkiark, Maaki Kakkik, Malaia Papatsi, Martha Sivuarapik, Laina Tullaugak, Eeeleesapee Tulugak & Tapisaq, voice. And with the farewells of the ornithological team of Tony Gaston on deserted Coat Island (Hudson Bay).

Preparation

  • 1988 – 1993

Composition

Mixing

Mambo à la Braque

Javier Álvarez

  • Year of composition: 1990
  • Duration: 2:05
  • Instrumentation: stereo fixed medium
  • Publisher(s): Yul média
  • Commission: empreintes DIGITALes
  • ISWC: T0103334184

Stereo

ISRC CAD500014000

Like words made out of cutting letters from a newspaper, I have used in Mambo à la Braque [Braque-style Mambo] short musical segments which come from the well known mambo Caballo Negro by composer Dámaso Pérez Prado to whom this short piece pays homage. I have reassembled them into a sound mosaic and used a few other sounds to ‘glue’ them together. My aim was to create a sort of cubist music, or put in other words, a mambo of my own invention made out of mambo cuttings.

Javier Álvarez [xi-90]

Premiere

  • November 2, 1990, Montréal musiques actuelles / New Music America, Acousmonium: Concert 6: Électro clips, Théâtre Les Loges, Montréal (Québec)

Composition

Scores

  • [November 1992]
    Mambo à la Braque (1990, 3:02) by Javier Álvarez

Suite baroque, 4: L’Extase

Yves Daoust

  • Duration: 2:29
  • Publisher(s): Ymx média
  • ISWC: T0704946984

Stereo

ISRC CAD500014010

Love scene between the harpsichordist and her instrument.

[ix-91]

Composition

Princess Bat With the Underground Stars

Kim Hedås

  • Year of composition: 1996
  • Duration: 1:19
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: empreintes DIGITALes
  • ISWC: T0000429504

Stereo

ISRC CAD500014020

Why these three sounds, why three minutes, why one part of 15 seconds and one of 2 minutes 45? For me, these rules didn’t make any sense. I began to invent my own explanations, trying different techniques to connect material and form in order to give them musical significance. The sound material I added was, together with the three given sounds, divided into six classes and in the piece used as parts of the polyphonic structure. The form can be described as a slowly changing wave or, as the title implies, as a flying bat with the stars beneath. It was produced in the electroacoustic studio at the Royal University College of Music in Stockholm.

Composition

The Unmoved Centre

Randall Smith

  • Year of composition: 1997
  • Duration: 1:28
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: Réseaux des arts médiatiques, with support from the CCA
  • ISWC: T0727934180

Stereo

ISRC CAD500014040

The Unmoved Centre is a sonic realization of the poetics of spiritual mobility, a journey into the center of the imaginative image. This invitation into the imagination is a gentle push into the unknown which throws us off balance and sets in motion a dynamic reverie towards ambiguity and metaphor. Rather than represent exterior realities and actions, this piece analogizes them to trace the process of its own making. The title refers to that informed pool of possibilities which seeks shaping, and whose structure lies finally beyond the bounds of the individual. The dramatic focus of The Unmoved Centre is the transformation from outer to inner existence. It is a play of forces that map the body’s spiritual struggles as it searches for its tunings within the manageable and imaginable. It is found in a sphere of connected, conflicting and harmonious sounds.

The Unmoved Centre opens with rumour and suggestion, the possibility of form. A tender string figure introduces order, and then these elements, so long distant and apart, begin to speak to one another in earnest, rhythmically cohering, forming bodies. A trilling, snycopated voice cries out for company which arrives in the form of a creaking succession of closed doors. Foreign life forces meet, like cells inside the immune system. Intruders are detected, repulsion’s attempted and thwarted, and then some pact of reconciliation is carved out. Thousand of small movements duck, nod and feint their way towards new signs of greeting — in the absence of a common language a new one must be made. At last a new unearthly rhythm arrives, a marriage of stretched strings and shaken antidotes. The dance begins again.

MH

[xii-99]


The Unmoved Centre was realized at the composer’s studio in 1997. It was commissioned by Réseaux des arts médiatiques with support from the Canada Council for the Arts (CCA) and was realized at the composer’s studio. It premiered on February 19, 1997 during Réseaux’s Rien à voir (1) concert series presented by Réseaux at Théâtre La Chapelle in Montréal.

Premiere

  • February 19, 1997, Rien à voir (1): concert solo + carte blanche: Pression sonore, La Chapelle — scènes contemporaines, Montréal (Québec)

Composition

Jets

Ned Bouhalassa

  • Year of composition: 1996-98
  • Duration: 1:53
  • Instrumentation: stereo fixed medium
  • Publisher(s): Yul média
  • ISWC: T0702851533

Stereo

ISRC CAD500014050

Jets was originally conceived for the sound projection system of San Francisco’s Sound Traffic Control (STC). I wanted to write a piece that could demonstrate the potential of automated sound projection. In order to make a dynamic and energetic piece, I chose to use jet-shaped materials. Water, air and dust jets that leave a trace as they move through space would serve as models for the creation of my sonic materials. There are objects in this piece which move freely, in an almost intuitive manner; others flee quickly, like hunted animals; finally, there are those that hurl themselves against the edges of the stereo field, as if they were in a cage. There is also a kind of nostalgia that is found in the more ‘musical’ passages that serves as a setting, as ambience.


Jets was realized at the STC studios (Compound) and at the composer’s studio (Pssssst) with support from the Conseil des arts et des lettres du Québec (CALQ). Thanks to the entire STC team (particularly Naut Humon), Andrew Schinasi (saxophone), Celso Machado (flute) and, for his critical ear, Bruce Gottlieb.

Composition

Study in Ink

Adrian Moore

  • Year of composition: 1997
  • Duration: 1:14
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T9016939256

Stereo

ISRC CAD500014060

Study in Ink is a single-source piece: a recording of a marker pen on a whiteboard. Whilst writing on a whiteboard I noticed how, as the pen became dry, it began to make very interesting noises that could be used musically. (For many people this class of sounds is simply ‘noise’ to be avoided since the majority of the sounds of the marker pen lies within the 1,000 to 4,000 hertz frequency range; one of the more sensitive regions of hearing.)

After the initial source-recording process, the combination of tones and noises and their movement within the stereo field gave rise to quite complex material. With further equalization and sound treatment I obtained relationships of pitch, dynamics, speed and gesture. The pen moved from a wispy air-like sound through screeching tones and finally to a slip-grip grating sound. In developing this material, I turned to frequency-shifting to provide longer gestures over a wider frequency bandwidth. This hierarchy of gestures formed the basis of the work: long tones underpinning or overhanging smaller combinations of gestures.

The form of the work is centered upon moments of tension and relaxation, moments of joy and moments of sadness, but always tinged with a little humor. The fleeting gestures of the pen are contrasted with sections of imposed rigidity which include pulsed structures. The natural pitch-contour of the pen gives rise to some very human qualities such as sighing (descending gestures) and questioning (quick ascending gestures).

[ix-00]


Study in Ink was realized in 1997 in the Electroacoustic Music Studios of the University of Birmingham (UK) and premiered in 1997 at the Discoveries series in Aberdeen (Scotland). Study in Ink received the 2nd prize ex æquo at the Hungarian Radio’s EAR’97 International Competition of Electroacoustic Music (Budapest, Hungary, 1997).

Premiere

  • 1997, Discoveries, Aberdeen (Scotland, UK)

Awards

Composition

… erinnerung…

Hans Tutschku / Antonio Bueno Tubía

  • Year of composition: 1996
  • Duration: 2:33
  • Instrumentation: 4-channel fixed medium
  • Publisher(s): Ymx média
  • ISWC: T8003527105

Stereo

ISRC CAD500014080

In recent years the use of speech has been a central compositional concern. In … erinnerung… (… memento…) the recorded poem forms the starting point for acousmatic transformations. Apart from this text there is a second group of sources, which include bells and tam-tams. I used granular synthesis to cut the sounds into small pieces and played them back polyphonically to create dense sound textures. The resulting sonic intensity is a musical translation of the central phrase of the poem Yo os lo aseguro… (I assure you…) by Antonio Bueno Tubía: “I / assure you / the prison is there / I recall it like a lash to the face.”

[xii-99]


… erinnerung… was realized in 1996 in the studio of the Akademie der Künste (Berlin, Germany) and first performed in its original 4-channel version on 26 November 1996 during a concert at the Liszt School of Music (Weimar, Germany).

Premiere

  • November 26, 1996, Tage Neuer Musik in Weimar: Concert, Hochschule für Musik Franz Liszt Weimar, Weimar (Thüringen, Germany)

Composition