Rhizomes (CD) Track listing detail

Metharcana

Stephan Dunkelman

  • Year of composition: 1998
  • Duration: 9:05
  • Instrumentation: 8-channel fixed medium
  • Publisher(s): Ymx média

Stereo

ISRC CAD500214840

  • 44,1 kHz, 16 bits

Metharcana was produced using material intended for a dance production. Starting from the idea that works of this type explore time within a defined space, I became interested in developing a paradox of this interweaving of dance and music — by exploring the use of space within a timeframe defined by the choreographic structure. It is this interaction that I have tried to transpose into this concert piece where two seemingly ill-matched sonic worlds are brought together and treated with the morpho-dynamic analogies that make the relationship viable and suggest a different listening experience — that of a neglected “a-concrete” voice.

[English translation: Tom Carter]


Metharcana was realized, with support from the Communauté française de Belgique, at the composer’s studio in 1998 and premiered on November 11, 1998 during the 5th International Acousmatic Festival L’Espace du son in XL Théâtre du Grand Midi (Brussels, Belgium). I would like to thank choreographer Michèle Noiret for giving me the opportunity to work in the dance field and to Emmanuel Favreau, from Ina-GRM, for providing me with the GRM Tools software, a precious musical toolbox. Metharcana was awarded the First Prize at the Stockholm Electronic Arts Award (Sweden, 1998).


Premiere

  • November 18, 1998, L’Espace du son 1998: Concert d’ouverture, XL Théâtre du Grand Midi, Brussels (Belgium)

Awards

Rituellipses

Stephan Dunkelman

  • Year of composition: 1993-96
  • Duration: 10:59
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média

Stereo

ISRC CAD500214850

  • 44,1 kHz, 16 bits

(Even if I dance in silence, I can only do so musically)

“Where the trajectory of sound oscillates in a swinging movement representing the physical laws of attraction.” —Dominique Besson in Les Musicographies, CD-ROM, Ina-GRM

Rituellipses is music of “sounds in movement,” made by and for dance. The sonic objects, made from fragments of concrete or instrumental musical patterns, are swept along as if by centrifugal force. They follow each other in continuous rotational movements that only silence suspends.

These studies of trajectory combinations are developed in short movements that are alternately lively, calm, restrained or uninhibited. Equilibrium had been achieved when the whole appeared to me to be multipliable — complete yet expandable.

Scenes from two films (The Sacrifice by Andrei Tarkovsky and Night Sun by Paolo and Vittorio Taviani) were constantly in mind throughout the creation of this work. They are about the relationships that each of us can have with a tree, that object of archaic worship that, like stone, seems to carry traces of lost wisdom. It is their imprint that imbues the spirit of the piece.

[English translation: Tom Carter]


Rituellipses was realized between 1993 and ’96 at the studios of Musiques & Recherches (Ohain, Belgium) and premiered in March 1993 during the Ars Musica Festival (Brussels, Belgium). Rituellipses was awarded a special mention at the Stockholm Electronic Arts Award (Sweden, 1993) and a Honorable Mention at the Prix Ars Electronica (Linz, Austria, 1995). The piece was recorded in 1998 on the disc Project’son, Effects Input (GMEM EI 10) and an excerpt was incorporated in the Ina-GRM CD-ROM Les Musicographies (1996).


Premiere

  • March 23, 1993, Ars Musica 1993: Concert de la classe de composition électroacoustique du Conservatoire royal de Bruxelles, Théâtre de Banlieue, Brussels (Belgium)

Awards

Hanna’ Duet

Stephan Dunkelman

  • Year of composition: 1998
  • Duration: 3:32
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média

Stereo

ISRC CAD500214860

  • 44,1 kHz, 16 bits

This short piece is a geometric replica, a simple reproduction of a segment of choreography. A group observes a couple’s hesitation and verbally harasses them: essence and existence in the ashes.

[English translation: Tom Carter]


Hanna’ Duet was realized at the composer’s studio in 1998 and premiered on October 13, 2000 during the 7th International Acousmatic Festival L’Espace du son (Brussels, Belgium).


Premiere

  • October 13, 2000, L’Espace du son 2000: Concert, Chapelle de Boondael, Brussels (Belgium)

Dreamlike Shudder in an Airstream Part 1: for a crumpled woman

Stephan Dunkelman

  • Year of composition: 2000
  • Duration: 13:52
  • Instrumentation: 8-channel fixed medium
  • Publisher(s): Ymx média

Stereo

ISRC CAD500214870

  • 44,1 kHz, 16 bits

How can natural energy impart the dynamic of the unreal to the real, and of the real to the unreal? What are the points of contact that make free-flow between the two possible? These are some of the questions that this piece raises.

[English translation: Tom Carter]


Dreamlike Shudder in an Airstream Part 1 was realized, with support from the Communauté française de Belgique, at the composer’s studio in 2000 and premiered in March 2000 during a concert produced by ARTeM (Art, recherche, technologie et musique [Art, Research, Technology, and Music]). I would like to thank Charo, Axel and Wim for the part they played in the creation of the work. Dreamlike Shudder in an Airstream Part 1 received a jointly awarded Public’s Prize at the Biennial Acousmatic Composition Competition, Métamorphoses 2000 (Brussels, Belgium) and was recorded in 2000 on the disc Métamorphoses 2000, Musiques & Recherches (MR 2000).


Premiere

  • March 19, 2000, Mouvements croisés, Théâtre Les Tanneurs, Brussels (Belgium)

Awards

Aquaéra 1

Stephan Dunkelman

  • Year of composition: 1996
  • Duration: 3:00
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: empreintes DIGITALes

Stereo

ISRC CAD500214880

  • 44,1 kHz, 16 bits

Brief moment of contemplation for a delusional abstraction. Aquaéra 1 constitutes my first attempt at composing with sonic elements sampled from reality whose morphological substance infers or moulds the movements of other acting elements.


This piece was realized in the studios of Musiques & Recherches (Ohain, Belgium). Special thanks to Phil Billen (painter and sculptor), Annette Vande Gorne (professor and composer), and Marie-Jeanne Wyckmans (composer and sound-effects artist).

Signallures

Stephan Dunkelman

  • Year of composition: 1991
  • Duration: 8:27
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média

Stereo

ISRC CAD500214890

  • 44,1 kHz, 16 bits

Discover all that in you trembles.
Scoff at all that slips away.
Dive in, knowing failure is certain.
Awake to yourself less cold.

Discover all that trembles in you.
Ridicule all that eludes you.
Leap, knowing you’ll fail.
Come alive to yourself less cold.

I have attempted to produce two ways of playing sonic elements (striking and rubbing) and of disseminating them (trajectories in the width and the depth of the stereophonic field), associating each with a specific type of trajectory and establishing their breaking points and harmonic angles through modulation.

[English translation: Tom Carter]


Signallures was realized in 1991 at the studios of Musiques & Recherches (Ohain, Belgium) and premiered in April 1991 as part of the SEM (Studio voor Experimentele Musiek) concert (Antwerp, Belgium). Signallures was a finalist in the Luigi Russolo International Competition (Varese, Italy, 1991). It was recorded in 1996, on the disc Acousmatica, “2e Rencontres internationales de jeunes compositeurs de musique acousmatique,” Acousma (CD 1296).


Premiere

  • April 1991, Concert, Antwerp (Belgium)

Thru, Above and Between

Stephan Dunkelman

  • Year of composition: 1998
  • Duration: 10:10
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: Musiques & Recherches

Stereo

ISRC CAD500214900

  • 44,1 kHz, 16 bits

In this, my first work for radio, I wanted to present a resolutely musical alternative for an electroacoustic genre too often influenced by literary thinking. The city, the subject proposed by the sponsor, is presented as an imploding dream: Brussels, too dependent on the dreams of others, must constantly look elsewhere to rediscover its own.

[English translation: Tom Carter]


Thru, Above and Between was realized in 1998 at the studios of Musiques & Recherches (Ohain, Belgium) and at the composer’s studio and premiered on November 17, 1999 during the 6th International Acousmatic Festival L’Espace du son (Brussels, Belgium). It was commissioned by Musiques & Recherches.


Premiere

  • November 17, 1999, L’Espace du son 1999: Concert, XL Théâtre du Grand Midi, Brussels (Belgium)

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