L’ivresse de la vitesse 1 (CD) Track listing detail

L’ivresse de la vitesse

Paul Dolden

  • Year of composition: 1992-93
  • Duration: 15:49
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T0708465228

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the different musical styles and compositional systems implode inwards, creating new identities beyond their worn-out historical reference points, and to produce what I hope is like seduction: undeniably attractive and yet simultaneously unexplainable.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


About this recording

This work was reprocessed, remixed and remastered in the composer’s studio in 2001-02.

Physics of Seduction. Invocation #3

Paul Dolden

  • Year of composition: 1992
  • Duration: 18:30
  • Instrumentation: cello (or viola or violin) and stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: Richard Armin, with support from the CCA
  • ISWC: T0705085193

What compositional strategy can the contemporary artist use in order to produce a subversive charge in the face of a world drained of substance, meaning, value and difference? One approach is to use the materials of repression and extend their logic to such an extreme or excess that they implode from within. By using an extreme amount of ‘ordinary’ musical sounds and gestures, their reality becomes more real than real. In other words, the sounds escape the networks of meaning and association which have built up the reality of our world. In addition, with an extreme or excess of sounds, it is possible for speed to become faster than fast and thus for everything to become instantaneous. In this condition linear time and temporal reality are transcended. This compositional strategy, involving an escalation to extremes, means that the materials themselves disappear as they implode inward and take on new appearances. The realm of seduction involves the strategies of appearances. As a contemporary composer, all that I can hope for is that I have provided the physics, or the interaction of motion and energy, for your own seduction.


Physics of Seduction. Invocation #3 was recorded and produced at the composer’s studio. It was commissioned by Richard Armin with assistance from the Canada Council for the Arts (CCA) and premiered by him on April 5, 1992 in Montréal as part of the cello festival Le violoncelle à toutes les cordes. Versions of this piece exist for viola and tape and for violin and tape.


Premiere

  • April 5, 1992, Richard Armin, cello • Le violoncelle à toutes les cordes, Montréal (Québec)

About this recording

… the recorded cello part was performed by Peggy Lee in March 1994. This work was reprocessed, remixed and remastered in the composer’s studio in 2001-02. New recordings of the drum parts (performed by Philippe Keyser) were made for the remastering process.

Revenge of the Repressed. Resonance #2

Paul Dolden

  • Year of composition: 1993
  • Duration: 7:12
  • 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 2001-02.

Dancing on the Walls of Jericho

Paul Dolden

  • Year of composition: 1990
  • Duration: 16:15
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: Montréal musiques actuelles / New Music America, with support from the CCA
  • ISWC: T0705498958

Dancing on the Walls of Jericho is the second of a three-part composition, which philosophically addresses the idea of revolution. Part two continues from where part one, Below the Walls of Jericho, had ended. Part one acted as a metaphor for the idea of social change through revolution. Therefore part one was primarily concerned with the vertical monolith and its tearing down by the anonymous massed texture of four hundred tracks of sound. By contrast, part two celebrates this tearing down with a constant polyrhythmic dance on the rubble and the use of extroverted soloistic gestures.

All three parts are concerned with similar materials and gestures: the unaltered or unprocessed digital recording of hundreds of tracks of acoustic instruments from the Western and Eastern musical traditions, extensive polyrhythmic interplay between the hundreds of tracks of sound (at times fourty different tempos are used at the same time), contrasts in the way the instruments are played in a soft or loud manner, and contrasts of extreme consonance and extreme dissonance (ie: Just Intonation versus textures of seven octaves, in which each octave has fourty-eight different notes).


Dancing on the Walls of Jericho was realized in the composer’s studio in 1990. It was commissioned by Montréal musiques actuelles / New Music America festival with assistance from the Canada Council for the Arts (CCA). The work premiered at the Les Loges theatre during the Montréal musiques actuelles / New Music America festival on November 1, 1990. Of the many performers in Dancing on the Walls of Jericho and Beyond the Walls of Jericho, special mention must be made of Marko Novachcoff of Detroit (Michigan, USA) who played most of the soloistic gestures on the reeds, winds and brass instruments. The composer performed the soloistic gestures on all the bowed and plectrum string instruments.


Premiere

  • November 1, 1990, Montréal musiques actuelles / New Music America, Acousmonium: Concert 3: Grandes premières, Théâtre Les Loges, Montréal (Québec)

About this recording

This work was reprocessed, remixed and remastered in the composer’s studio in 2001-02.

Physics of Seduction. Invocation #2

Paul Dolden

  • Year of composition: 1991
  • Duration: 13:19
  • Instrumentation: harpsichord and stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: Vivienne Spiteri, with support from the CCA
  • ISWC: T0705073488

Speed creates pure objects. It is itself a pure object, since it cancels out the ground and territorial reference points, since it runs ahead of time to annul time itself, since it moves more quickly than its own cause and obliterates that cause by outstripping it. Speed is the triumph of effect over cause, the triumph of instantaneity over time as depth, the triumph of the surface and pure objectality over the profundity of desire. Speed creates a space of initiation which may be lethal; its only rule is to leave no trace behind. Triumph of forgetting over memory, an uncultivated amnesic intoxication.


The tape portion of Physics of Seduction. Invocation #2 was realized in the composer’s studio in 1991. It was commissioned by Vivienne Spiteri with assistance from the Canada Council for the Arts (CCA). The work was premiered by Vivienne Spiteri on August 1, 1992 at the NEMO festival in Aarhus (Denmark). Physics of Seduction. Invocation #2 was recorded by Vivienne Spiteri for the compact disc comme si l’hydrogène… the desert speaks on J&W Records (J&W 931).


Premiere


About this recording

… the recorded harpsichord part was realized in the DIEM studio in Aarhus (Denmark) in 1992. The final mix of the tape and live part was done in the composer’s studio in 1993. This work was reprocessed, remixed and remastered in the composer’s studio in 2001-02. New recordings of the drum parts (performed by Philippe Keyser) were made for the remastering process.

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