electrocd

Track listing detail

Here and There

Francis Dhomont

  • Year of composition: 2003
  • Duration: 10:09
  • Instrumentation: 8-channel fixed medium
  • Publisher(s): Ymx média
  • Commission: NAISA, with support from the CCA
  • ISWC: T0044193078

Stereo

ISRC CAD500619950

  • 44,1 kHz, 16 bits

To Darren Copeland and David Eagle

The title could have been “Spatial planes,” since the piece’s intention mainly presents different models of sound progression within three-dimensional space. It is therefore a study. But a very liberal study that does not try to demonstrate, nor does it rules out lyricism. Formally, it is presented like a suite of short pieces aimed at the various perceptions of spatialized sounds. The listener will be able to identify various types of spatial gestures — moving/still, punctual/plethoric, near/far — as well as acoustic images playing with localizations, trajectories, masses and sound textures. However this principle of articulation, even if it provides the focus of the piece, does not have to hinder the simple pleasure found in aural immersion.

In its original live 8-channel version, this acousmatic piece gives the spotlight back to the performer, as it pairs up six preprogrammed channels (through Darren Copeland’s Audiobox) and two live-mix channels (through David Eagle’s aXi0 Controller).

[English translation: François Couture, viii-06]


Here and There was realized in 2003 at the composer’s studio in Montréal. The work was premiered by David Eagle and Darren Copeland on May 11, 2003 during Open Ears, 4th Festival of Music and Sound in Kitchener (Ontario). Here and There was commissioned by New Adventures in Sound Art (NAISA) in Toronto with support from the Canada Council for the Arts (CCA). Here and There was awarded First Prize at the 5th Concorso Internazionale di Composizione Musicale Elettronica Pierre Schaeffer (Pescara, Italy, 2005) and was recorded on the disc 5°/4° Concorso Internazionale di Composizione Musicale Elettronica Pierre Schaeffer.


Premiere

  • May 11, 2003, Darren Copeland, David Eagle, diffusion • Open Ears 2003: Electroacoustic Concert, Rotunda Gallery — Kitchener City Hall, Kitchener (Ontario, Canada)

Awards

Composition

About this recording

This version is a stereophonic reduction; although the spatial variations are less obvious, the essence of the work remains space itself.

Remixing

Je te salue, vieil océan!

Francis Dhomont

  • Year of composition: 1998, 2000-04
  • Duration: 14:54
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: IMEB
  • ISWC: T0046830641

Stereo

ISRC CAD500619960

  • 44,1 kHz, 16 bits

To the ”disciple” and master Christian Calon

“Ancient ocean, O great celibate… tell me then whether the Prince of Darkness resides in you. … for I will rejoice in the knowledge that Hell lies so near to Man.” — “Song I,” The Songs of Maldoror (Les chants de Maldoror) (1869), Lautréamont (1846-70).

The ocean referred to here is the one evoked by Lautréamont in his fantastic imprecations in The Songs of Maldoror — selected excerpts are read by Marc-Henri Boisse —, an extreme and Satanic universe still attached to Romanticism yet foretelling surrealist poetry. These storms, these breaking waves, this undertow, these hurricanes have little to do with reality — this is a metaphorical ocean, a maritime archetype, whose sound material was obtained either through the treatment of acoustic sounds or synthesis, except for a few rare initial recordings.

[English translation: François Couture, viii-06]


Je te salue, vieil océan! [Hail, Ancient Ocean!] was realized in 1998 at the studios of the Institut international de musique électroacoustique de Bourges (IMEB, France) and premiered on May 31, 1999 as part of Synthèse, the Festival international de musique électroacoustique de Bourges (France). The final version of Je te salue, vieil océan! — which supersedes the previous one of 1998 — was completely reworked in 2000-04 at the composer’s studio in Montréal (Québec) and premiered on June 5, 2005 as part of Synthèse, the Festival international de musique électroacoustique de Bourges (France). It was commissioned by the Institut international de musique électroacoustique de Bourges (IMEB, France). Thanks to Marc-Henri Boisse, recorded voice.


Premiere

  • May 31, 1999, Synthèse 1999: La mer — Le flux, Grand théâtre — Maison de la culture de Bourges, Bourges (Cher, France)
  • June 5, 2005, Premiere of the final version: Synthèse 2005: Concert, Palais Jacques-Cœur, Bourges (Cher, France)

Composition

Revision

Chroniques de la lumière

Francis Dhomont

  • Year of composition: 1989, 2005
  • Duration: 29:12
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: SMCQ, with support from the CCA
  • ISWC: T0030634753

Stereo

To Annette Vande Gorne

These “Chronicles” are an impressionistic sonic version of visual elements — an undoubtedly metaphorical act —, a personal daydream of light based on a concept by Montréal visual artist Luc Courchesne.

An evocation of luminous phenomena, natural rays or multiple artifacts, Chroniques de la lumière (Chronicles of Light) is comprised of three movements: Miroitements (Shimmers), Artifices, Météores (Meteors) or adagio, allegro and presto-finale.

An evolution from slow to fast, calm to agitated, piano to forte, static to mobile, simple to complex.

[English translation: François Couture, viii-06]


Chroniques de la lumière [Chronicles of Light] was realized at the composer’s studio and premiered on April 26, 1989 at the Doppler Concert of the Société de musique contemporaine du Québec (SMCQ), at the Spectrum in Montréal. The proportions of Météores went through slight modifications in 2005; that particular movement is thus a new version. Chroniques de la lumière was first released on the Halogènes compact disc produced by the Université de Montréal on the UMMUS-Actuelles label (UMM C 101). Météores (1989) was released by empreintes DIGITALes in 1991 on Mouvances~Métaphores (IMED 9107/08), and in 1996 on Les dérives du signe (IMED 9608). Miroitements was selected by the 1995 International Computer Music Conference (ICMC95) in Banff (Canada); Artifices was selected by the 1994 International Computer Music Conference (ICMC94) in Aarhus (Denmark); Météores (1989) was selected by the International Society for Contemporary Music (ISCM) for the 1990 World Music Days in Oslo (Norway), and by the 1993 International Computer Music Conference (ICMC ’93) in Tokyo (Japan). Many of the sounds were realized at Studio 123 and with the SYTER real-time sound synthesis system of the Ina-GRM (Paris, France). Special thanks to Yann Geslin, Daniel Teruggi and the late Bénédict Mailliard for their invaluable advice. Chroniques de la lumière was commissioned by the SMCQ and realized with support from the Canada Council for the Arts (CCA).


Preparation

Composition

Revision

Chroniques de la lumière, 1: Miroitements

Francis Dhomont

  • Year of composition: 1989
  • Duration: 8:05
  • Publisher(s): Ymx média

Stereo

ISRC CAD500619970

  • 44,1 kHz, 16 bits
This text is unavailable in English.

Chroniques de la lumière est une écoute impressionniste d’événements visuels, une rêverie personnelle de la lumière, sur une idée de l’artiste montréalais Luc Courchesne. Évocation de phénomènes lumineux, de rayonnements naturels ou de multiples artefacts, l’œuvre complète comporte trois mouvements: Miroitements, Artifices, Météores; ou, si l’on préfère, Adagio, Allegro, Presto-Finale.

Miroitements s’inspire de mutations progressives de la lumière telles qu’elles se présentent dans la nature: aurore et crépuscule, lente ascension de la lune blafarde, évolution au sol de l’ombre portée d’un nuage, reflets solaires dans une eau tranquille…

[source: Réseaux des arts médiatiques] [ii-99]


Chroniques de la lumière, 2: Artifices

Francis Dhomont

  • Year of composition: 1989
  • Duration: 10:24
  • Publisher(s): Ymx média

Stereo

ISRC CAD500619980

  • 44,1 kHz, 16 bits

Chroniques de la lumière, 3: Météores

Francis Dhomont

  • Year of composition: 1989, 2005
  • Duration: 10:43
  • Publisher(s): Ymx média
  • Commission: SMCQ, with support from the CCA

Stereo

ISRC CAD500619990

  • 44,1 kHz, 16 bits

To Annette Vande Gorne

These “Chronicles” are an impressionistic sonic version of visual elements — an undoubtedly metaphorical act — a personal daydream of light based on a concept by Montréal visual artist Luc Courchesne.

With sound transpositions of luminous phenomena, natural rays or multiple artefacts, Chroniques de la lumière is comprised of three movements: Miroitements (Shimmers), Artifices, Météores (Meteors) or, if one prefers: adagio, allegro, presto-finale.

Météores proceeds by a progressive increase of elements, by slow accumulation, an increase of density, and a reinforcement of the sensation of speed and kinetic energy.

A progression is articulated, not only from slow to fast, but also from calm to agitated, from somber to clear, from piano to forte, from static to mobile, from simple to complex.

[xi-91] [viii-06]


Chroniques de la lumière (thus Météores) was realized at the composer’s studio and premiered on April 26, 1989, at the Doppler Concert of the Société de musique contemporaine du Québec (SMCQ) at the Spectrum in Montréal. Chroniques de la lumière was first released on the Halogènes compact disc produced by the Université de Montréal on the UMMUS-Actuelles label (UMM C 101). Météores was selected by the International Society for Contemporary Music (ISCM) for the 1990 World Music Days in Oslo (Norway), and by the 1993 International Computer Music Conference (ICMC ’93) in Tokyo (Japon). Many of the sounds were realized at Studio 123 and with the Syter real-time sound synthesis system of the Ina-GRM (Paris, France). Special thanks to Bénédict Mailliard, Yann Geslin and Daniel Teruggi for their invaluable advice. Chroniques de la lumière was commissioned by the SMCQ and realized with support from the Canada Council [for the Arts] (CCA). Météores was slightly modified in its proportions in 2005 and thus is a new version.


Preparation

Composition

Revision

Voyage-miroir

Francis Dhomont

  • Year of composition: 2004
  • Duration: 14:55
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: Réseaux des arts médiatiques, with support from the CCA
  • ISWC: T0045316220

Stereo

ISRC CAD500620000

  • 44,1 kHz, 16 bits

To Robert Normandeau, the composer and friend

Voyage-miroir is a replica of … mourir un peu (1984-87) and uses — in reverse order — the same themes (departure, fleeing, exile), since this mobility has always been with me. This mirror image of the vagrant metaphor finds its musical application in a crawfish-like form, a kind of contracted “speigelbild” of the 45-minute … mourir un peu, whose 10 movements are here brought down to 10 segueing sections presented in recurring order, with durations scaled down to a third of the originals. Like in … mourir un peu, the model selected here is the wave, whose dynamics is symbolized by the increasing and decreasing durations of the sections. The music is gradually thinned down until it disappears, putting in perspective the vanishing point of the reflection. The ebb and flow, an image “always reinitiated” of our desires, actions, experiences and hopes. Of live itself, and of death.

[English translation: François Couture, viii-06]


Voyage-miroir was realized in 2004 at the composer’s studio in Montréal (Québec) and premiered on February 13, 2004 during the Rien à voir (15) concert series presented by Réseaux at Espace GO in Montréal. The piece was commissioned by Réseaux des arts médiatiques with support from the Canada Council for the Arts (CCA).


Premiere

  • February 13, 2004, Rien à voir (15): Placespace, Espace Go, Montréal (Québec)

Composition

Corps et âme

Francis Dhomont

  • Year of composition: 2001-02
  • Duration: 7:40
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: Florence Gonot, Alexandre Yterce
  • ISWC: T0044469331

Stereo

ISRC CAD500620010

  • 44,1 kHz, 16 bits

To the enthusiasm of Florence Gonot and Alexandre Yterce

The title Corps et âme (Body and Soul) attempts to convey a two-sided notion: body and soul, which are, according to some psychoanalysts — and despite common sense —, a single thing; plus the meaning of the expression “body and soul,” that is to involve oneself completely, entirely, passionately.

Sound materials I perceive — rather subjectively — as quite fleshy or rather ethereal (as in non-gravity) are intertwining and melting together in a common crescendo. The vocal origins of some of the material prove the presence of the body. A key element is taken from a previous work, Un certain embarquement, and constitutes the sensual pole of this double yet homozygous being.

The work was conceived in the light of a reflection on myself, on the basic orientations of my life, a sort of free anamnesis triggered by the investigation of the Sonopsys magazine whose first issue was dedicated to my work.

[English translation: François Couture, viii-06]


Corps et âme was realized in 2001-02 at the composer’s studio in Montréal (Québec) and premiered on January 13, 2003 at the Salle Olivier Messiaen, Maison de Radio France (Paris, France) during the Multiphonies concert produced by the Ina-GRM. The piece was commissioned by Florence Gonot and Alexandre Yterce for Sonopsys magazine. Corps et âme was awarded one of the 5 first prizes at the ZKM’s Short Cuts: Beauty competition in July 2006 (Karlsruhe, Germany). Corps et âme was first released in 2003 on the companion disc of the book Sonopsys: Francis Dhomont.


Premiere

  • January 13, 2003, Multiphonies 2002-03: Concert, Salle Olivier Messiaen — Maison de Radio France, Paris (France)

Composition