electrocd

Track listing detail

Ce qu’a vu le vent d’Est (d’après Debussy)

Annette Vande Gorne

  • Year of composition: 2003
  • Duration: 7:59
  • Instrumentation: 2- / 8-channel fixed medium
  • Publisher(s): Ymx média
  • Commission: Monumenti Pianistici (Cagliari, Sardinia)
  • ISWC: T9007276382

Stereo

ISRC CAD500810170

  • AAC, 320 kbps
  • MP3, 320 kbps
  • 48 kHz, 24 bits

Surround 5.1

ISRC CAD500810010

  • Dolby Digital, 48 kHz, 24 bits
  • 48 kHz, 24 bits

To Hans Tutschku

Ce qu’a vu le vent d’Est (d’après Debussy) is a threnody for the civil victims of ideological-economic wars.

Claude Debussy’s highly varied writing and composition techniques find a strong echo in electroacoustic writing techniques and sound processing. For example, in his music we can hear ‘looped’ repetitions of short cycles often transposed, with or without speed variation (fast high notes, slow low notes) or coloured differently each time they occur, dynamic contrasts, sudden changes in tempo through transition-less sections (abrupt editing), overlaying of figures in a continuous weft, oppositions of masses, of movements (mobile/tension, still/release)… His 3rd movement of La merDialogue du vent et de la mer —, the 7th Prelude from the First Book for Piano — Ce qu’a vu le vent d’Ouest —, and his orchestral work Jeux are all fine lessons.

There is also the special relationship with nature as a model. Here, nature is perceived in a diversity of energetic movements and spectral colours by the ear of a musician who tries not to describe it with anecdotal sounds, but to reread it and transpose the energy that drives natural phenomena. In turn, Debussy is taken as a model of energetic and musical behaviour, not as a sound source, but as a stylistic and dialogue reference point, one hundred years later. Ce qu’a vu le vent d’Est (d’après Debussy) makes playful use of the opacity or transparency of a moving curtain that hides or lets us peak at a few fragments and reminiscences of Debussy, who would no doubt have participated in the adventure of electroacoustic music, and would conceivably have integrated space as a musical parameter…

[English translation: François Couture, ix-07]


Ce qu’a vu le vent d’Est (d’après Debussy) [What the Eastern Wind Saw (After Debussy)] was realized in 2003 at the Métamorphoses d’Orphée studio of Musiques & Recherches in Ohain (Belgium), and premiered on June 7, 2003 during the Monumenti Pianistici concert series, for the concert “Intorno a Debussy: nuove composizioni elettroacustiche su materiali del passato” (Cagliari, Sardinia). The piece was commissioned by the same organization that premiered it. Thanks to Lucio Garau. Ce qu’a vu le vent d’Est (d’après Debussy) was awarded the 2nd prize at the 4th Concorso Internazionale di Composizione Musicale Elettronica Pierre Schaeffer (Pescara, Italy, 2003) and was recorded in 2005 on the compact disc 4° Concorso Internazionale di Composizione Musicale Elettronica Pierre Schaeffer (AMP 2004).

First titled Ce qu’a vu le vent d’Est, in the spring of 2020 the composer slightly modified the title to Ce qu’a vu le vent d’Est (d’après Debussy).

Premiere

  • June 7, 2003, Monumenti Pianistici — Intorno a Debussy, Exmà — Centri d’Arte e Musei, Cagliari (Sardinia, Italy)

Awards

Composition

Mastering

Vox Alia

Annette Vande Gorne

  • Year of composition: 1992-2000
  • Duration: 21:22
  • Instrumentation: 8-channel fixed medium
  • Publisher(s): Ymx média
  • Commission: Ina-GRM
  • ISWC: T9006322903

Stereo

  • AAC, 320 kbps
  • MP3, 320 kbps

Is it because it is the signature, the audible trace by which each living being identifies itself and by which it marks others and detects their intentions? The voice remains the prime emotional and musical vehicle. It is the ancestral medium of all direct communication.

Vox Alia is a suite of five short studies based on the voice which, via electroacoustic processing, retains the traces of the melodic, rhythmic and timbral qualities of this marvelous medium so immediately at the service of a particular character or feeling.

Giocoso, which mixes vocal music from every non-European continent with the ‘Western past,’ is constructed in binary form and is contrasted and reinforced by eight-channel composition. Amoroso attempts the experience of an ornamental and contrapuntal compositional style, in the perspective of sound as well as space, using a Gregorian phrase for template. Innocentemente rediscovers immediate temporality with its contrasting, elusive nature and the diffuse, internal sense of space of childhood. Furioso eructates its violence within a linear and directed space with rising, rhythmical, explosive energy. Parola volante is a short tribute to Pierre Schaeffer’s revolutionary thinking on sound, its morphological description, its perception in reduced listening, its contribution to space, in a few sentences using Schaeffer’s voice. This polyphonic composition is reminiscent of Johann Sebastian Bach, a great favourite of Schaeffer’s.

[English translation: François Couture, ix-07]


Vox Alia was realized from 1992 to 2000 at the Métamorphoses d’Orphée studio of Musiques & Recherches in Ohain (Belgium) with sound material obtained from the SYTER and MARS systems of Ina-GRM. The first movement Lamento, not reproduced on the disc Exils, premiered on October 29, 1992 during the “Binary Era, New Interactions” exhibition at the Museum of Ixelles (Brussels, Belgium). Giocoso premiered on June 20, 1996 at Théâtre de L’L (Brussels, Belgium). Amoroso and Innocentemente were premiered on April 10, 1998 during the Cycle acousmatique produced by Ina-GRM in the Salle Olivier Messiaen of the Maison de Radio France (Paris, France). Furioso premiered on October 18, 2000 during the international acousmatic festival L’Espace du son at the Chapelle de Boondael (Brussels. Belgium). The complete work — including Parola volante — premiered on September 9, 2001 at Centre culturel de Rixensart (Genval, Belgium). The piece was commissioned by the Groupe de recherches musicales (GRM) (Paris). Thanks to François Bayle and Daniel Terrugi.

Premiere

  • September 9, 2001, Concert, Centre culturel de Rixensart, Genval (Belgium)

Preparation

Composition

Mastering

Vox Alia, 2: Giocoso

Annette Vande Gorne

  • Year of composition: 1995
  • Duration: 5:00
  • Instrumentation: 8-channel fixed medium
  • Publisher(s): Ymx média
  • ISWC: T9247686119

Surround 5.1

ISRC CAD500810020

This text is unavailable in English.

Est-ce parce qu’elle est la signature, l’empreinte sonore à laquelle chaque être vivant s’identifie et par laquelle il repère l’autre, et détecte ses intentions? La voix reste le premier vecteur émotionnel et musical, le support ancestral de toute communication directe. Vox Alia est une suite d’études vocales qui, à travers les traitements électroacoustiques, conservent traces des qualités mélodiques, rythmiques, timbrales de ce merveilleux médium, au service d’un caractère, d’un affect particulier. Giocoso, deuxième mouvement, qui brasse des musiques vocales de chaque continent non européen et du passé occidental, est construit comme une forme binaire et contrastée, renforcée par l’écriture spatiale octophonique. C’est aussi l’ouverture d’un projet d’opéra électroacoustique sur un livret de Werner Lambersy.

[source: Réseaux des arts médiatiques]


Mastering

Fragments de lettre à un habitant du Centre

Annette Vande Gorne / Kamal Ben Hameda

  • Year of composition: 2002
  • Duration: 12:13
  • Instrumentation: 5.1-channel fixed medium
  • Publisher(s): Ymx média
  • Commission: Éveline Legrand with support from the Ministère de la Communauté française de Belgique

Stereo

ISRC CAD500810230

  • AAC, 320 kbps
  • MP3, 320 kbps
  • 48 kHz, 24 bits

Surround 5.1

ISRC CAD500810070

  • Dolby Digital, 48 kHz, 24 bits
  • 48 kHz, 24 bits

To Éveline Legrand

Speed, channel-hopping, agitation, indifference, fragmentation: the image of Western urban civilisation as seen through the eyes of an immigrant Arab poet. The fragments are also those of the inner being, fractures that each of us experience and carry with us as we leave childhood behind. A cry of revolt and a hand held out towards the Other, so similar to oneself. The last stage of a series of works using the human voice, these fragments allow the text, the sound of the text, to occupy the whole field of the work. The narrator’s voice and expressiveness is at its centre. The musical moments, a series of mini-forms marked by a few discreet reference points to give the thread of memory, are the fragments of a longer poem, which, in the live version, dialogues and resonates with the performer.

[English translation: François Couture, ix-07]


Fragments de lettre à un habitant du Centre [Fragments from a Letter to a Resident of the Centre] was realized in 2002 at the Métamorphoses d’Orphée studio of Musiques & Recherches in Ohain (Belgium), and premiered on October 1, 2002 during the 9th International Acousmatic Festival L’Espace du son at the Théâtre Marni (Brussels, Belgium). The piece was commissioned by Éveline Legrand with support from the ministry of Communauté française de Belgique. The text is excerpted from the book Fragments de lettre à un habitant du Centre / Brieffragmenten aan een inwoner van het Centrum by Kamal Ben Hameda (L’Harmattan, 2001). The recorded reader is Éveline Legrand. Thanks to Hans Tutschku for his precious support.

Premiere

  • October 1, 2002, L’Espace du son 2002: Concert de créations, Théâtre Marni, Brussels (Belgium)

Composition

Mastering

Exil, chant II

Annette Vande Gorne / Saint-John Perse

  • Year of composition: 1983, 2006
  • Duration: 22:34
  • Instrumentation: stereo fixed medium
  • ISWC: T9004221856

Stereo

ISRC CAD500810080

  • AAC, 320 kbps
  • Dolby Digital, 48 kHz, 24 bits
  • MP3, 320 kbps
  • 48 kHz, 24 bits

This admirable poem by Saint-John Perse has everything: rhythm, speed, movement, space, matter, numbers and form. The music provides the text with natural images/movements, their synthetic imitation and transformation being chosen for their expressiveness. The mix is symphony-like in its great variety of sound sources and creates standardised energetic textures, which either blend into each other vertically, or on the contrary, form contrapuntal chains.

[English translation: François Couture, ix-07]


Exil, chant II was realized in 1983 at the Métamorphoses d’Orphée studio of Musiques & Recherches in Ohain (Belgium) and premiered on July 30, 1983 at Café-théâtre Stalker (Brussels, Belgium). The text is excerpted from the poem Exil (1942) by Saint-John Perse, © Éditions Gallimard (1945). The recorded reader is Annette Vande Gorne. The new version of the piece realized in 2006 received the support of the Fonds d’aide à la création radiophonique (FACR) of the ministry of Communauté française de Belgique.

Premiere

  • July 30, 1983, Concert, Café-théâtre Stalker, Brussels (Belgium)
  • January 27, 2005, Premiere of the 5.1 version: Akousma (1): Exils: temps de crise, d’errance, de transformation, de renouveau, Studio Hydro-Québec — Monument-National, Montréal (Québec)

Composition

Revision

Mastering

Folie de Vincent, 2: Crise

Annette Vande Gorne

  • Duration: 5:27
  • Publisher(s): Ymx média
  • ISWC: T9104029803

Stereo

ISRC CAD500810090

  • AAC, 320 kbps
  • Dolby Digital, 48 kHz, 24 bits
  • MP3, 320 kbps
  • 48 kHz, 24 bits
This text is unavailable in English.

Musique de scène pour «Sulphur Sun» de Philipe Marannes.

[source: Réseaux des arts médiatiques]


Premiere

  • January 27, 2005, Premiere of the concert version: Akousma (1): Exils: temps de crise, d’errance, de transformation, de renouveau, Studio Hydro-Québec — Monument-National, Montréal (Québec)

Mastering

Figures d’espace

Annette Vande Gorne

  • Year of composition: 2004
  • Duration: 13:49
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: Noise Watchers Unlimited
  • ISWC: T0018645958

Stereo

  • AAC, 320 kbps
  • MP3, 320 kbps

To Claude Lenners

Aerial or blocked space, in movement or static, in contrasting colours, materials and movements… but what does ‘space’ mean? Here, each part requests a ‘complimentary soul’ from the performer at the mixing board, a certain virtuosity. In the tradition of the classical study or prelude, the piece has been designed as an instrumental gesture, as space figures conditioning the gestural answer of the performer.

[English translation: François Couture, ix-07]


Figures d’espace was realized in 2004 at the Métamorphoses d’Orphée studio of Musiques & Recherches in Ohain (Belgium), and premiered on November 20, 2004 during the Rainy Days festival at Villa Louvigny (Luxembourg). The piece was commissioned by Noise Watchers Unlimited. Thanks to Claude Lenners.

Premiere

  • November 20, 2004, Rainy Days 2004: Concert final du stage de spatialisation, Villa Louvigny, Luxembourg (Luxembourg)

Composition

Mastering