electrocd

Track listing detail

Cyclo

David Berezan

  • Year of composition: 2003
  • Duration: 10:41
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T9017468030

Stereo

ISRC CAD500811630

  • 48 kHz, 24 bits

Cyclo emerged out of the everyday ritual of the bicycle ride between my home and the studios where I was composing in Birmingham (UK). The sounds from my bicycle, the underlying rhythm of cycling, and the familiar sound spaces of the journey were an accompaniment to my life in England at the time. I decided to exploit this rich sound environment to create something that suggests both the high energy, rapid and harsh movement of cycling and the magic of the ‘journey.’ Cyclo is an abstract and magical sound world that contrasts and merges natural, mechanical, muscular, and delicate qualities. This ‘deconstruction’ and ‘reconstruction’ of the bicycle sound object create a new ‘something’ or object from source recordings of the original, leading to multiple real-world and abstract perspective juxtapositions (close observation, inner contemplation, and open soundscape). Cyclo is concerned with cycling and the journey as much as it is with the inner sound world and workings of the bicycle itself.

The term ‘cyclo’ is the combinational form of circle, cycle, and cyclic and is fundamental to the looping or turning nature of pedaling, breathing, wheels, gears, and the repeated cycle of the daily journey. The word ‘cyclo’ is also used in parts of South East Asia to refer to bicycle rickshaws (essentially unrelated to the piece although acknowledged through the incorporation of the gamelan tuning system in the treatment of some pitched material) and the cyclo driver.

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Cyclo was realized in 2003 at the Electroacoustic Music Studios of the University of Birmingham (UK) and premiered on March 8, 2003 during the “20/20 Re:Vision” series of concerts celebrating the 20th anniversary of BEAST (Birmingham ElectroAcoustic Sound Theatre). Cyclo was awarded Second Prize at the 5th Concurso Internacional de Música Eletroacústica de São Paulo (CIMESP ’03, Brazil).

Premiere

  • March 8, 2003, David Berezan, diffusion • 20/20 Re:Vision: Present, Concert 2, CBSO Centre, Birmingham (England, UK)

Awards

Composition

Mastering

Baoding

David Berezan

  • Year of composition: 2002
  • Duration: 7:20
  • Instrumentation: 8-channel fixed medium
  • Publisher(s): Ymx média
  • ISWC: T9017384111

Stereo

ISRC CAD500811720

  • 48 kHz, 24 bits

These three miniatures bring together the sounds of Baoding Balls, originating in China during the Ming dynasty and rotated in the palm of the hand for therapeutic benefits, with sounds from Beijing and Kun opera. I imagined the delicate musical chimes encased within the Iron Balls to magically conceal dynamic and theatrical opera sound worlds. Each miniature evokes a different characteristic of these art forms — the ecstatic and acrobatic nature of Beijing opera, the intimate soundings of the more aristocratic Kun opera, and the inherent energy of both. A theme of vibration emerged as I composed the work — naturally evident in and underlying the opera sounds, sonically cultivated from the recordings of the Baoding balls (the metallic points of contact and impact as well as the musical chimes), and developed in unique ways in each of the miniatures. Presented here, the suite is framed by a very brief prologue and epilogue.

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Baoding was realized in 2002 at the Electroacoustic Music Studios of the University of Birmingham (UK) and premiered on March 2, 2002 during the Invisible Theatre concert series organized by BEAST (Birmingham ElectroAcoustic Sound Theatre) in Birmingham (UK). Baoding was awarded a Prize in the Trivium Category of the 29th Bourges International Electroacoustic Music and Sonic Art Competition (France, 2002).

Premiere

  • March 2, 2002, David Berezan, diffusion • Invisible Theatre: Characters…, CBSO Centre, Birmingham (England, UK)

Awards

Composition

Mastering

Styal

David Berezan

  • Year of composition: 2004
  • Duration: 13:54
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T9017494994

Stereo

ISRC CAD500811690

  • 48 kHz, 24 bits

At the heart of the Quarry Bank Mill at Styal, south of Manchester (UK), turns a great iron waterwheel, the original driving force for the 19th century textile machines still residing within the buildings there. The wheel turns a large and resonant drive shaft, the sound of which can be heard rattling throughout the Mill, amidst a rich collection of other sounds. Various combinations of water power, steam, and electric engines now interact to drive the power looms and other metal and wooden machinery — remnants from the Industrial Revolution.

Inhabiting the mill is a sound world of great volume, vibration, resonance, rhythm, intensity and energy, water and steam, cogs and wheels, switches, belts, pulleys and spindles, steam pipes, groaning and straining machines, delicate threads and textiles. All of this gives rise to a very unique music that inhabits the Mill, the machinery, the floorboards, and the air, and much of it finds its way into Styal. Quarry Bank Mill is, however, only a starting point for this work. Taking the sounds I have found and borrowed from the mill (with some additional sounds of spools of thread and tearing textiles recorded in the studio), I re-shape and re-create a sound world, music, and place of my own imagining.

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Styal was realized in 2004 at the Electroacoustic Music Studios of The University of Manchester (UK) and premiered on October 15, 2004 during the MANTIS (Manchester Theatre in Sound) concert series in the Cosmo Rodewald Concert Hall of the Martin Harris Centre of The University of Manchester (UK). Thanks to the National Trust and the staff and volunteers at the Quarry Bank Mill and Styal Estate. Styal was awarded First Prize at the 6th Concurso Internacional de Música Eletroacústica de São Paulo (CIMESP ’05, Brazil) and was selected in the Trivium Category of the 32nd Bourges International Electroacoustic Music and Sonic Art Competition (France, 2005).

Premiere

  • October 15, 2004, David Berezan, diffusion • MANTIS Fall Festival 2004: Concert, Cosmo Rodewald Concert Hall — Martin Harris Centre for Music and Drama — The University of Manchester, Manchester (England, UK)

Awards

Composition

Mastering

Hoodoos

David Berezan

  • Year of composition: 2007
  • Duration: 19:11
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T9017436394

Stereo

ISRC CAD500811700

  • 48 kHz, 24 bits

Hoodoos was composed from sound materials recorded along the Hoodoo Trail in Banff National Park in the Rocky Mountains of Western Canada. It is concerned with contrasting states of dynamic, fluidity, stasis, and kinesis. Accordingly, the sound of ice is present in frozen, cracking, melting, and shattering forms. Water coalesces into murky icy depths, drips and freely flows. Wood creaks, smoulders, breaks, and grows. Everything stirs, from the microscopic to the larger scale. The snow is unstable- avalanches and landslides are frequent. The great fluctuations of spring bring great change to the mountain valley- the quality (and quantity) of light evolves and accompanies growing activity and tension as the environment is released from its winter freeze and darkness. Hoodoos also refers to unique geological formations found in the Badlands regions of North America that are highly eroded spires of sedimentary rock, alien and exotic in appearance. Hoodoos was composed for the Flux Sound Diffusion System developed by the composer to allow for greater variability in the live performance of fixed-media works.

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Hoodoos was realized in 2007 during studio residencies at The Banff Centre of the Arts (Canada), the ZKM (Germany) and the GRM (France), and premiered on November 2, 2007 during the MANTIS Festival 2007: Novars Launch in the Cosmo Rodewald Concert Hall of the Martin Harris Centre of The University of Manchester (UK). Thanks to the Research Leave Scheme of the Arts and Humanities Research Council (AHRC).

Premiere

  • November 2, 2007, David Berezan, diffusion • MANTIS Fall Festival — Novars Launch: Concert 1, Cosmo Rodewald Concert Hall — Martin Harris Centre for Music and Drama — The University of Manchester, Manchester (England, UK)

Composition

Mastering

Hannibal

David Berezan

  • Year of composition: 2005
  • Duration: 10:55
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T9017364759

Stereo

ISRC CAD500811710

  • 48 kHz, 24 bits

Hannibal is the compositional and sonic seed of my large-scale work Ting, completed during and following a period of compositional residency at the Elektronisches Studio Basel (ESB, Switzerland) in 2005-06. During this time, I was introduced to the work of Jean Tinguely and immediately became enamoured of his playful, dynamic, and colourful kinetic sculptures. His collection of “automata, sculptures, and mechanical reliefs” at the Museum Tinguely, including the sculpture Hannibal II, became the starting point for the work that followed. Ironically, of the incredibly rich and dynamic collection of Tinguely’s sound-making sculptures, the sound source primarily incorporated here is very simple: a metal chain that slowly sways to and fro after Hannibal II completes its cycle of movements. The aim of Hannibal was to generate a great variety of pitch-based material through the intensive processing of a minute sampling of Tinguely’s sculpture, and to develop new compositional methodologies and vocabulary for Ting. Melodies and songs emerged — playful and iterative in the manner of much of Tinguely’s work.

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Hannibal was realized in 2005 in the Elektronisches Studio Basel (ESB) of the Musik-Akademie Basel (Basel, Switzerland), and at the Electroacoustic Music Studios of The University of Manchester (UK) and premiered on November 17, 2006 at the Museum Tinguely in Basel (Switzerland). Thanks to Rainer Bartels (Stiftung Bartels Fondation), Erik Oña (ESB), Heinz Stahlhut (Museum Tinguely), and Chikashi Miyama.

Premiere

  • November 17, 2006, David Berezan, diffusion • Concert, Museum Tinguely, Basel (Switzerland)

Composition

Mastering