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Les forges de l’invisible

Elizabeth Anderson

  • Year of composition: 2002-03
  • Duration: 14:02
  • Instrumentation: 8-channel fixed medium

Stereo

ISRC CAD501410009

  • 44,1 kHz, 16 bits
  • 44,1 kHz, 24 bits
  • 44,1 kHz, 32 bits

Les forges de l’invisible is inspired by the spirit of the 18th-Century English poet, engraver, and visionary, William Blake (1757-1827), who wrote of the indestructibility of innocence, the necessity of seizing life and the awakening of the imagination. Many instances of dual imagery can be found in Blake’s poetry, notably in The Tyger (1794), where the twin themes of destruction and creation are explored, the former being a necessary prelude to the latter. From this came the idea of translating these contrasting notions into sound through the electroacoustic medium, which, in its endless malleability, is ideally suited to their transmission.

In the first movement the listener is invited to promenade through a world of almost entirely transformed sounds that alternate between diaphanous webs and moments of almost violent force. The second movement centers on the concept of the forge and the duality inherent to its function: melt down in order to reconstruct.

[vi-13]


Les forges de l’invisible was realized in 2002-03 at the multitrack electroacoustic studio of City University London (England, UK) and the Studio Akousma of the Academy of Soignies (Belgium), and was premiered on February 25, 2003 during the Electroacoustic Concert at City University London. Much of the sound material for Les forges de l’invisible was created in April 2000 during a residency at the Centre de création musicale Iannis Xenakis (CCMIX) in Paris (France) with support from the Service of Cooperation and Cultural Action of the French Embassy in Belgium. Thanks to Thomas Gardner. Les forges de l’invisible was awarded the First Prize and the Public Prize at the 3rd Biennial Acousmatic Composition Competition Métamorphoses (Brussels, Belgium, 2004) as well as an Honorable Mention at the Concurso Internacional de Música Eletroacústica de São Paulo (CIMESP ’03, Brazil).


Premiere

  • February 25, 2003, Electroacoustic Concert, City University London, London (England, UK)

Awards

Mimoyecques

Elizabeth Anderson / Danilo Dolci

  • Year of composition: 1994
  • Duration: 13:38
  • Instrumentation: fixed medium
  • Commission: Zjuul Devens, Jozef Moerloos

Stereo

ISRC CAD501410012

  • 44,1 kHz, 16 bits
  • 44,1 kHz, 24 bits
  • 44,1 kHz, 32 bits

The underground Fortress of Mimoyecques in Marquise (France) was constructed in 1943 by Nazi Germany to shelter a battery of V-3 cannons that were aimed at London (England, UK). More than one thousand prisoners from eighteen countries who were forced laborers died in the Fortress of Mimoyecques when they were sacrificed for the destruction of it in 1944 by Allied Forces.

My ideas for Mimoyecques began during my initial visit to the fortress. The work would be programmatic in nature and two sets of recordings would be needed. The first set would be made in and around the fortress and would serve as the foundation for the themes of imprisonment and death. The second set would feature eighteen male voices speaking in the languages of the laborers originating from the following countries: Belgium, Bulgaria, ex-Czechoslovakia, Denmark, Finland, France, Germany, Greece, Hungary, Israel, Italy, Luxembourg, The Netherlands, Norway, Poland, Romania, Russia, and ex-Yugoslavia. I made these recordings in Brussels at embassies and private homes where speakers extemporaneously read texts of their choice regarding World War II or their culture.

Mimoyecques uses several excerpts of text including those by: Hans Christian Andersen (Danmark, mit Fædreland), Danilo Dolci (Poema Umano), Annette von Droste-Hülshoff (Der Todesengel), Alexander Pushkin (Руслан и Людмила (Ruslan and Ludmila)), David Baltuch (Noir; Yeled), Väinö Linna (Tuntematon Sotilas), Bjørnstjerne Bjørnson (Ja, vi elsker dette landet), Amir Gilboa (וְאָחִי שׁוֹתֵק (Ve-aḥi shotek; And My Brother is Silent)), and Czesław Miłosz (Dziecię Europy (Child of Europe)).

[vii-13]


Mimoyecques was realized in 1994 at the Métamorphoses d’Orphée studio of Musiques & Recherches in Ohain (Belgium) and was premiered on June 4, 1994 during the Hommage: Manifestation d’art international revisité 1944-1994 held at the site of the Fortress of Mimoyecques to mark the 50th anniversary of its destruction. The piece was commissioned by Zjuul Devens and Jozef Moerloos for a multimedia installation that honored all the victims as well as the ones of all wars. Thanks to David Baltuch, Gianni Baronio, Anne-Cécile Brandenberger, Jean Brandenberger, Jacek Bukowski, Gust Cools, László Czejdy, Rabbi Albert Dahan, Zjuul Devens, Alexis Gorodetsky, Philippe Guillemin, Vesa Liikanen, Milenko Miljenović, Jozef Moerloos, Michael Moscovici, Georgius Papageorgiu, lieutenant colonel Petr Pavel, Grazia Previdi, Marc Rochtus, Alex Schrager, Knut Sverre (ambassador for Norway), Ivan Tritchkov, Mr Trolle, Mario Van den Berg, Annette Vande Gorne, Marie-Madeleine Vasseur, Musiques & Recherches, Phiam-Phicom, and the embassies of Bulgaria, ex-Czechoslovakia, Denmark, Finland, France, Greece, Hungary, Israel, Italy, Luxembourg, The Netherlands, Norway, Poland, Romania, Russia, and ex-Yugoslavia. Mimoyecques was awarded an Honorable Mention at the Concurso Internacional de Música Eletroacústica de São Paulo (CIMESP ’95, Brazil).


Premiere

  • June 4, 1994, Hommage: Manifestation d’art international revisité 1944-1994, Forteresse de Mimoyecques, Landrethun-le-Nord (Pas-de-Calais, France)

Awards

Solar Winds

Elizabeth Anderson

  • Year of composition: 2012
  • Duration: 9:37
  • Instrumentation: 8-channel fixed medium
  • Commission: Musiques & Recherches

Stereo

ISRC CAD501410013

  • 44,1 kHz, 16 bits
  • 44,1 kHz, 24 bits
  • 44,1 kHz, 32 bits

The idea to present Solar Winds near the end of 2012 sprang from a desire to honor the astronomers of the ancient Mayan culture and their worship of the Sun at a time that marks the completion of one Mesoamerican Long Count calendar and the beginning of another. After an initial examination of several astronomical events, my interest centered on the relationship that solar winds, streams of charged particles emanating from the Sun, might have with the Earth’s magnetosphere. According to James Dungey’s (1923) open magnetosphere model, interplanetary field lines, which emanate from the Sun and are carried by solar winds, connect indeed with Earth’s magnetic field lines when they strike the Earth’s magnetosphere.

I found this model to offer an intriguing starting point for the sonorization of these non-sounding events via the acousmatic medium. Solar Winds incorporates acoustic translations of electromagnetic phenomena that are produced by the Earth as well as other astronomical phenomena, and constitutes an imaginary celestial aural journey from the perspective of the listener who is Earth.

[vi-13]


Solar Winds was realized in 2012 at the Métamorphoses d’Orphée studio of Musiques & Recherches in Ohain (Belgium) and was premiered on October 27, 2012 during the 8th festival Visiones Sonoras organized by the Centro Mexicano para la Música y las Artes Sonoras (CMMAS) in the Auditorio de la Unidad Académica Cultural of the UNAM Campus Morelia (Mexico). The piece was commissioned by Musiques & Recherches. Solar Winds was composed with support from the Fédération Wallonie-Bruxelles (Direction générale de la culture, Service de la musique). Thanks to David Baltuch, Alexis Boilley, Rodrigo Sigal, and Annette Vande Gorne.

The diptych Solar Winds… and Beyond was awarded First Prize in the Musica Nova 2015 International Competition of Electroacoustic Music (Prague, Czech Republic).


Premiere

  • October 27, 2012, Visiones Sonoras 8 — 2012: Concierto 4, Auditorio de Vinculación Cultural — UNAM Campus Morelia, Morelia (Mexico)

… and Beyond

Elizabeth Anderson

  • Year of composition: 2014
  • Duration: 8:07
  • Instrumentation: 8-channel fixed medium

Stereo

ISRC CAD501410014

  • 44,1 kHz, 16 bits
  • 44,1 kHz, 24 bits
  • 44,1 kHz, 32 bits

As a companion to Solar Winds, the octophonic electroacoustic work … and Beyond explores the cosmos beyond our immediate imagination. What universe lies beyond the limits of our imagination? What kind of phenomena would occur in this universe? Would they be the result of pure chance or destiny? What would then be the nature of this destiny? Describing such an environment necessitates that the composer imagine the unimaginable and that the listener accept it.

… and Beyond incorporates acoustic translations of astronomical phenomena and proposes an imaginary celestial aural journey from the perspective of the listener who voyages beyond the limit of our heliosphere and explores interstellar space.

[iii-15]


… and Beyond was realized in 2014 at the Métamorphoses d’Orphée studio of Musiques & Recherches in Ohain (Belgium). … and Beyond was composed with support from the Fédération Wallonie-Bruxelles (Administration générale de la culture, Service de la musique). Thanks to David Baltuch and Annette Vande Gorne.

The diptych Solar Winds… and Beyond was awarded First Prize in the Musica Nova 2015 International Competition of Electroacoustic Music (Prague, Czech Republic).


Premiere

  • October 4, 2014, International Conference of Electroacoustic CIME / ICEM 2014: Concert 4, Paul Voertman Concert Hall — College of Music — University of North Texas, Denton (Texas, USA)

Ether

Elizabeth Anderson

  • Year of composition: 2001
  • Duration: 13:43
  • Instrumentation: 8-channel fixed medium
  • Commission: Musiques & Recherches

Stereo

ISRC CAD501410015

  • 44,1 kHz, 16 bits
  • 44,1 kHz, 24 bits
  • 44,1 kHz, 32 bits
To the victims of the attacks committed on September 11, 2001

Ether is based on the concept of energy as deployed in space, and opens with a vast, empty space. Energy, manifested through sound, springs from the centre of the space and spirals outwards in all directions. As the energy radiates it develops into two distinct types. The first is articulated and is characterized by sculpted sound material, often directional in nature, while the second is represented by resonant sound material that has vague morphological shapes.

The discourse in Ether develops from the repetition of the directional sonic model to the propagation of a series of superimposed spaces, which are at first tethered by the articulated type of energy, but become more and more inhabited by the resonant type of energy as the articulated material progressively dies out. Different factors of sonic transparency allow these two types of energies to coexist, and the interplay between the highly transformed and quasi-recognizable sounds help to define, sustain, expand or contract the spaces in which the energies deploy.

[vi-13]


Ether was realized in 2001 at the Métamorphoses d’Orphée studio of Musiques & Recherches in Ohain (Belgium), the multitrack electroacoustic studio of City University London (England, UK) and the Studio Akousma of the Academy of Soignies (Belgium), and was premiered on October 3, 2001 during the 8th international acousmatic festival L’Espace du son at the Théâtre Marni in Brussels (Belgium). Much of the sound material for Ether was created in April 2000 during a residency at the Centre de création musicale Iannis Xenakis (CCMIX) in Paris (France) with support from the Service of Cooperation and Cultural Action of the French Embassy in Belgium. Field recordings made in the old city of Jerusalem as well as studio recordings of a violoncello also served as the basis for sound material. The piece was commissioned by Musiques & Recherches. Thanks to Thomas Gardner and Pia Keiding.


Premiere

  • October 3, 2001, L’Espace du son 2001: Rue Schaeffer et Rue Schafer, Théâtre Marni, Brussels (Belgium)

Protopia / Tesseract

Elizabeth Anderson

  • Year of composition: 2005-07
  • Duration: 13:50
  • Instrumentation: 8-channel fixed medium

Stereo

ISRC CAD501410016

  • 44,1 kHz, 16 bits
  • 44,1 kHz, 24 bits
  • 44,1 kHz, 32 bits

The etymological roots of Protopia / Tesseract are Greek.

Protopia is a combination of two terms, proto (πρώτο) meaning first and topos (τοπος) meaning place. Its construction echoes that of utopia (ουτοπία), a term designating a fictional ideal place that is said not to exist, ou (ου) being the negation in Greek.

Tesseract derives from tesseres actines (τεσσερες ακτινες) meaning four rays, and refers in geometry to the four-dimensional analog of the three-dimensional cube where the tesseract would be to the cube what the cube is to the square.

The electroacoustic work Protopia / Tesseract is grounded in the literary interpretation of the tesseract proposed by Madeleine L’Engle (1918-2007) in the children’s fantasy novel A Wrinkle in Time (1962), where intergalactic travel is made possible through spatio-temporal compression. Protopia / Tesseract aims to link the various images of fantasy that can come to a reader’s mind to the spatio-temporal evolution of sound and contrasts engendered by the multichannel electroacoustic medium.

The work opens with contrasting sound material placed in adjacent spaces. A slow morphological evolution conveys the impression of an initial sonic topography unfolding leisurely around the listener replete with foreground and background events. During the second movement, the sound world evolves towards a vast, lush spectral landscape, after which part of the sound material begins to spin in clockwise and counter clockwise rotations. These increase in speed and intensity and aim to call to mind the compression of space and time.

[vii-13]


Protopia / Tesseract was realized in 2005-07 at the multitrack electroacoustic studio of City University London (England, UK), the Métamorphoses d’Orphée studio of Musiques & Recherches in Ohain (Belgium), and the Studio Akousma of the Academy of Soignies (Belgium), and was premiered on May 8, 2007 during the Electroacoustic Concert 5 at City University London. Thanks to Jean-Louis Poliart, Denis Smalley, and Annette Vande Gorne. The piece was realized with the help of the ministry of Communauté française de Belgique. Protopia / Tesseract was awarded the First Prize at the Musica Nova 2008 International Competition of Electroacoustic Music (Prague, Czech Republic) as well as an Honorable Mention at the Concurso Internacional de Música Eletroacústica de São Paulo (CIMESP ’07, Brazil).


Premiere

  • May 8, 2007, Electroacoustic Concert 5, City University London, London (England, UK)

Awards

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