Nécropolis (CD) Track listing detail

Dreaming in Darkness

Åke Parmerud

  • Year of composition: 2005
  • Duration: 11:29
  • Instrumentation: 6-channel fixed medium
  • Publisher(s): Ymx média
  • Commission: Ina-GRM
  • ISWC: T2050131171

Stereo

ISRC CAD501610007

  • 44,1 kHz, 16 bits

What does someone who cannot see dream about? What happens during sleep in a mind to which images of the world are primarily perceived through sound? Dreaming in Darkness is an attempt to create surrealistic fragments of a blind person’s dreams. The piece gradually develops from a starting point which resembles the soundtrack of a film where ambiences and situations change through the opening and closing of doors. Gradually the “representative” sounds are replaced by more abstract and musical material, displacing the character of realism towards an acoustic “in-between” where the boundary between the representative and the imagined is erased.

This piece originated as an experimental collaboration with composer Natasha Barrett. We decided to compose with sounds that we would exchange with each other. The idea was to see how the compositional process is affected by not being able to choose the sounds yourself but rather having to develop a relationship based on another person’s choice and preferences. For various reasons, both pieces went astray from the concept. However, we both ended up using sound sources from each other. In this piece, the sounds from Natasha enter the stage as the piece progresses into the more abstract part of its development.

[xi-14]


Dreaming in Darkness was realized in 2005 at the studio of the GRM in Paris (France) and premiered on March 25, 2006 in Salle Olivier Messiaen of Maison de Radio France (Paris, France). The piece was commissioned by the Ina-GRM. Thanks to Natasha Barrett.

Composition

Premiere

  • March 25, 2006, Multiphonies 2005-06: Concert, Salle Olivier Messiaen — Maison de Radio France, Paris (France)

Crystal Counterpoint

Åke Parmerud

  • Year of composition: 2009
  • Duration: 12:58
  • Instrumentation: 5.1-channel fixed medium
  • Publisher(s): Ymx média
  • Commission: IMEB
  • ISWC: T9247897070

Stereo

ISRC CAD501610008

  • 44,1 kHz, 16 bits
To Mireille Leblanc with whom I have shared much champagne and joy

I remember how, as a child, I would sneak out of bed and listen to the sounds coming from the bottom floor where my parents used to throw parties every now and then. The tinkling of glasses and the cheerful chattering and laughing made me both envious that I wasn’t allowed there and, after some time, a bit drowsy. More than once I fell asleep on the brim of the staircase, drifting into a dream of tinkles and laughter.

Crystal Counterpoint is made from the sound of those very glasses that once rocked me to sleep. For many years I wanted to make a piece based on the sound of glasses but for various reasons it was not until my parents’ house was sold that I finally got down to record all the glasses in the household (or rather those used for parties and dinners). All sounds in the piece are derived from glasses — most of them from my parents’ house and most of those made from crystal.

Fully aware that making a composition based on glass sounds is far from original — composers such as Jonty Harrison, Trevor Wishart, and Horacio Vaggione, among many others, have already done that — I just couldn’t resist. Hopefully Crystal Counterpoint will add, in a positive way, my signature and temperament to a growing collection of musical contemplations on the universe of glass sounds.

[xi-14]


Crystal Counterpoint was realized in May 2009 in the studio Circe of the IMEB in Bourges (France) and premiered on May 29, 2009 during the Synthèse festival (Bourges, France). The piece was commissioned by the IMEB. Crystal Counterpoint was awarded the Prix Ton Bruynèl 2010 (ex æquo) (Amsterdam, The Netherlands).

Composition

Premiere

  • May 29, 2009, Synthèse 2009: Électroac 1, Palais Jacques-Cœur, Bourges (Cher, France)

Awards

ReVoiced

Åke Parmerud

  • Year of composition: 2009
  • Duration: 14:01
  • Instrumentation: multichannel fixed medium (Klangdom)
  • Publisher(s): Ymx média
  • Commission: ZKM
  • ISWC: T9067108478

Stereo

ISRC CAD501610009

  • 44,1 kHz, 16 bits

In 1992 I went around the world with a microphone and a tape recorder to collect the sound of the human voice from all over the planet. I composed Grains of Voices with some but not all the voices I had recorded. That piece was a huge mix where different voices from different places were blending together.

Since then I felt that I wanted to give a chance to some of those voices that never made it into Grains of Voices. I also wanted to make a piece where each voice would act on its own without blending with others. It was with the 2008 Giga-Hertz-Award Special Prize that I finally found both the opportunity and the perfect circumstances to create such a piece.

ReVoiced is based on four different voices going from South to North of the planet. The first one being an aboriginal from Bathurst Island outside the North coast of Australia, the second a Russian woman singing a folk melody, the third a Katakali singer from New Delhi (India) and finally a Nåjd (a kind of shaman) from Lapponia in the very north of Sweden chanting a so-called jojk. All the sounds in each movement are based on and derived exclusively from the voice of that very same movement, the only exception being the strong percussive sound at the end of the last movement.

[vii-15]


ReVoiced was realized in 2009 with the 43-channel Klangdome of the ZKM_Kubus of the Zentrum für Kunst und Medientechnologie (ZKM, Karlsruhe, Germany) and premiered on November 28, 2009 in the ZKM_Kubus (Karlsruhe, Germany). The piece was commissioned by ZKM. Thanks to Howard Brookes (recording of Natalja singing the Russian melody) and Per-Anders Hübner (recording of the shaman from Lapponia).

Composition

  • 2009, ZKM_Kubus, Karlsruhe (Baden-Württemberg, Germany)

Premiere

  • November 28, 2009, Concert, ZKM_Kubus, Karlsruhe (Baden-Württemberg, Germany)

Necropolis — City of the Dead

Åke Parmerud

  • Year of composition: 2011
  • Duration: 13:45
  • Instrumentation: 8-channel fixed medium
  • Publisher(s): Ymx média
  • Commission: Ina-GRM
  • ISWC: T9139043597

Stereo

ISRC CAD501610010

  • 44,1 kHz, 16 bits

“Ladies and gentlemen! You are about to enter the Necropolis of music. Within these catacombs, you will witness the remains of some of the greatest music of all times. However, the condition of the musical bodies that rest in the crypts is unfortunately in various states of decomposition. In spite of innumerable experts of preservation who have made their utmost to keep the corpses intact, time has had its unavoidable effect. Although partly falling to pieces in sometimes rather bizarre ways, you will surely recognize the origins of the various masterpieces even in moments of complete collapse. So prepare for a journey through the darkness of time and space as you are transported down the slopes leading to the entrance of the city of the dead.”

[xi-14]


Necropolis — City of the Dead was realized in 2011 at the studio of the GRM in Paris (France) and premiered on September 23, 2011 as part of the Multiphonies series presented by the Ina-GRM at the Auditorium Saint-Germain of the MPAA (Paris, France). The piece was commissioned by the Ina-GRM.

Composition

Premiere

  • September 23, 2011, Multiphonies 2011-12: Akousma + Live Electronics, Auditorium Saint-Germain — MPAA, Paris (France)