Espaces tautologiques (CD) Track listing detail

Objects-Interiors

James O’Callaghan

  • Year of composition: 2013
  • Duration: 10:12
  • Instrumentation: stereo fixed medium (with optional additional sound diffusion inside a piano)

Stereo

ISRC CAD501610048

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

Objects-Interiors is a work that ‘takes place’ inside a piano. The historied, polysemous instrument is re-examined as its own kind of interior space. Much of the sound material consists of impulse responses — bursts of noise that capture the reverberant properties of an acoustic space. As the piece moves from capturing the real space of the piano, it imagines other spaces, comparing the piano’s resonant chamber to other kinds of interiors, and, finally into a surreal world where space, motion, and sound are blurred.

Objects-Interiors is the first work in a trilogy of acousmatic pieces, with Bodies-Soundings (2014) and Empties-Impetus (2014-15), that imagine the sounding bodies of instruments as resonant spaces.

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Objects-Interiors was realized in 2013 at the composer’s studio in Montréal (Québec), and premiered on March 14, 2013 during the Cluster festival in Winnipeg (Canada). Objects-Interiors was awarded the First Prize in the Jeu de temps / Times Play (JTTP) competition of the Canadian Electroacoustic Community (CEC, Canada, 2013), and the First Prize in the Hugh Le Caine Award of the SOCAN Foundation Awards for Young Composers (Canada, 2013).


Premiere

  • March 14, 2013, James O’Callaghan, diffusion • Cluster 2013: Pop + Noise: Paramirabo, Urban Shaman, Winnipeg (Manitoba, Canada)

Awards


About this recording

This version was mastered by Dominique Bassal in April 2016 in Montréal.

Bodies-Soundings

James O’Callaghan

  • Year of composition: 2014
  • Duration: 10:19
  • Instrumentation: stereo fixed medium (with optional additional sound diffusion inside an acoustic guitar and a toy piano)

Stereo

ISRC CAD501610049

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

Bodies-Soundings interrogates two instruments — an acoustic guitar and a toy piano — as ‘sounding bodies,’ whose resonant chambers do not sound, but only ‘resound.’ The instruments are used as loudspeaker cabinets, amplifying sounds both sourced from the instruments, and external sounds that expand and contradict the instruments’ identities. Without performers, they are simultaneously ‘disembodied’ and re-imagined as physical bodies of their own, animated by living sounds; anthropomorphizing them while also emphasizing their physical construction.

Bodies-Soundings is the second work in a trilogy of acousmatic pieces, with Objects-Interiors (2013) and Empties-Impetus (2014-15), that imagine the sounding bodies of instruments as resonant spaces.

[vii-16]


Bodies-Soundings was realized in 2014 at The Banff Centre for the Arts (Banff, Canada) and at the composer’s studio in Montréal (Québec), and premiered on March 8, 2014 during the Cluster festival in Winnipeg (Canada). Bodies-Soundings was awarded the First Prize at the Musicworks Electronic Music Competition (Toronto, Canada, 2014).


Premiere

  • March 8, 2014, James O’Callaghan, diffusion • Cluster 2014: Amplification: Culmination, Urban Shaman, Winnipeg (Manitoba, Canada)

Awards


About this recording

This version was mastered by Dominique Bassal in April 2016 in Montréal.

Empties-Impetus

James O’Callaghan

  • Year of composition: 2014-15
  • Duration: 20:02
  • Instrumentation: 4-channel fixed medium (with optional additional sound diffusion inside the instruments of a string quartet)
  • Commission: Ina-GRM

Stereo

ISRC CAD501610050

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

Empties-Impetus attempts to navigate the instruments of the string quartet as imaginary interior spaces and as bearers of meaning; variously by grappling with the historical weight of the idiom and the recognizable quality of its timbres, and also by subverting that meaning by reassessing the objects according to their physical construction, spatial properties, and different environmental contexts.

Empties-Impetus is the final work in a trilogy of acousmatic pieces, with Objects-Interiors (2013) and Bodies-Soundings (2014), that imagine the sounding bodies of instruments as resonant spaces.

[vii-16]


Empties-Impetus was realized in 2014-15 at the composer’s studio in Montréal (Québec) and completed in 2015 in the studios of the Groupe de recherches musicales (GRM) in Paris (France), and premiered on January 24, 2015 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. Empties-Impetus was finalist in the 2nd Klang competition (Montpellier, France, 2015).


Premiere

  • January 24, 2015, Multiphonies 2014-15: Akousma, Auditorium Saint-Germain — MPAA, Paris (France)

Awards


About this recording

This version was mastered by Dominique Bassal in April 2016 in Montréal.

Isomorphic

James O’Callaghan

  • Year of composition: 2011-14
  • Duration: 9:58
  • Instrumentation: 5.1-channel fixed medium
  • Commission: Codes d’accès

Stereo

ISRC CAD501610051

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

In the acousmatic piece Isomorphic sound sources continually transform according to metaphorical and morphological comparisons.

Isomorphic is part of a triptych of works of the same form, using the same environmental sounds as source material; the two other works are Isomorph (2013) for orchestra, and Isomorphia (2013) for orchestra and fixed sounds.

[vii-16]


Isomorphic was realized in 2011-14 at the composer’s studio in Montréal (Québec) and completed in 2014 at PRIM (Montréal), and premiered on June 18, 2015 during the concert The Privacy of Domestic Life as part of the Suoni Per Il Popolo festival in Montréal (Québec). The piece was commissioned by Codes d’accès. Isomorphic was awarded an Honorable Mention in the Musica Nova 2015 International Competition of Electroacoustic Music (Prague, Czech Republic).


Premiere

  • June 18, 2015, Suoni Per Il Popolo 2015: The Privacy of Domestic Life, La Sala Rossa, Montréal (Québec)

Awards


About this recording

This version was mastered by Dominique Bassal in April 2016 in Montréal.

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