Impalpables (Download) Track listing detail

Le ginkgo

Annette Vande Gorne / Werner Lambersy

  • Year of composition: 1994
  • Duration: 14:43
  • Instrumentation: stereo fixed medium
  • Commission: L’Année nouvelle (Louvain-la-Neuve, Belgium), Vincent Engel

Stereo

ISRC CAD509511270

  • 44,1 kHz, 16 bits
To my mother, in memoriam

A man journeys to the encounter with himself…: from the emptiness, both secure and univocal, of eternity with no future to the flowering of a passionate, ephemeral life with an uncertain future, notwithstanding that “its swirling pillar irresistibly carries me to a love…”

The Poet takes us on an interior voyage, that of a lifetime, in which each of us can imagine himself, can recognize himself, can identify with the narrator. The tale, linear and structured, seems to be the ideal form for this progression of the self. And so I excerpted key phrases from the original story representing each stage of the voyage and, to conserve the linear format, took the part of the simple reading, monochord at the beginning and becoming more animated as it goes on.

The musical form is derived from the words and the structure of the text along three axes: time, space and movement. The axis of time, ignored for ages, fixed, exterior to Man, acquires a ‘here and now,’ then takes on a past and a future, accelerates, grows shorter… up to the moment when the loop of time sends it back to eternity. The axis of space, which opens from the confines of the ‘magic circle’ to the reaches of the desert, where one finds ‘distances which never diminish’. To finally situate itself in that place of ‘birthing and dying’. The axis of movement above all, immobile at the beginning of the story, moved by the slight trembling of the Ginkgo leaves (that ages-old witness of the origin of our planet) becoming more animated along ‘inexorable paths’, and predictable lines, circles and spirals, moving through a constantly changing world to the end: a swirling spine which carries him irresistibly toward a Love…


Le ginkgo [The Ginkgo Tree] was composed from sound material for the most part vocal in origin, manipulated on a SYTER at the Groupe de musique expérimentale de Marseille (GMEM, France). The work was produced in February and March 1994 at the Métamorphoses d’Orphée studio (Ohain, Belgium) and was presented on April 26, 1994 in Louvain-la-Neuve (Belgium) during the L’Année nouvelle festival. Narrator: Vincent Smetana. Le ginkgo was commissioned by L’Année nouvelle (Université catholique de Louvain-la-Neuve) and Vincent Engel. Thanks to Christian Calon and Raphaël de Vivo of the GMEM for their generous hospitality and to Vincent Engel whose dynamic energy brought this work and this disc to completion. The short story Le ginkgo appeared in the collection entitled L’Année nouvelle published by Canevas (Dole, France), Les éperonniers (Bruxelles, Belgique), L’instant même (Québec) and Phi (Echternach, Luxembourg) in 1993.


Premiere

  • April 26, 1994, Concert, Louvain-la-Neuve (Belgium)

Architecture nuit

Annette Vande Gorne / Werner Lambersy

  • Year of composition: 1988
  • Duration: 20:09
  • Instrumentation: stereo fixed medium
  • Commission: RTBF

Stereo

ISRC CAD509511280

  • 44,1 kHz, 16 bits

The same old story: should the music follow upon the words, or is it separate and distinct, following its own logic? In Architecture nuit [Architecture Night], the text is only one source (as is the timbre of the voice, alchemical transformations of sound). Source of images, of meaning, and most importantly, of space: the interior space of sensations, of emotional callings, of the silence behind the words and, too, real space, exterior to and experienced through the text. The music responds to this. Utilizing the techniques of composition on tape in the studio, the recording of the voice plays off a variety of spaces.

Polyphonic piece — polytimbred — the meaning must be found in the description of space and timbre, and the architecture in relation to the evolution from discontinuous to continuous, from solid to linear, from recent to long-past, from material to vibrational, from dark to light, from bedecked to bare.

Each piece is organized as a fractal of the whole around the horizontal axis (left-right space) of the central piece and develops, along one or several of these trajectories, a series of variations of the same theme: space-words, space-timbre. The space of sound.


Architecture nuit [Architecture Night] was produced in 1988 at the Métamorphoses d’Orphée studio (Ohain, Belgium — 16-track recording and mixing); at the 123 studio of the Ina-GRM (Paris, France — digital sound editing); and at the Paradoxe studio of Radio télévision belge francophone (RTBF, Brussels, Belgium — analog and digital sound editing). It was presented in concert on January 27, 1989 during the 2nd festival of poetry Le meneur de lune at the Colisée in Roubaix (France). Narrator: Alain Carré. Architecture nuit was commissioned by the RTBF as their entry in the Prix international des radios publiques francophones Paul-Gilson and was a finalist at the 17th Bourges International Electroacoustic Music Competition (France) in 1990. The book Architecture nuit was published by Phi (Echternach, Luxembourg) in coproduction with Éditions du Noroît (Québec) and Les éperonniers (Bruxelles, Belgique) in 1992.


Premiere

  • January 27, 1989, Concert, Colisée, Roubaix (Nord, France)

Noces noires

Annette Vande Gorne / Werner Lambersy

  • Year of composition: 1986
  • Duration: 34:14
  • Instrumentation: stereo fixed medium

Stereo

ISRC CAD509511290

  • 44,1 kHz, 16 bits

At the start a poet’s commission; and Love at first sight. Need I say more? The beauty of the images in the text, the sensitivity of the poet, the rigor, the control of the words and the tone of the voice, to imagine, to express, to impart the feeling of the approach of death and its reflection on us, the living.

The music? At the service of the poem, in its traditional role of spotlighting the images and the underlying meaning, providing an emotional support. After the initial analysis and a consequent restructuring of the text using silence, the material was fashioned to give it form and meaning, from the standpoint of the imagery of the words.

The form? A kaleidoscope of memory, and through this supple and shifting framework, the fragmentation of time and meaning encountered in the text.

The meaning? Pay attention to the text and let yourself go…

Francis Dhomont writes about Noces noires:

“Dead. The listing of her eyes has lost the horizon.

Coupling with a jolt, the body shunted onto a siding. Making up the new convoy through the intricate railway switches of pain.”

In Noces noires, the text is first and foremost. It tells us of the death of a woman, a mother, the pain, the inevitable solitude. Brief images, fierce, charged with a pent-up emotion. And if it isn’t, at first listening, completely grasped, it’s because the message is rich, the ideas dense.

But it only takes a few snatches, here and there, to entice one to enter the grave and tender universe created by the author’s own voice, his text rendered without emphasis, almost in a whisper. With modesty and good sense, the musician stays behind the scenes. But the finesse of innumerable variations on the sound-symbols keep the ear and the heart spellbound.

Eurakousma Concert, Montréal, February 17, 1988


Noces noires [Black Wedding] was produced at the Métamorphoses d’Orphée studio (Ohain, Belgium) in 1986 and was presented on October 2, 1986 at the Centre Pompidou in Paris (France). Narrator: Werner Lambersy. The book Noces noires was published by La table rase (France) and by Éditions du Noroît (Québec) in 1987 and republished in 1993.


Premiere

  • October 2, 1986, Concert, Centre Pompidou — Place Georges-Pompidou, Paris (France)

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