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Ondiésop

Sophie Delafontaine / Hesiod

  • Year of composition: 2015
  • Version: Trad. Matteo Capponi
  • Duration: 7:03
  • Instrumentation: stereo fixed medium
  • Commission: Musiques & Recherches

Stereo

ISRC CAD501910001

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

                  We begin
Let’s start
                           Let’s sing
         The Muses
                  of our mountains
This is where we must start
                           in order to sing.
Let’s start
with the Mountain Muses
                           They who keep
the Great Enchanted Mountain.

— Excerpted from Hesiod’s Theogony as translated in French by Matteo Capponi) under the title La naissance des dieux [our translation]

[English translation: François Couture, iii-19]


Ondiésop was realized in 2015 at the composer’s studio in Brussels (Belgium) and was premiered on October 25, 2015, during the 2015 Espace du son festival at Théâtre Marni in Brussels (Belgium). It was commissioned by Musiques & Recherches. Thanks to Lucie Rausis (recorded voice) and Matteo Capponi.


Premiere

  • October 25, 2015, Sophie Delafontaine, diffusion • L’Espace du son 2015: Scène émergente (2e partie), Théâtre Marni, Brussels (Belgium)

Respire marche pars va-t-en

Sophie Delafontaine

  • Year of composition: 2013
  • Duration: 9:48
  • Instrumentation: stereo fixed medium

Stereo

ISRC CAD501910002

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

When you love, you have to leave
Do not cry with a smile
Do not nest between two breasts
Breathe walk leave go away

— Excerpted from Blaise Cendrars’s Tu es plus belle que le ciel et la mer [our translation]

My reflection started from our breathing and what it represents: life, movement, a swing. This swing is everywhere around us: in the hours that pass, the flow of time, our changing state of mind, or more concretely in our forward gait. Is it also present in our running away?

I left Switzerland to come to Belgium to study acousmatic composition. These studies allowed me to acquire the necessary tools to compose in complete freedom. But at the same time, I felt a kind of nostalgia that made me reflect on my roots. Respire marche pars va-t-en crystallizes the impressions I had when I left.

[English translation: François Couture, iii-19]


Respire marche pars va-t-en [Breathe walk leave go away] was realized in 2013 at the composer’s studio in Brussels (Belgium) and premiered on March 27, 2013, during the concert ÉlectroBelge at Espace Senghor in Brussels (Belgium). Respire marche pars va-t-en won the 2nd prize in the acousmatic music category at the 6th Destellos Electroacoustic Composition Competition (Mar del Plata, Argentina, 2013).


Premiere

  • March 27, 2013, ÉlectroBelge: Hommage à Arsène Souffriau; Panorama de la musique électroacoustique belge actuelle, Espace Senghor, Brussels (Belgium)

Awards

Dormir, aujourd’hui

Sophie Delafontaine / Laurent Plumhans

  • Year of composition: 2018
  • Duration: 14:27
  • Instrumentation: stereo fixed medium
  • Commission: Musiques & Recherches

Stereo

ISRC CAD501910003

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

— Do you know the white-throated sparrow?

— Not at all? Me neither.

— It is a migratory bird that does not sleep during its migration periods.

— Sometimes, I too do not get enough sleep and work too much to the point of not knowing my name anymore. How about you?

— Today, sleeping is a project, a form of resistance, a desertion. To deny the highway of existence through sleep.

I advocate decline and, consequently, sleep for everyone. Wouldn’t we be happier if we were better rested? This work is a short manifesto for working less and sleeping more. I put it here, without giving it much hope.

[English translation: François Couture, iii-19]


Dormir, aujourd’hui [Sleep, Today] was realized in 2018 at the Métamorphoses d’Orphée studio of Musiques & Recherches in Ohain (Belgium) and was premiered on October 28, 2018, during the Espace du son festival at Théâtre Marni in Brussels (Belgium). It was commissioned by Musiques & Recherches. Thanks to Laurent Plumhans for his text Le bruant, Yannick De Coster for his voice, and Joachim Glaude for his sound recordings.


Premiere

  • October 28, 2018, L’Espace du son 2018: Concert d’œuvres réalisées dans les studios Métamorphoses d’Orphée, Théâtre Marni, Brussels (Belgium)

Ressort spiral

Sophie Delafontaine

  • Year of composition: 2014-16
  • Duration: 10:35
  • Instrumentation: stereo fixed medium

Stereo

ISRC CAD501910004

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

Everything is small in the world of watchmaking. So small sometimes that things barely make any noise; so small your eyes hurt.

The spiral spring [“ressort spiral”] is the centrepiece of the watch. It is attached to the pendulum to which it relays the energy that makes the watch turn. In this tiny part is stored all the energy the watch needs to operate. The spiral spring is energized when the watch is wound up, then it relaxes gradually, making the hands rotate for days.

I am fascinated by this contradiction. How can such a tiny thing have such strength?

While creating this music I immersed myself in my grandfather’s universe. With the help of my second cousin, an apprentice in fine watchmaking, I was able to discover a part of a world that I had only glimpsed.

[English translation: François Couture, iii-19]


Ressort spiral [Spiral Spring] was realized in 2014-16 at the composer’s studio in Brussels (Belgium) and was premiered on March 23, 2016, during the concert ÉlectroBelge at Espace Senghor in Brussels (Belgium). Thanks to Maxime Tissot and the Manufacture de Haute Horlogerie Cartier (La Chaux-de-Fonds, Switzerland). Ressort spiral won ex æquo the Public Award at the 9th Biennial Acousmatic Composition Competition Métamorphoses (Brussels, Belgium, 2016) and was selected as the compulsory work for the 2017 spatial performance competition Espace du son. Ressort spiral was created with the help of the Fédération Wallonie-Bruxelles.


Premiere

  • March 23, 2016, ÉlectroBelge, Espace Senghor, Brussels (Belgium)

Awards

Creux-du-Van

Sophie Delafontaine

  • Year of composition: 2014
  • Duration: 11:56
  • Instrumentation: stereo fixed medium

Stereo

ISRC CAD501910005

  • 44,1 kHz, 16 bits

Although I spent all my childhood in Lausanne (Switzerland), my family comes from the Jura region. I did not go there often but I keep a vivid memory of a stroll in Creux-du-Van. It is a huge rock amphitheatre. From its heights, one has a spectacular view over a large part of the Jura region, but what struck me most is how you can see the various layers of rock inside the amphitheatre left exposed by the slow erosion of a glacier.

In this work, I wanted to recreate the specific atmosphere of that place, imagine the wind spinning inside this gigantic hollow and the water that flows between layers of rock. The strata overlap and then separate. Time flows slowly and inevitably reveals new landforms.

[English translation: François Couture, iii-19]


Creux-du-Van was realized in 2014 at the composer’s studio in Brussels (Belgium) and was premiered on March 19, 2014, during the concert ÉlectroBelge at Espace Senghor in Brussels (Belgium). Creux-du-Van was a finalist at Concours international Phonurgia Nova (Arles, France, 2015).


Premiere

  • March 19, 2014, ÉlectroBelge et nouvelles productions de M&R, Espace Senghor, Brussels (Belgium)

Tout ça à cause de Junon

Sophie Delafontaine / Ovid

  • Year of composition: 2013
  • Duration: 9:52
  • Instrumentation: stereo fixed medium

Stereo

ISRC CAD501910006

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

A story, a text, a voice.

In very few words, it could be said that without Juno to put a curse on Echo, the latter’s story may have been forgotten, and I would not be here drawing it to your attention.

Through this piece, I tell in my own way the story of Echo’s metamorphosis. I hope I managed to do more than merely “repeat the words” of Ovid, as Echo does so well.

So I owe this story partly to Juno, and its text to Ovid, translated and adapted by Groupe de théâtre antique (GTA) based at Université de Neuchâtel (Switzerland).

[English translation: François Couture, iii-19]


Tout ça à cause de Junon [All Because of Juno] was realized in 2013 at the composer’s studio in Brussels (Belgium) and was premiered on December 4, 2013, during the Concert de clôture “Mondialité” of the Journées nationales de l’électroacoustique 2013 at Auditorium Henri Dutilleux in Amiens (France). Special thanks to the Groupe de théâtre antique (GTA) of the Université de Neuchâtel (Switzerland) for translating and adapting Ovid’s text, and to Guy Delafontaine who so kindly lent me his voice.


Premiere

  • December 4, 2013, Journées nationales de la musique électroacoustique 2013: Concert de clôture «Mondialité» des étudiants internationaux, Auditorium Henri Dutilleux, Amiens (Somme, France)

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