Illusion (CD) Track listing detail

Au-delà du réel

Annette Vande Gorne

  • Year of composition: 2013-14, 16, 20
  • Duration: 11:06
  • Instrumentation: 16-channel fixed medium
  • Publisher(s): Ymx média
  • ISWC: T1064719373

Stereo

ISRC CAD502010018

  • 44,1 kHz, 16 bits
To Arsène Souffriau, in memoriam

The matter of a sound body has its own life, its triggered temporality, maintained by the musician’s gesture. In the studio, the act of listening focuses on this gesture, and it respects and amplifies the dynamic traits provided by the sound body, beyond its own material. Here, the development of the piece is organized by the series of dynamics / movements and the transitions from one to the next, regardless of the materials: percussion/resonance (spectral colour), accumulation of corpuscles, oscillations, swaying, rotation, friction, percussion and resonance (allure).

Sound bodies were exclusively selected from the huge collection gathered by Arsène Souffriau since 1959 and organized by materials, ranges, and frequencies. I adapted my listening to his own, and used some of his pitch structures and families of materials: metal, wood, glass, wind, skin… and I emphasized or modified the spectral colours of their resonances.

By using polyphonic writing in spatial movements, I added complexity, enlivened the inner dynamics of the sound bodies and, most of all, highlighted the human presence, the creative gesture of the musician.

[English translation: François Couture, v-20]


Au-delà du réel [Beyond Reality] was realized in 2013-14 at the Métamorphoses d’Orphée studio of Musiques & Recherches, Ohain (Belgium), and an excerpt premiered on March 27, 2013 in the concert ÉlectroBelge presented at Espace Senghor in Brussels (Belgium), while the complete piece premiered on March 19, 2014 in the concert ÉlectroBelge et nouvelles productions de M&R at Espace Senghor. The 16-channel version was realized in 2015. The work was revised in 2016, and the definitive version realized in March 2020. Thanks to Sylvie Bouteiller and Marie-Jeanne Wyckmans, the “instrumentalists” musicians who gave a lot of their time to explore this collection.


Premiere

  • March 27, 2013, Under the title Hommage à Arsène Souffriau; 8-channel version: ÉlectroBelge: Hommage à Arsène Souffriau; Panorama de la musique électroacoustique belge actuelle, Espace Senghor, Brussels (Belgium)
  • March 19, 2014, 8-channel version: ÉlectroBelge et nouvelles productions de M&R, Espace Senghor, Brussels (Belgium)
  • February 11, 2015, Premiere of the 16-channel version: Annette Vande Gorne, diffusion • Créations M&R + Carte blanche à Åke Parmerud, Espace Senghor, Brussels (Belgium)

Déluges et autres péripéties

Annette Vande Gorne / Werner Lambersy

  • Year of composition: 2014-15
  • Duration: 28:00
  • Instrumentation: 16-channel fixed medium
  • Publisher(s): Ymx média
  • Commission: Françoise Vanhecke with support from the Fédération Wallonie-Bruxelles (Administration générale de la culture, Service général de la création artistique)
  • ISWC: T9239483397

Stereo

ISRC CAD502010019

  • 44,1 kHz, 16 bits

“We await destruction.” This leitmotif hits like a blow through ten lines that demonstrate how death is the only way for our civilization to be reborn under different auspices. It uses all of humankind’s activities and sensations as a spring board, and is delivered with the evocative power and sensibility of one of our most eminent French-speaking Belgian poets, Werner Lambersy.

I was taken by that horrific poem. And I had no choice but to support it with “horrific” sounds. These are constantly renewed as a segueing suite of short tableaux that stick to the structure of the text, in the spirit of a cantata-form hörspiel.

Simultaneously, Françoise Vanhecke commissioned from me a work that uses the backward singing technique, where one sings while inhaling, which she was then developing, the focus of her PhD at UGent (Gent, Belgium). To me, it felt emblematic of what the poet was saying.

[English translation: François Couture, v-20]


Déluges et autres péripéties [Floods and Other Adventures] was realized in 2014-15 in the Métamorphoses d’Orphée studio at Musiques & Recherches, Ohain (Belgium) — recordings, composition, spatialization — and in 2014 at Studio PANaroma de Música Eletroacústica da Unesp (São Paulo, Brazil) — source materials, generation and spatialization. The work premiered on October 25, 2015, during the festival L’Espace du son at Théâtre Marni, Brussels (Belgium). It was commissioned by Françoise Vanhecke with the support from the Fédération Wallonie-Bruxelles (Administration générale de la culture, Service de la musique). Recorded voices: Werner Lambersy, reader; Françoise Vanhecke, soprano, inhaling singer, improvisation; Annette Vande Gorne, reader, transformed voice. Thanks to Flô Menezes for inviting me to Studio PANaroma.


Premiere

  • October 25, 2015, L’Espace du son 2015: Annette Vande Gorne, Théâtre Marni, Brussels (Belgium)

About this recording

The present version is a stereo reduction of the original 16-channel version made in December 2015. It only partially reflects its expressionist dramaturgy which is implemented by the 16-channel spatialization.

Faisceaux

Annette Vande Gorne

  • Year of composition: 1985, 2016, 20
  • Original work: Faisceaux
  • Duration: 8:16
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T9004476782

Stereo

ISRC CAD502010020

  • 44,1 kHz, 16 bits

Faisceaux

Annette Vande Gorne

  • Year of composition: 1985, 2016, 20
  • Duration: 9:49
  • Instrumentation: piano and spatialized stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: Piotr Lachert
  • ISWC: T9004476782

Stereo

ISRC CAD502010021

  • 44,1 kHz, 16 bits

Beams of spectral rays arising from a driving interval (a C-sharp - G diminished fifth). The development of the piece leads the listener’s perception from inharmonic sound to harmonized music. An amplified piano accompanies the electroacoustic part to the point where it becomes a soloist. The piano part, seemingly easy, explores attack modes, the affect trajectories of a single note, vibration modes, and the harmonic sounds made possible depending on the quality of the instrument. The work reverses the common relationship between the instrumentalist and the electroacoustic part: here, the musician must listen to the part to accompany it and enter into a dialogue with the fixed sonic flux.

[English translation: François Couture, v-20]


Faisceaux [Beams] was realized for piano and fixed sounds in 1985 at the analogue studio Métamorphoses d’Orphée of Musiques & Recherches, Ohain (Belgium), and was revised in 2016. The definitive version premiered on April 6, 2017, by pianist Kim Van den Brempt as part of the concert Musiques mixtes et interactives at Espace Senghor in Brussels (Belgium). It was commissioned by the pianist and composer Piotr Lachert. Faisceaux can also be presented on its own, without the piano part.


Premiere

  • April 6, 2017, Premiere of the final version: Kim Van den Brempt, piano; Annette Vande Gorne, diffusion • 2 visages de la musique électroacoustique: Musiques mixtes et interactives, Espace Senghor, Brussels (Belgium)

About this recording

This sound recording of Ana Cláudia de Assis’s interpretation was made on August 31, 2019 during the rehearsal and during the Concert de musiques mixtes avec piano of the Influx Summertime Festival 2019 at Espace Senghor in Brussels (Belgium). Multichannel sound recording: Rafael Muñoz Gomez. The editing and mixing were done in April 2020 by Annette Vande Gorne at the Métamorphoses d’Orphée studio of Musiques & Recherches in Ohain (Belgium).

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