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Phoenix XXI

Francis Dhomont

  • Year of composition: 2016, 20
  • Duration: 15:03
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: Ina-GRM

Stereo

ISRC CAD502010043

  • 44,1 kHz, 16 bits

What is this musical Phoenix, an archetypical symbol of renewal and continuity?

Surely a trace / confirmation of the vitality of acousmatics in the early 21st century. Although for me, it also represents a new life for deserted sonic ashes, very old source recordings and reanimated but disguised excerpts from instrumental works. It could be seen as an eternal recurrence, the present — so much present nowadays — being nothing more than the past of the future.

[English translation: François Couture, ix-20]


Phoenix XXI, a piece in three linked movements, was realized in 2016 at the composer’s studio in Avignon (France) and premiered on October 8, 2016 at Auditorium Saint-Germain of the MPAA (Paris, France) as part of the Multiphonies series presented by the Ina-GRM. The work was awarded an honourable mention at the international electroacoustic music competition Musica Nova 2016 (Prague, Czech Republic), and was selected by the French Section of the International Society for Contemporary Music (ISCM) for the 2018 World New Music Days in Beijing.


Premiere

  • October 8, 2016, Francis Dhomont, diffusion • Multiphonies 2016-17: Akousma: Concert de créations, Auditorium Saint-Germain — MPAA, Paris (France)

Awards

Machin de machine

Francis Dhomont

  • Year of composition: 2012
  • Duration: 8:40
  • Instrumentation: 8-channel fixed medium
  • Publisher(s): Ymx média
  • Commission: Amici della Musica di Cagliari

Stereo

ISRC CAD502010044

  • 44,1 kHz, 16 bits
To Conlon Nancarrow, a tribute / pastiche for the centenary of his birth

Here, as in many works by Nancarrow, a machine is exploring polyrythmical worlds that are too complex to be mastered by the human hand.

[English translation: François Couture, ix-20]


Machin de machine was realized in stereo in 2012 at the composer’s studio in Avignon (France). It was commissioned by Amici della Musica di Cagliari, at Lucio Garau’s request, for the 2nd Festival di musica contemporanea de Cagliari (Italy). Machin de machine was awarded an honourable mention at the international electroacoustic music competition Musica Nova 2012 (Prague, Czech Republic). The work was reimagined and developed into an eight-channel piece in December 2012 at the composer’s studio in Avignon. More complex and longer by 40 seconds, this new piece became Machin de machine 2. In 2020, the stereo version was struck from the composer’s catalogue, and the eight-channel version took over the original title Machin de machine.


Premiere

  • September 19, 2012, Stereo version: Festival di Musica Contemporanea di Cagliari: Concerto acusmatico: Manfredi Clemente, Aula Magna — Facoltà di Scienze della Formazione — Università degli Studi di Cagliari, Cagliari (Sardinia, Italy)
  • July 12, 2013, Premiere of the 8-channel version, under the title Machin de machine 2: Meister im Konzert: Francis Dhomont, SeaM Werkstattstudio — Bauhaus-Universität Weimar, Weimar (Germany)

Awards


About this recording

This version is a stereophonic reduction of the 8-channel original.

Perpetuum mobile (Pluies fantômes)

Francis Dhomont

  • Year of composition: 2019
  • Duration: 15:05
  • Instrumentation: 8-channel fixed medium
  • Publisher(s): Ymx média

Stereo

ISRC CAD502010045

  • 44,1 kHz, 16 bits
To Christoph von Blumröder, acousmatics musicologist

The association, in constant agitation, of musical parameters from multiple sources that share similar morphological types: accumulations, various granulations, complex rhythmical motifs, oscillating textures, short melismas, stretches of stasis, bursts of pitches.

Strictly material choices that nevertheless evoke, through their random and accumulative behaviour, the wavering song of rain (which itself makes a referential cameo) and its sonic models: trickle, repetitive cycles, lulls, and also lapping, undulations, cascading fluxes. And the occasional deluge.

Imagined rain or images of rain?

[English translation: François Couture, ix-20]


Perpetuum mobile (Phantom Rains) was realized in 2019 at the composer’s studio in Avignon (France) and premiered on December 11, 2019 at Théâtre Marni in Brussels (Belgium) as part of the festival L’Espace du son.


Premiere

  • December 11, 2019, L’Espace du son 2019: Concert, Théâtre Marni, Brussels (Belgium)

About this recording

This version is a stereophonic reduction of the 8-channel original.

Ami-versaires

Francis Dhomont

  • Year of composition: 2002-20
  • Duration: 38:18
  • Publisher(s): Ymx média

Nine tributes to composers. These works often have a humorous tone and title tied to the camaraderie existing between the author and the individuals to whom these short pieces are dedicated. Many of these pieces quote, explicitly or implicitly, a well-known work by the dedicatee.

[English translation: François Couture, ix-20]

Quelques éclats

Francis Dhomont

  • Year of composition: 2010
  • Duration: 2:39
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T7027055558

Stereo

ISRC CAD502010046

  • 44,1 kHz, 16 bits

A simple formal sketch: a set of contrasts in intensity and density, gradually accruing for the final outburst.

[English translation: François Couture, v-12]


Quelques éclats [A Few Flickers of Brightness] was realized in 2010 at the composer’s studio in Avignon (France) and premiered on April 15, 2010 as part of the 25 anos MMP concerts at Instituto Franco-Português in Lisbon (Portugal). This work was composed for the concert Cadavre exquis musical presented as part of the 25th anniversary of Miso Music Portugal.


Premiere

  • April 15, 2010, 25 anos MMP — Cadavre exquis musical, Auditório Philippe Friedman — Institut français — Portugal, Lisbon (Portugal)

Dénaturé Parmé sons

Francis Dhomont

  • Year of composition: 2007
  • Duration: 3:29
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T7021990434

Stereo

ISRC CAD502010047

  • 44,1 kHz, 16 bits
To my friend Parmé

This is a short tribute to Bernard Parmegiani, for his 80th birthday, and to his music. In it I have used the first sound of De natura sonorum as its triggering and conclusive event. It is obviously used as a quote and a wink, further confirmed by the pun-like title.

[English translation: François Couture, v-12]


Dénaturé Parmé sons was realized in 2007 at the composer’s studio in Avignon (France) and premiered on October 20, 2007 during the 14th edition of the L’Espace du son festival at Théâtre Marni in Brussels (Belgium).


Premiere

  • October 20, 2007, L’Espace du son 2007: Bernard Parmegiani, Théâtre Marni, Brussels (Belgium)

Happy New Half-Century, Adrian

Francis Dhomont

  • Year of composition: 2019, 20
  • Duration: 5:50
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média

Stereo

ISRC CAD502010048

  • 44,1 kHz, 16 bits
To the busy first half-century of my friend Adrian; what is the second one holding for us?

A friendly salute to Adrian Moore for his fiftieth birthday, and a return to Junky, an intense piece by this inventive composer, from which I grabbed a few sound sources that are typical of his writing and used here as the red thread running through my piece.

[English translation: François Couture, ix-20]


Happy New Half-Century, Adrian was realized in 2019 at the composer’s studio in Avignon (France).

Glank-50

Francis Dhomont

  • Year of composition: 2002
  • Duration: 1:02
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média

Stereo

ISRC CAD502010049

  • 44,1 kHz, 16 bits
To the talent and ardour of the young fifty-something Jonty Harrison

Paris, 15 April 1985: a few of us composers were gathered in Radio France’s Studio 123, waiting for a GRM workshop to begin. One of us, in order to test the system, transferred in its circuits the contents of a tape reel. I immediately recognized a familiar sound. To this composer whom I had never met, I said: “Are you Jonty Harrison?” It was him, his identity revealed to me by his music. For what we were hearing was Klang, a brilliant lesson in electroacoustic composition.

Since we met through that piece, it felt natural to base this short tribute to the composer, the professor and my dear friend Jonty on the first few sounds of his unforgettable Klang.

[English translation: François Couture, ix-20]


Glank-50 was realized in 2002 at the composer’s studio in Montréal (Québec).


Premiere

  • April 27, 2002, Bottoms Up!, Concert Hall — The Barber Institute of Fine Arts — University of Birmingham, Birmingham (England, UK)

forte-piano

Francis Dhomont

  • Year of composition: 2008, 10
  • Duration: 8:41
  • Instrumentation: 8-channel fixed medium
  • Publisher(s): Ymx média
  • ISWC: T7023715973

Stereo

ISRC CAD502010050

  • 44,1 kHz, 16 bits
For the 80th birthday of my double friend Oscar Wiggli (1927-2016)

Swiss sculptor Oscar Wiggli is a dialogue between strength and delicateness, a contrast between the huge power of the forged work and the lightness of drawings, between iron and sound, between the clamour of the workshop and the quietness of the composition studio, because Oscar Wiggli was also an electroacoustic composer. forte-piano draws inspiration from these dynamic opposites to sketch a portrait of the artist (who died in 2016).

[English translation: François Couture, ix-20]


forte-piano was realized in 2008 at the composer’s studio in Avignon (France) and premiered on September 20, 2008 as part of a concert celebrating the 80th anniversary of Swiss sculptor and electroacoustic music composer Oscar Wiggli at the Town Hall of Saignelégier (Switzerland). The work was revised in December 2010.


Premiere

  • September 20, 2008, Concert, Hôtel de ville, Saignelégier (Switzerland)

About this recording

This version is a stereophonic reduction of the 8-channel original.

Tintamarre!

Francis Dhomont

  • Year of composition: 2020
  • Duration: 1:00
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média

Stereo

ISRC CAD502010051

  • 44,1 kHz, 16 bits
This short sonic racket is dedicated to Pete Stollery for his 60th birthday

The nice age, dear Pete. But how young you seem to me!

[English translation: François Couture, ix-20]


Tintamarre! was realized in 2020 at the composer’s studio in Avignon (France).

Petit souper magazine

Francis Dhomont

  • Year of composition: 2017
  • Duration: 3:23
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média

Stereo

ISRC CAD502010052

  • 44,1 kHz, 16 bits
To Beatriz Ferreyra, who is pretending to be 80 years young

“Your Petit souper magazine made me laugh, because Tom Thumb [Petit Poucet, in French] is always running, skipping and having fun. Thank you, dear friend, for such a joyful ride.”

Dear Beatriz, your approval is perfectly in tune with my intention: to make you laugh (through the music, and the title’s spoonerism). And since our friendship began because of your Petit poucet magazine, this was also my way of thanking it.

[English translation: François Couture, ix-20]


Petit souper magazine was realized in 2017 at the composer’s studio in Avignon (France).

Le flux des sons

Francis Dhomont

  • Year of composition: 2010
  • Duration: 5:44
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T7027055514

Stereo

ISRC CAD502010053

  • 44,1 kHz, 16 bits
To Annette Vande Gorne for her 65th birthday

For you, dear Annette, these few “permanences / variations” in celebration of an emblematic birthday and as a tribute to your successful acousmatic battle.

[English translation: François Couture, v-12]


Le flux des sons [The Flux of Sounds] was realized in 2010 at the composer’s studio in Avignon (France) and premiered on May 9, 2011 during the concert Hommage à Annette Vande Gorne at Studio 1 of Flagey in Brussels (Belgium). Recorded voice: Annette Vande Gorne.


Premiere

  • May 9, 2011, Francis Dhomont, diffusion • Hommage à Annette Vande Gorne, Studio 1 — Flagey, Brussels (Belgium)

La Bayle Music

Francis Dhomont

  • Year of composition: 2012
  • Duration: 6:10
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média

Stereo

ISRC CAD502010054

  • 44,1 kHz, 16 bits
To François Bayle, for his very creative 80 years

This musical joke, a parody of the transit 1 from Tremblement de terre très doux, highlights the humour of this highly sophisticated French composer, the spirit of variations consistently found in his works, his unique style and the originality of his one-of-a-kind music. With my faithful friendship, François, and my admiration.

[English translation: François Couture, ix-20]


La Bayle Music was realized in 2012 at the composer’s studio in Avignon (France) and premiered on October 27, 2012 as part of the concert Guirlande François Bayle presented during the festival L’Espace du son at Théâtre Marni in Brussels (Belgium). Recorded voice: François Bayle.


Premiere

  • October 27, 2012, L’Espace du son 2012: Guirlande François Bayle, Théâtre Marni, Brussels (Belgium)

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