Espaces éphémères (CD) Track listing detail

Traces of Play

Ambrose Seddon

  • Year of composition: 2016-17
  • Duration: 11:08
  • Instrumentation: 4-channel fixed medium
  • Publisher(s): Ymx média

Stereo

ISRC CAD502010061

  • 44,1 kHz, 16 bits
To my mother and father, Veronica and Peter, who were inspirational creative practitioners and parents, and who were always so encouraging and supportive of my work.

This work was inspired by the kinds of games that I have played with my young son during his early years, using everyday objects as well as his toys. I was drawn to the kinds of play that he engaged with and the resulting sonic outcomes and processes — repeating the same thing, exploring further potentials, or trying something once and then moving on to the next interesting activity. I wanted to capture the sounds of the kinds of objects that we regularly played with, and to try to adopt my son’s spirit of play in my musical explorations; to pursue the development of some ideas whilst leaving others less developed, open to a possible return but not necessarily bound to it. Many of the source sounds are significantly transformed, yet I hope that traces of the musical play underpinning the work remain tangible from time to time.

[iv-20]


Traces of Play was realized in 2016-17 at the EMS (Stockholm, Sweden) and at the composer’s studio and premiered on June 2, 2017 during the Klang! Festival of Electroacoustic Music in Montpellier (France). Thanks to everyone at EMS for their help and support while I was in residence. Traces of Play was awarded the 2nd Prize at the Klang! International Electroacoustic Composition Competition (Montpellier, France, 2019), 2nd Prize in the 11th Destellos Competition of Electroacoustic Composition (Mar del Plata, Argentina, 2018), and was a finalist at the Métamorphoses Acousmatic Music Competition (Brussels, Belgium, 2018). Traces of Play was selected to represent the British Electroacoustic Network’s submission to the International Confederation of Electroacoustic Music (CIME) Annual General Meeting (Beijing, China, 2018).


Premiere

  • June 2, 2017, Klang! électroacoustique 2017: Concert 3, Salle Molière — Opéra Comédie, Montpellier (Hérault, France)

Awards

Pellere

Ambrose Seddon

  • Year of composition: 2011-12
  • Duration: 13:28
  • Instrumentation: 8-channel fixed medium
  • Publisher(s): Ymx média

Stereo

ISRC CAD502010062

  • 44,1 kHz, 16 bits

Pellere explores spatial and material contrasts, processes and reminiscences, moving through a variety of perspectives ranging from the intimate to the enormous. The core musical ideas involve pulse and energetic spatial gesture, and these ideas inspired the title, loosely meaning to propel forward.

[iii-20]


Pellere was realized in 2011-12 at the composer’s studio and at the Electroacoustic Music Studios of City, University of London (England, UK), and premiered on December 14, 2012 at the International Festival for Innovations in Music Production and Composition (iFIMPaC) in Leeds (England, UK). Thanks to Peiman Khosravi for his violin and to Laura Reid for her cello. Pellere was awarded the 1st Prize at the Klang! International Electroacoustic Composition Competition (Montpellier, France, 2014).


Premiere

  • December 14, 2012, iFIMPaC — December 2012: Concert, Leeds (England, UK)

Awards

The Nowness of Everything

Ambrose Seddon

  • Year of composition: 2009
  • Duration: 13:11
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T9112446205

Stereo

ISRC CAD502010063

  • 44,1 kHz, 16 bits

“Below my window in Ross, when I’m working in Ross, for example, there at this season, the blossom is out in full now […] and looking at it, instead of saying ‘Oh that’s nice blossom’ […] I see it is the whitest, frothiest, blossomest blossom that there ever could be, and I can see it. Things are both more trivial than they ever were, and more important than they ever were, and the difference between the trivial and the important doesn’t seem to matter. But the nowness of everything is absolutely wondrous.”

Dennis Potter, acclaimed British television dramatist, speaking in an interview in March 1994, knowing that he has a few weeks to live.

During the period in which this music was made, my thoughts kept returning to Dennis Potter’s words, posted on a wall in my parents’ house. This composition celebrates the details and qualities of the ‘everyday’; in this case, everyday sounds generated by everyday objects and events. By expanding the moments captured in the source recordings, this music is made of new ‘present tenses’ inspired by both the obvious and the more hidden qualities of those everyday experiences.

[vi-20]


The Nowness of Everything was realized in 2009 at the composer’s studio and at the Electroacoustic Music Studios of City, University of London (England, UK) and premiered on March 16, 2010 at City, University of London.


Premiere

  • March 16, 2010, Sound Studio Concert, Performance Space — College Building — City, University of London, London (England, UK)

10_35_70

Ambrose Seddon

  • Year of composition: 2007
  • Duration: 9:59
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T9002819638

Stereo

ISRC CAD502010064

  • 44,1 kHz, 16 bits
To my father, Peter, and my nephew, Sam

This music was inspired by my thoughts regarding age and passing time. Sometimes time does not pass swiftly enough, yet on other occasions it moves by too quickly. During the ageing process one’s experience of time passing changes (days, weeks, months, and years go by more quickly than ever), while one’s bodily functions gradually slow down. Thus, the concept behind the piece developed into the idea of ‘slowing down.’ This is represented in the music by a process in which intensity, variability and volatile activity gradually tend towards calmness. As such the music is concerned with the processes of change.

[iii-20]


10_35_70 was realized in 2007 at the composer’s studio and at the Electroacoustic Music Studios of City, University of London (England, UK) and premiered on March 6, 2007 at City, University of London. Thanks to Laura Reid for her cello. 10_35_70 received a Special Mention in the 3rd Destellos Competition of Electroacoustic Composition and Visual-Music (Mar del Plata, Argentina, 2010).


Premiere

  • March 6, 2007, Electroacoustic Concert Series, Performance Space — College Building — City, University of London, London (England, UK)

Awards

Fleeting Strands

Ambrose Seddon

  • Year of composition: 2011
  • Duration: 13:48
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T9112446216

Stereo

ISRC CAD502010065

  • 44,1 kHz, 16 bits

The strands in this work are both literal and metaphorical. The sound recordings consist of a variety of moments, materials and perspectives, and were made whilst visiting the coasts of Norfolk and Devon in the United Kingdom. Occasionally the sources are revealed (the sea, rocks, cave ambiences, boatyards, bells, an open fire), but the music is really concerned with the different spaces or settings encountered on a journey of transformed realities and shifting perspectives.

[iv-20]


Fleeting Strands was realized in 2011 at the composer’s studio and at the Electroacoustic Music Studios of City, University of London (England, UK) and premiered on May 18, 2011 at City, University of London. Thanks to the bell-ringers of St Nectan’s Church in Welcombe (Devon, UK). Fleeting Strands was awarded a Special Mention at the Métamorphoses Acousmatic Music Competition (Brussels, Belgium, 2012).


Premiere

  • May 18, 2011, Sound Studio Concert — Orpheus Unplugged, Performance Space — College Building — City, University of London, London (England, UK)

Awards

Fouram

Ambrose Seddon

  • Year of composition: 2005
  • Duration: 10:53
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T0116435278

Stereo

ISRC CAD502010066

  • 44,1 kHz, 16 bits

The shifting state of mind between consciousness and unconsciousness is sometimes accompanied by feelings of restlessness and anxiety. Eventually, hopefully, these feelings will subside.

[iii-20]


Fouram was realized in 2005 at the Electroacoustic Music Studios of City, University of London (England, UK) and premiered on January 24, 2006 at the City, University of London. Fouram was awarded the Prize of the Concurso de Composición Electroacústica Visiones Sonoras (organized by the Centro Mexicano para la Música y Artes Sonoras (CMMAS), Morelia, Mexico, 2006) and the Composition Prize — European Section of the International Computer Music Conference (ICMC, Copenhagen, Denmark, 2007).


Premiere

  • January 24, 2006, Electroacoustic Concert Series, Performance Space — College Building — City, University of London, London (England, UK)

Awards

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