Figures de son (Download) Track listing detail

Enième

Patrick Ascione

  • Year of composition: 2004
  • Duration: 10:11
  • Instrumentation: 8-channel fixed medium
  • Publisher(s): Ymx média
  • Commission: IMEB
  • ISWC: T0045639415

Stereo

ISRC CAD502110006

  • 44,1 kHz, 16 bits

In my experience, composing an acousmatic piece begins with a difficult challenge: choosing the sound materials, the basis, the starting point for any work… What should I do with these collections of sounds — be them of concrete or synthetic origin — I have gathered and left in suspension? All these sounds that have been captured, collected, archived, and are now waiting in the wings for their moment to shine, to coexist?

In that regard, I have always felt that starting a new piece was like placing a bet, because you find yourself having to breathe life and meaning into these initial elements, wild elements that have neither context nor musical history…

This piece represents both my umpteenth attempt in this vein and the moment where I became aware of this issue.

[English translation: François Couture, ii-15]


Enième [Umpteenth] was realized in 2004 at the studio of the Institut international de musique électroacoustique de Bourges (IMEB, France) and premiered on June 9, 2004 at Palais Jacques-Cœur as part of Synthèse festival (Bourges, France). It was commissioned by the IMEB.

Composition

Premiere

  • June 9, 2004, Synthèse 2004: Concert, Palais Jacques-Cœur, Bourges (Cher, France)

Ascionerie no 6: Fantaisie diabolique

Patrick Ascione

  • Year of composition: 2011-12
  • Duration: 11:40
  • Instrumentation: fixed medium
  • Publisher(s): Ymx média
  • Commission: Ina-GRM
  • ISWC: T9312649288

Stereo

ISRC CAD502110007

  • 44,1 kHz, 16 bits

Ascionerie no 6: Fantaisie diabolique — the sixth and final installment in a series started in 2003 and entitled Figures de style — is about my growing awareness of a set of habits that are inextricably tied to how I approach the world of sounds and sound treatment, my tools, and the mannerisms that take a hold of me whenever I am composing. To a point where this has become the central issue in my work, like a necessity, the unavoidable yearning for an inner universe to explore… An essential date with sounds, colours, shapes, space…

And that is how this word, “Ascionerie” (“Ascioneism”), came about; it looked strange at first, but it quickly became self-evident, because it embodies what I think is important for a composer, what accounts for his personality: the awareness and mastery of his own peculiarities, style, language, and world…

So, for the sixth time, I have bowed to my own automatic processes and writing rituals, gradually identified through time, and perhaps to my failings too. This sixth piece is about temptation, but at a different level, since the only thing I gave in to was the temptation of resisting to temptation…

More specifically, Ascionerie no 6: Fantaisie diabolique is about the issue that arises between artistic research (and art in general) and everything the era (i.e. the market or unscrupulous individuals herein represented by “the devil”) is trying to impose on the whole world!

Thus forcing artists to keep to the margins and grow disheartened there…

[English translation: François Couture, ii-15]


Ascionerie no 6: Fantaisie diabolique [Ascionism No. 6: Diabolic Fantasy] was realized in December 2011 and January 2012 at the composer’s studio and premiered on January 21, 2012 as part of the Multiphonies series presented by the Ina-GRM at the Auditorium Saint-Germain of the MPAA (Paris, France). It was commissioned by the Ina-GRM. The recorded voice is that of the composer.

Composition

Premiere

  • January 21, 2012, Multiphonies 2011-12: Akousma, Auditorium Saint-Germain — MPAA, Paris (France)

Divertissement

Patrick Ascione

  • Year of composition: 2001
  • Duration: 13:46
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: IMEB
  • ISWC: T0042667991

Stereo

ISRC CAD502110008

  • 44,1 kHz, 16 bits

To compose, not only for a familiar audience but also (mostly, perhaps) for the larger public, without sullying the genre in the process, has always been extremely important to me…

To try to make a genre often perceived as serious (or worse) more lively, more accessible. To try to approach this musique concrète, this acousmatic art from a slightly different perspective… In this case by stripping the materials of any and all factual elements, or through a characteristic way of making sounds speak, all the way to abstraction, music…

[English translation: François Couture, ii-15]


Divertissement [Entertainment] was realized in 2001 in the studio of the Institut international de musique électroacoustique de Bourges (IMEB, France) and premiered on June 9, 2001 at the Grand théâtre de la Maison de la culture de Bourges as part of Synthèse festival (Bourges, France). It was commissioned by the IMEB.

Composition

Premiere

  • June 9, 2001, Synthèse 2001: Concert, Grand théâtre — Maison de la culture de Bourges, Bourges (Cher, France)

Et puis l’oubli…

Patrick Ascione

  • Year of composition: 1998
  • Duration: 10:06
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: IMEB
  • ISWC: T0031170952

Stereo

ISRC CAD502110009

  • 44,1 kHz, 16 bits

A metaphor for what is finishing, the end of all things. Our state of mind at that moment. The instant of departure, of separation, when the present becomes the past…

A tribute to remembrance, when words are useless.

To express through music what is left inside us when communication breaks down and, beyond language, to hold back what isn’t anymore, for just one more moment, like the ultimate step before silence, before oblivion.

Through its use of reminders and returns, this piece induces the emergence or the reactivation of memory.

[English translation: François Couture, ii-15]


Et puis l’oubli… [And then, oblivion…] was realized in 1998 in the studio of the Institut international de musique électroacoustique de Bourges (IMEB, France) and premiered in June 1998 at the Grand théâtre de la Maison de la culture de Bourges as part of Synthèse festival (Bourges, France). It was commissioned by the IMEB.

Composition

Premiere

  • June 1998, Synthèse 1998: Concert, Grand théâtre — Maison de la culture de Bourges, Bourges (Cher, France)

Awards

Danse de l’aube

Patrick Ascione

  • Year of composition: 2000-02
  • Duration: 18:21
  • Instrumentation: 8-channel fixed medium
  • Publisher(s): Ymx média
  • Commission: French State (Music Office), Ina-GRM
  • ISWC: T0042893333

Stereo

ISRC CAD502110010

  • 44,1 kHz, 16 bits

Joy, dance, celebration…

Rhythm and its taboos in acousmatic music…

This piece questions the limits of our art — although in art limits are always temporary. What are these limits? Their contours? Their evolution? (We do know where they came from.) What is the farthest a composer can go, and are these limits real?

Danse de l’aube is also an extension of the work I have been doing for years to develop “spatial polyphony,” a concept that increases the live readability of acousmatic pieces by integrating a work’s spatial dimension right into the initial act of studio composing using various multitracking techniques.

This piece explores the phenomenon of sonic “relief” through the possibilities offered by a composition/playback system on eight real tracks.

[English translation: François Couture, ii-15]


Danse de l’aube [Dance of the Dawn] was realized in 2000-02 in the studio of the Ina-GRM and premiered on June 15, 2002 as part of the Ina-GRM’s Cycle acousmatique presented at Salle Olivier Messiaen, Maison de Radio France (Paris, France). It was commissioned by the French State (Music Office) and the Ina-GRM (Paris).

Composition

Premiere

  • June 15, 2002, Multiphonies 2001-02: Concert, Salle Olivier Messiaen — Maison de Radio France, Paris (France)