electrocd

Track listing detail

Honey (Architectures From Silence No. 1)

Martin Bédard

  • Year of composition: 2020-21
  • Duration: 17:18
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T3037390157 / T3110547649 / T3037389956 / T3037391456

Stereo

ISRC CAD502210001

  • 44,1 kHz, 16 bits

To MH and Lili…

The very nature of honey is for me an inspiring natural model, in life and especially in the realization of this work. Honey is the result of a long transformation. Honey, instead of being secreted spontaneously, results from a long process of metamorphoses which begins with quasi-volatile materials (pollen, nectar) that evolve in a continuous densification process to produce a rich, dense texture, up to crystallization. Bees collect, unify, transfigure and transfuse: they make possible the passage from pollen to honey, that is to say they take a powder—dispersion without order — and turn it into a structured and unified liquid. The symbolism of honey is associated with transformation and synthesis. Honey also represents a time of harvest and abundance.

Therefore, Honey (Architectures From Silence No. 1) offers a sonic architecture that has the following background:

  • the transformation and metamorphosis of materials towards densification and transfiguration;
  • material richness and abundance associated with a harvest period;
  • the depth of retrospection and its temporal and musical possibilities, which summarize the path taken up to the harvest period, and;
  • poetry related to invisible transformations, recognition, being greater than oneself.

I also grant, in relation to these themes explored in Honey (Architectures From Silence No. 1), particular sonic attention to:

  • developments of materials and their evolution towards densification;
  • transformation of materials which, through extensive metamorphosis, transcend each material’s initial state;
  • articulation of sound narrative through cinema editing. This visual grammar feeds my sound narrative, which is essentially based on the articulation of materials, and will allow time-related work that favours the notions of retrospection, anticipation and mise en abyme. I would like to point out that the cinema grammar, with its temporal and discursive possibilities, is a key catalyst and architectural tool for the realization of this piece, because it explores processes that consolidate and link the elements, thus materializing one of the central themes of the project; and
  • architectural and formal evolution of the work through a more structural approach to editing, particularly emphasizing a certain level of non-linearity and fragmentation between the large units and sub-units of the work while seeking local cohesion (gestures, phrasing, binding techniques and processes) and holistic cohesion (the work as a whole). The work follows a polyphonic journey whose lines are constantly broken where discursivity is propelled by the concepts of parentheses, parentheses within parentheses, disconnects, and mise en abyme, suggesting a slightly puzzling rhizomatic beginning, especially in the first section of the work. However, from statement to statement, an exponential development emerges and propels, in time, the narrative specific to each of the voices presented through multiple previous occurrences.

[English translation: François Couture, ii-22]


Honey (Architectures From Silence No. 1) was realized in 2020-21 at the composer’s studio in Longueuil (Québec) with support from the Conseil des arts de Longueuil. Thanks to Jean-Michel Dumas, Stéphane Roy, and Christian Bouchard.


Premiere

  • October 12, 2022, Akousma 18: Soirée 2, Usine C, Montréal (Québec)

Composition

Mastering

𝄆 Extensio:Warm:Up 𝄇

Martin Bédard, Marie-Hélène Breault

  • Year of composition: 2015-17
  • Duration: 17:20
  • Instrumentation: flute, processing and 8-channel fixed medium
  • Publisher(s): Ymx média
  • Commission: Erreur de type 27 (E27), with support from the CCA
  • ISWC: T9215179490

Stereo

ISRC CAD502210002

  • 44,1 kHz, 16 bits

To Denise, to Gaétane

It is by the persevering repetition of the warm-up, an exhaustive set of studies and musical exercises, that instrumentalists—like craftspeople — forge, sculpt and refine their technique and sound. In this piece, a denatured, virtualized and recomposed flute enters the electroacoustic medium through different exercise circuits, where material and gesture are organized into a dynamic of restarts.

Through local repetitions (loops) and global repetitions (anticipated or projected elements throughout the piece), 𝄆 Extensio:Warm:Up 𝄇 offers a path with multiple interior echoes. The electroacoustic part, essentially synthesized, wraps the flute in a more orchestral, instrumental approach. The sections of the work proceed in contrasting ways, allowing for moments of high density to counterbalance moments of almost motionless sound textures. In spite of these organizational, temporal and material foundations, the hope is that the technicality of the warm-up will be transcended by the work’s poetics. The impression of large spaces, saturation for its bewitching (and not discouraging) quality, the need for change, the desire to progress (extensio) and to metamorphose in spite of the repetition (warm-up) day after day, the alloying and meeting of contrasting universes, a fallow sound that aspires to be fertile and transformed…

[English translation: François Couture, ii-22]


𝄆 Extensio:Warm:Up 𝄇 was realized in 2015-17 at the composer’s studio in Montréal (Québec) and was premiered on May 4, 2017 during the concert Murmurations sur la ville presented by Erreur de type 27 (E27) at the Musée national des beaux-arts du Québec, in Québec. It was commissioned by E27 with support from the Canada Council for the Arts (CCA).


Premiere

  • May 4, 2017, Marie-Hélène Breault, flute; Martin Bédard, diffusion • Murmurations sur la ville, Pavillon central — Musée national des beaux-arts du Québec, Quebec City (Québec)

Composition

Performers

Recording

Mastering

Replica

Martin Bédard, Marie-Hélène Breault

  • Year of composition: 2012-13
  • Duration: 14:33
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: Erreur de type 27 (E27), with support from the CALQ
  • ISWC: T9215178588

Stereo

ISRC CAD502210003

  • 44,1 kHz, 16 bits

To Suzanne

The Replica project is inspired by the existential opposition between continuity and transformation as comprised in the sentence “Eadem mutata resurgo,” or “I am reborned changed as identical.” The work is built mostly from flute sounds, mainly old recordings of the performer and new materials generated during a first instrumental writing. The replica of these materials in a second writing on support creates various sceneries in which are interpreted on one hand the instrument and its expressive potential and on the other hand the performer and her history.

In Replica, the dichotomic relation between continuity and transformation is made of 4 compositional modalities: contrast between pure instrumental sound and re-built sound; creation of new material on the basis of old recordings; progressive transformation of motives and sound objects based on repetition; and duplication of the instrumental by the electro. On the road towards instrumental utopia, the project took the form of an acousmatic work.

[English translation: François Couture, ii-22]


Replica was realized in 2012-13 at the composer’s studio in Montréal (Québec) and was premiered on March 13, 2013 during the concert Espaces mixtes II presented by Erreur de type 27 (E27) at Méduse’s Salle Multi in Québec. It was commissioned by E27 with support from the Conseil des arts et des lettres du Québec (CALQ). Replica received a Mention at the Concours biennal de composition acousmatique Métamorphoses (Brussels, Belgium, 2014) and the 3rd prize at the Iannis Xenakis International Electroacoustic Composition Competition (Greece, 2017).


Premiere

  • March 13, 2013, Espaces mixtes II, Salle Multi — Méduse, Quebec City (Québec)

Awards

Composition

Mastering

Kissland

Martin Bédard

  • Year of composition: 2016
  • Duration: 11:45
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T9190168899

Stereo

ISRC CAD502210004

  • 44,1 kHz, 16 bits

Pareidolia is an optical illusion. It consists of associating a nebulous visual stimulus with an easily identifiable element, often a human or animal shape. Common examples of this perception phenomenon are seeing shapes appear in clouds or identifying a face on a rock cliff. Usually, pareidolia is the result of a natural tendency to assimilate new perceptions with known, already classified ones. Such “projections” vary according to each individual’s expectations, predispositions, and culture.

This optical illusion is likely the result of an evolutionary advantage that led to a hypersensitivity in detecting a presence amid a complex environment, which would somehow be beneficial to our survival at the expense of our precision in identifying or recognizing what is perceived. That would be why identification mistakes almost always go in the same direction: false positives (perceiving a presence when nothing is there) instead of false negatives (not perceiving something that is there).

— [Drawn from Wikipedia]

Electroacoustic music provides several similarities with this perception phenomenon. Because of electroacoustic music’s density, orchestral and organizational riches, and superimposition and editing possibilities, one can “see” in it shapes that are actually there and imagine several others that may not be there at all! For, in this case, listeners may be guessing more than “seeing.”

And the “pareidoliac” analogy can go further and slide towards the intimate world. It can influence the encounter and discovery of the Other. It can push us to see involuntarily in the Other what is not there and, in the most common form of blindness, to not recognize what is there…

[English translation: François Couture, ii-22]


Kissland was realized in 2016 at the composer’s studio in Montréal (Québec) and was premiered on April 7, 2016 during the concert Électrochoc 6: Martin Bédard, Louis Dufort at Studio multimédia of the Conservatoire de musique de Montréal. Kissland was awarded an Honourable Mention at the 9th Destellos Electroacoustic Composition Competition (Mar del Plata, Argentina, 2016) and was finalist for the “Premiere of the Year” award at the 20th Prix Opus 2015-16 of the Conseil québécois de la musique (CQM).


Premiere

  • April 7, 2016, Électrochoc 2015-16: Électrochoc 6: Martin Bédard, Louis Dufort, Studio multimédia — Conservatoire de musique de Montréal, Montréal (Québec)

Awards

Composition

Mastering