- Year of composition: 2020-21
- Duration: 17:18
- Instrumentation: stereo fixed medium
- Publisher(s): Ymx média
- ISWC: T3037390157 / T3110547649 / T3037389956 / T3037391456
- 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.
- October 12, 2022, Akousma 18: Soirée 2, Usine C, Montréal (Québec)
- 2020 – 2021, Personal studio, Longueuil (Québec)