electrocd

Track listing detail

Prélude aux méandres

Serge Arcuri

  • Year of composition: 1985
  • Duration: 3:29
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T0710443085

Stereo

ISRC CAD509310540

  • 44,1 kHz, 16 bits

To accentuate the artificial dimension of dreams, and contrary to the procedure whereby concrete sound objects are transformed into a musical process, this Prélude aux méandres (Meanders’ Prelude) is a reconstruction of a summer night soundscape in which the songs of crickets, grasshoppers, frogs and birds are all of a synthetic nature. These sounds take part in a contrapuntal game with elements that are foreign to the scene and which constitute the dramatic attraction. This prelude was written as the introduction to the stage version.

[xii-93]


Prélude aux méandres was realized in Université de Montréal’s studio, mainly using Jupiter 8 and Fairlight II synthesizers. The work premiered at the on April 14, 1990 during ACREQ’s 6th Printemps électroacoustique de Montréal.

Premiere

  • April 14, 1990, 6e Printemps électroacoustique, Montréal (Québec)

Composition

La porte des sables

Serge Arcuri

  • Year of composition: 1989
  • Duration: 12:35
  • Instrumentation: oboe (English horn), MIDI percussion and stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: CBC at the request of oboist Lawrence Cherney
  • ISWC: T0710288995

Stereo

ISRC CAD509310550

  • 44,1 kHz, 16 bits

“We must now slip through the openings in the wall, the forgotten openings; we must walk on tiptoe and listen carefully, not during the day but in the evening, when the moon lends shade to our story, when the stars gather in a corner of the sky and watch the world fall asleep.”

Tahar Ben Jelloun

As in Tahar Ben Jelloun’s novel The Sand Child, La porte des sables (The Sand Door) takes us on the path of legend, each door giving us access to another. This piece follows the same pattern, the modal language emerging through the lyrical nature of the arabesques played by the oboe and the English horn, as opposed to the rhythmical percussive accompaniment.

[xii-93]


The tape and sequences for La porte des sables were produced in 1989 at the studio of composer André-Luc Desjardins in Montréal. The piece premiered on November 12, 1989, during the CEC Electroacoustic Days, >convergence< at The Banff Centre for the Arts (Alberta, Canada). La porte des sables was commissioned by the Canadian Broadcasting Corporation (CBC) at the request of oboist Lawrence Cherney. Many thanks to André-Luc Desjardins for his technical help.

Premiere

  • November 12, 1989, Lawrence Cherney, oboe, English horn; Scott Lyons, percussion; Serge Arcuri, diffusion • >convergence<: Concert 5, Margaret Greenham Theatre — The Banff Centre for the Arts, Banff (Alberta, Canada)

Composition

About this recording

This version was recorded at Pizazzudio studio in Toronto on October 29 and 30, 1992 and mixed December 13 to 15, 1992 (sound recording: Konrad Skreta; engineers: Michael Jack, Barry Lubotta).

Recording

  • 1992-10-29 – 1992-10-30, Konrad Skreta, executive production; Michael Jack, Barry Lubotta, engineers • Pizazzudio, Toronto (Ontario, Canada)

Mixing

  • 1992-12-13 – 1992-12-15, Pizazzudio, Toronto (Ontario, Canada)

Murmure

Serge Arcuri

  • Year of composition: 1989
  • Duration: 12:26
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: CKLN FM (David Olds), with support from the CCA
  • ISWC: T0714813769

Stereo

ISRC CAD509310560

  • 44,1 kHz, 16 bits

In numerous myths, the creation of the universe occurs with a breath or a cry. From primitive African cultures to the Vedic texts of India, throughout China and amongst the Inuit People… the universality of a sound as the basis for the various cosmogonies is striking. And don’t the astrophysical theories of the 20th-century designate the first few seconds of the universe with the expression ‘Big Bang’? In the space of a few minutes, Murmure (Murmur) weaves the long journey from the original breath to the human voice.

[xii-93]


Murmure was produced using mainly voice sounds and the Yamaha DX-7II synthesizer, at the Bruit vert studio in Montréal in 1989. It was commissioned by David Olds for his radio program Transfigured Night on CKLN FM in Toronto, premiering on December 4, 1989. Murmure was produced with support from the Canada Council [for the Arts] (CCA). Many thanks to Marie-France Lambert and David Olds. Murmure is part of the Anthology of Canadian Music: Electroacoustic Music on the Radio Canada International label (ACM 37).

Premiere

  • December 4, 1989, Concert, CKLN FM, Toronto (Ontario, Canada)

Composition

Errances

Serge Arcuri

  • Year of composition: 1992
  • Duration: 14:00
  • Instrumentation: oboe d’amore, harp and stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: Erica Goodman, Lawrence Cherney, with support from the CCA
  • ISWC: T0704773250

Stereo

ISRC CAD509310570

  • 44,1 kHz, 16 bits

Errances (Errancies) is a journey of initiation through three sound dimensions. The first of these dimensions evokes desert lands where tape and musicians alternate to finally evanesce like a mirage. In the second, rather urban in nature, instrumental tones are pushed to the edge of their respective idioms. The third and last dimension, by contrast, draws inspiration essentially from the rhythmical assonances of the sea world.

[xii-93]


The tape of Errances was realized in 1992 at the Info-MIDI studio in Montréal, principally using the Yamaha DX-7II, TX-816 and TX-81Z synthesizers and the Roland S-50 sampler. The work premiered on November 16, 1992 in Cracow (Poland) by harpist Erica Goodman and oboist Lawrence Cherney. Errances was commissioned by harpist Erica Goodman and oboist Lawrence Cherney, and produced with support from the Canada Council [for the Arts] (CCA). The piece received a mention at the Bourges International Electroacoustic Music Competition (France) in 1993. Many thanks to Claude Lassonde.

Premiere

Awards

Composition

About this recording

This version was recorded at Pizazzudio studio in Toronto on October 29, 1992, and mixed December 13 to 15, 1992 (sound recording: Konrad Skreta; engineers: Michael Jack, Barry Lubotta).

Recording

  • 1992-10-29, Konrad Skreta, executive production; Michael Jack, Barry Lubotta, engineers • Pizazzudio, Toronto (Ontario, Canada)

Mixing

  • 1992-12-13 – 1992-12-15, Pizazzudio, Toronto (Ontario, Canada)

Lueurs

Serge Arcuri

  • Year of composition: 1987
  • Duration: 12:27
  • Instrumentation: horn, percussion and stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: Marie Beauchesne, Francis Ouellet, with support from the CCA
  • ISWC: T0705075417

Stereo

ISRC CAD509310580

  • 44,1 kHz, 16 bits

This work served as a study on dreams. The ideal instrument for calling, the French horn responds to brief rhythmical units that gradually melt into ambient sounds. The second section, in ostinato, develops in a counterpoint between the two instruments, then dies away slowly in long deep holding notes in the third and last section of the work.

[xii-93]


Lueurs [Shimmers] was realized in 1987 at the Bruit vert studio in Montréal from ambient sounds, and with the help of a sampler and of the Yamaha DX-7 synthesizer. It premiered on May 7, 1987 by percussionist Marie Beauchesne and horn player Francis Ouellet during ACREQ’s 5th Printemps électroacoustique de Montréal. This work was commissioned by Marie Beauchesne and Francis Ouellet, and produced with support from the Canada Council [for the Arts] (CCA). Many thanks to Yves Daoust.

Premiere

Composition

About this recording

This version was recorded at Pizazzudio studio in Toronto on October 30 and 31 and mixed December 13 to 15 (sound recording: Konrad Skreta; engineers: Michael Jack, Barry Lubotta).

Recording

  • 1992-10-29 – 1992-10-30, Konrad Skreta, executive production; Michael Jack, Barry Lubotta, engineers • Pizazzudio, Toronto (Ontario, Canada)

Mixing

  • 1992-12-13 – 1992-12-15, Pizazzudio, Toronto (Ontario, Canada)

Résurgence

Serge Arcuri

  • Year of composition: 1982
  • Duration: 6:42
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T0704780824

Stereo

ISRC CAD509310590

  • 44,1 kHz, 16 bits

By analogy with underground rivers which suddenly emerge at the surface, Résurgence is a formal study in which different elements of a concrete nature are woven together to reappear and recreate new tonal currents.

[xii-93]


Résurgence was realized in 1982 at the studio of the Conservatoire de musique de Montréal during my last year of study there. It premiered on November 15, 1982, along with a choreography by Manon Levac, during a concert honoring composer Gilles Tremblay. Many thanks to Manon Levac for her generous cooperation. This work reached the finals of the 6th CBC National Competition for Young Composers (1984).

Premiere

  • November 15, 1982, Concert hommage, Conservatoire de musique de Montréal, Montréal (Québec)

Composition

Chronaxie

Serge Arcuri

  • Year of composition: 1984
  • Duration: 12:05
  • Instrumentation: percussion and stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: Manon Descôteaux, with support from the CCA
  • ISWC: T0704932422

Stereo

ISRC CAD509310600

  • 44,1 kHz, 16 bits

The subtitle to Chronaxie is a quotation from Marie Uguay: “This desert fierceness of colors.” This piece uses timbres and envelopes that, although for the most part synthetic, closely resemble those of the percussions. Built on a single rhythmical unit, the work starts with the very long resonances of metallic instruments such as tam tams and goes on to the shorter sounds of the skins and the woods. The score, at times precisely annotated, often allows great freedom to the soloist.

[xii-92]


Chronaxie was realized in 1984 at the Université de Montréal’s studio, primarily using the Jupiter 8 synthesizer and manipulated sound samples. It premiered on May 10, 1984 at the Université de Montréal. This piece was commissioned by percussionist Manon Descôteaux, and produced with support from the Canada Council [for the Arts] (CCA). The piece received a mention at the Bourges International Electroacoustic Music Competition (France) in 1987. Chronaxie was recorded by Beverly Johnston for the Impactcompact disc on the Centrediscs label (CMC 2786D).

Premiere

  • May 10, 1984, Manon Descôteaux, percussion • Concert, Faculté de musique — Université de Montréal, Montréal (Québec)

Awards

Composition

About this recording

This version was recorded at Pizazzudio studio in Toronto on December 12, 1992 and mixed December 13 to 15, 1992 (sound recording: Konrad Skreta; engineer: Michael Jack).

Recording

  • 1992-12-12, Konrad Skreta, executive production; Michael Jack, engineer • Pizazzudio, Toronto (Ontario, Canada)

Mixing

  • 1992-12-13 – 1992-12-15, Pizazzudio, Toronto (Ontario, Canada)